@Halloll: Crowd funding stopped being cool in late 2013. You barely hear about them now-a-days and nothing good has come out of Kickstarter in a long time.
@Daveof89: Most of the money has already been used. It's not like he has 100 million stockpiled somewhere. The money is already being used to pay for the game's development.
That, and Chris Roberts wasn't exactly a poor man prior to Star Citizen. He was very well off as he was.
"Loemund is trying to get into the fortress to retrieve his magical helmet, which he lost in battle to a descendant of Queen Ashe."
It's ANCESTOR, not descendant. Descendant would imply it is one of Ashe's children. Ashelia does not have any children, unless Balthier's not letting us in on a secret. Please re-read the "The Story of Fortress, the Canceled Final Fantasy XII Sequel" and make the correction.
From what I understand, the developer makes these games using some kind of platform that can easily convert PC games to mobile and vice versa. I don't know how to program for beans, but in my experience as a gamer I can probably assume that's the reason why the actual "footage" of FNAF World's gameplay looks cheap. Then again, it could just be the bright colors and movement that is making the stationary background really...boring.
I wonder why he chose to use 3D models on a 2D plane. Why didn't he just do it like Final Fantasy VII did and have a psuedo-3D background surrounding the "arena"?
@Fia1: He's already stated the fourth game is the final one. Anything else is just a spinoff, hence FNAF World.
I can confidently say that each one has a unique identity and sub-plot. Each iteration contributes interesting new gameplay and characters, building upon this very interesting story which the fans have grown to adore.
The first game introduces the Five Nights universe quite well. You have the five characters and a setting that gives a feeling of cornered helplessness to the player much unlike many horror games out today. Each character has a unique route and alerts that the player much rely on to survive. There is also micromanagement due to power limitation.
The second game reinforces that helplessness by removing the first game's protective measures and nearly tripling the amount of possible enemies. Of course, most of them can be handled with the same techniques. It became more important to not sit in the office view the whole time due to he music box. This game also hinted at the main story and the puppet's involvement.I believe this is when the atari-style minigames began.
The third game introduces only one enemy to counter the militia that assaulted the player in the last game, hallucinations simply being obstacles towards defending (and preserving) yourself. Not much scare here but it's kind of ironic since there's a very visible corpse walking around. More backstory is given though the plot is not complete.
The forth game once again takes a big tangent and puts the player in the shoes of possibly a young child frightened by the original animatronics. Lots of plot is generously shown to the player through minigames once again. The addition of the plush springtrap minigame provides players with a headstart to each level making this game possibly the most lenient.
It would be foolish to disregard each game as "milking the franchise" when each installment makes very fair contributions to the overall series. The developer made this game with feedback from his own kids on what works with the character designs and what doesn't. He clearly loves his characters a lot of would like more games with them as much as the fanbase does.
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