Cuphead Slime Boss Guide

Total Page:16

File Type:pdf, Size:1020Kb

Cuphead Slime Boss Guide Cuphead slime boss guide Continue Glop HopBlue BroozerSlime SlamSlippery SluggerGrave Danger Goopy Le Grande is one of the first bosses in Cuphead. He appears in Ruse Ioza from Inkwell Isle One. Description The look of Goopy is blue slime with a small red nose. During phase 2, it grows to double its normal size. In his latest form, he has his blue face with an angry frown on a gray tombstone with a cross on top, showing the term RIP (Rest in Peace). The personality of Goopy acts incredibly narcissistic and self-confident in battle, always commenting on how beautiful he is, even as a tombstone, as seen on his death screen. However, he seems to have respect for his opponents as he makes a cap-tipping gesture using the top head of Cuphead and Mugman in his opening animation. Battle of Intro As the battle begins deep in the woods, Goopy tips his cap as a greeting to Cuphead and Mugman. Phase 1 With a face like mine is a crime to be bouncing all the time? - Goopy Le Grande, Phase 1 Death Screen Hitpoints No. 440/288/336 Glop Hop - As the battle begins, Goopy Le Grande begins to bounce around the area in the hope of crushing the player (s) that can be avoided by moving or dashing to the side. In simple mode, there is a longer delay between jumps. In expert mode, Goopy bounces much faster. Blue Broozer - Sometimes, it will stop bouncing, give a little time for the player (s) to react and rush to the players to hit them, turning himself into a giant blue boxing glove after a short pause and screaming PTOO!. The range of his kick is very short, so the player (s) can dodge him, running away easily; as well as squats to avoid it safely while still shooting it. Goopy Le Grande also automatically changes direction depending on the direction of the player (s) (is). After making enough hits, Goopy eventually stops and swallows the pills. It then becomes twice as big as its original shape. It will spawn three pink question marks until it converts, which is crucial to getting an A-Rank or S-Rank as they are the only objects in this boss battle that can be parried and get those rows to require you to fend off at least 3 objects. Phase 2 I have a beautiful slime bringing pain - one bounce at a time! - Goopy Le Grande, Phase 2 Death Screen Hitpoints No 560/540/560 In this phase, Goopy grows twice as much after eating jelly and gets some brown eyebrows. Now he bounces more chaotically and his slams cover more ground. He re-uses his two previous attacks, but they are more powerful and harder to dodge to some extent: Out of Blue - Goopy will still bounce like he did in his first phase, but he takes longer doing so, thus giving you more time to escape. However, due to the fact that the body is bigger, there will be less space. Also, slams the case more harm. This attack can also be called Slime Slam. Slippery Slugger - Now he's able to state blow with your own fist rather than rushing, and now, the range is longer. However, these bumps can be avoided when the player is in the far left or far right side, and if there is no way to avoid, it is ideal to just duck/squat and shoot at the same time. After taking enough damage, he will stop bouncing, stunned, and soon crushed by his own tombstone. However, in simple mode, the tombstone will not crush it, and the battle simply ends with him stunned and defeated. Phase 3 I am very crushing ... even in difficult situations! - Goopy Le Grande, Final Phase Death Screen Hitpoints No. 372/504 Even after being crushed, Gooupi continues to battle like a tombstone. Serious danger - Goopy can attack only by sliding from left to right, stopping only for a moment to slam down on the player (s) in an attempt to crush them (it doesn't hurt the player when sliding left and right). Goopy usually goes to players 2-3 times before going on a helmet. In expert mode, his tombstone slides faster, slams down faster, and is usually less predictable, sometimes slamming after just one pass. The only way to hurt him is by shooting his face on a tombstone, which can be a pretty hectic experience as players both have to shoot him and try to avoid being crushed by it. After taking enough damage, Goopy is defeated and his tombstone breaks in half as the picture of his face gets X eyes representing death. Inspiration Goopy Le Grande design tribute to Slime, common enemy and mascot Dragon quest, and cartoons such as Ub Iwer's Balloon Land. Goopy eating jelly to grow more is a secret nod to the boy and his blob. The background seems to resemble those in Disney movies such as Snow White and the Seven Dwarfs and Bambi. The way Goopy lunges in the form of a boxing glove in the first phase resembles an attack made by Blob from ClayFighter. His Grave Danger attack during his tombstone phase may be a reference to The Enemy Whomp in the Super Mario franchise. Some of Goopy's miki in its 1st and 2nd phases resemble the Brom Bones of the ComiColor Cartoon Unfit Riders. In addition, his facial expression on his tombstone resembles those of the many animated tombstones in Swing You Sinners!, a 1930 Fleischer Studios cartoon that is referenced many times throughout the game. His theme has a motif from Punch-Out!! soundtrack, particularly from Little Mac Down. There's also a link to the game in concept art. Recommended Weapon Phase 1: Chaser or Roundabout Phase 2: Same as Phase 1 Phase 3: Spread, Chaser, or Roundabout Trivia It's basically a tutorial to make players familiar with dashing and diving features. His name, Goopy Le means Goopy Great in Italian. Le Grande is also a pun on El Grande (Spanish for Big) and Le Grand (French for Big). The first trailer since late 2013 had two Goopy Le Grandes. This has been changed to the final product due to difficulties. Early drafts for the fight was a phase in which Goopy would duplicate himself by requiring players to dodge them both as they hopped around. Unlike most bosses, Goopy Le Grande does not appear at a good end with all the other debtors, leading to the assumption that he was actually killed. He is also the second boss who does not appear in a good final, with the first of them Root Pack, third Wally Worbles, and fourth robot Dr. Cal. However, Wally Warbles and Goopy Le Grande have been