Gameplay takes the shape of a turn-based RPG with roguelike and deckbuilding mechanics smartly woven in. Lady Luck plays the role of game show host well with her charismatic, but subtly villainous personality and the sort of goofy, kids’ book-like humour and illustrations go a long way towards giving Dicey Dungeons its own distinct flavour. Though the narrative is mostly just there as a framing device for the endless runs you’ll be making, it nonetheless introduces a lot of fantastic character into what can seem – on the surface – like a somewhat shallow game. And, in the off chance that they actually make it to the end of an episode, there’s always another episode they have yet to endure before they totally win. The catch is that participation in the game show requires each participant to be turned into a playing die and to battle their way through a series of treacherous, shifting dungeons that are ruled by chance. Each of the six contestants has come to the game show in pursuit of their greatest desire, which could supposedly become theirs if only they can ‘win’. It’s cute, it’s infuriating, and it’s dangerously enjoyable.ĭicey Dungeons takes place in a bizarre game show run by the embodiment of fate herself, Lady Luck. Here, instead of your reflexes, your strategic skills are put to the test as you have to get a bunch of living dice through some punishing gauntlets of chance-based hell. That design is on full display, albeit in a completely new form, with his latest project, Dicey Dungeons. If you’ve played the likes of VVVVVV or Super Hexagon, you’re no doubt familiar with his unique brand of simplistic and punishing game design. Terry Cavanagh is known for making some tough games. The Bandcamp album has all of the songs considerably louder, and also features miscellaneous tweaks on some tracks.Ī compilation of most of the early and beta versions of the tracks below can be downloaded here.Captured on Nintendo Switch (Handheld/Undocked) The Dungeon also never played until shortly after 1.3 - until then, The Dark Forest played in floors with the dungeon backdrop in addition to the forest backdrop. All music was finalized exactly at Release Candidate 6 (two versions away from v1.0).ġ.0 had a bug that caused What You Could Have Won (Bestiary) to never play, the bestiary music being The Ice Stage instead, as well as a bug that prevented Tempting Fate from ever playing. For example, Tempting Fate lacked the “soothing” parts, and Step Right Up still had segments from the chiptune version more or less ad verbum in the middle. The funk style present in the final soundtrack appeared all at once in Release candidate 4 (excepting a handful of tracks such as Bonus Round), although many of the new versions were not quite final yet. Against All Odds remains an homage to this period in the released version. New versions of combat tracks during a brief phase between v0.17 and early beta (and including v0.15 Step Right Up) were something like a blend between chiptune and traditional electronica. There are no proper early versions of the final overworld tracks. From there the overworld tracks were filled in one by one with their final versions. Chipzel's early combat tracks were raw chiptunes exported more or less straight from LSDJ, and her early overworld tracks were unsettling ambient experiments much less rigid than the final tracks.Īll overworld tracks in v0.16 were replaced with a 13-second loop similar to What You Could Have Won (Bestiary) but more upbeat. Terry's pixelart and the midis both went away at the same time, v0.11, when Marlowe Dobbe and Chipzel were hired. v0.9 and v0.10 used public domain midis (including one by Yann van der Cruyssen, composer of the Blocks that Matter soundtrack). From the 7DRL submission to v0.8, all songs were hand-picked commercial midipop.
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