confirmed by designer Jake Clarke still alive. It can also probably be hidden by big characters. (For example: Captain Brinibeard may be in front of Goopy Le Grande, thus completely hiding Goopy.) Goopy Le Grande is the only boss in the game to never use any missile attack or henchmen to help him. However, it will initially have 2 small henchmen in the third stage. These small versions of Goopy were later reused in Forest Stupidity. Goopy originally had the Honeycomb Herald as his battle theme rather than Ruse Ooze. The background used to battle Goopy in the demo was changed to a whole new background when the full game was released. During the transition of the second stage, the tombstone is not animated until it lands and squishes Goopy. Goopy's old death phrase was: You've been slimmed down! I think you should try. His regular and expert mode of knockout animation seems to be a pun on the acronym commonly found on tombstones (including his own), R.I.P., which favors the Latin phrase Requiescat's pace or Rest of the World in English, knockout animation takes the acronym literally and the stone is actually ripping in half. In the early beta, in his intro, Goopy Le Grande will be surprised when he makes eye contact with Cuphead and Mugman. It's strikingly similar to Sally Stageplay's 2nd phase intro, in which Sally appears surprised by her hands on her face making eye contact with Cuphead. They both even have lines that point the direction in which they are looking in. He was scrapped in the final version, now that he has been defeated in this form, he cuts in stunned animation immediately. In the unused game code, the final stage of Goopy has henchmen who will run around to disturb the player (s), they are the same faces existed in Forest Stupidity, and they will respawn every 3.4 They still blink red when struck so so likely removed after the E3 2016 demo. In Expert mode, they will respawn every 3 seconds. Hitpoints No. 3.9 There is an error when those are in a twist around animation and kill during animation, they will get stuck and the hitbox is removed. According to early sketches shown in the interview, Goopy Le Grande was originally called the Great Slim. At the beginning of the concept of the game, Goopy would've struggled after the player came out through the textbook door. According to our knowledge, Goopy had 3 backgrounds: The first was a flat plain with a dirt road. The second was similar to the real background, except for the clear space on the right side with the lock. The third is a real background with soil and trees with a small stream.
Recommended publications
  • Download Cuphead -Free Cuphead Cursor
    download cuphead -free Cuphead Cursor. You still do not have a Custom Cursor for Chrome extension? Install it from official Chrome Web Store. You still do not have a Custom Cursor for Edge addon? Install it from official Microsoft Edge Addons site. You still do not have a Custom Cursor for Opera addon? Install it from official Opera addons site. You still do not have a Custom Cursor for Yandex addon? Install it from official Opera addons for Yandex site. You still do not have a Custom Cursor for Firefox addon? Install it from official Firefox Browser Add-ons site. You still do not have a Custom Cursor? 2017 - 2021, Blife Team. Content provided on this website is FanArt. All product names, logos, characters, brands, trademarks and registered trademarks are property of their respective owners and unrelated to Custom Cursor. Where to get: Cuphead Download. Cuphead is a fun game where you will possibly have a love and hate cycle of the game. It’s one of the best run and gun titles that came out in recent years. Here is where you can download it for all the platforms it’s available at the moment. For the time being, Cuphead is available on PC, macOS, PlayStation, Xbox, and Nintendo Switch. In this article, we will show where to download Cuphead, provide a brief overview of the compatibility with the platform, and tell you our take on where it’s played the best. Cuphead for PC – Windows. Cuphead was first released on PC along with Xbox One and Xbox Play Anywhere on September 29, 2017.
    [Show full text]
  • NG18 Program (Screen)
    PROGRAM 2018 PROGRAM#nordicgame 2017 #nordicgame Welcome to Nordic Game 2018 It’s a great pleasure to welcome you to this fifteenth edition of Nordic Game, the only conference in the world with a dedicated focus on the entire Nordic games industry. Over the years we’ve evolved from a humble regional conference into a truly global industry event, as our vision of a strong, united games community and the values so many of us share - openness, innovation and diversity - have resonated with games industry professionals around the world, and they have been welcomed into our extended family. Of course, we continue to proudly celebrate the sheer quality and variety of games developed in the Nordic countries, and this year’s Nordic Game Awards (Thursday, 24 May from 18:00 in the Unreal Theatre) once again reflects the imagination and vitality of developers from the region we call home. However, our rapidly changing, interconnected industry doesn’t allow us to rest on our laurels, and our opening keynote (Wednesday, 23 May at 11:00 in the Unreal Theatre) brings together a panel of leaders from some of our most prominent Nordic studios to explore key challenges and opportunities for game developers moving forward. True to the many values we share with our extended global family, we’re also introducing a string of talks - the Impact sessions - that delve beyond the albeit important business and technical aspects of game development, to encourage all of us to think more deeply about the real impact of the games we create - and how we create them - on our world.
    [Show full text]
  • The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism
    The Shape of Games to Come: Critical Digital Storytelling in the Era of Communicative Capitalism by Sarah E. Thorne A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Mediations Carleton University Ottawa, Ontario © 2018, Sarah E. Thorne Abstract The past decade has seen an increase in the availability of user-friendly game development software, the result of which has been the emergence of a genre of reflexive and experimental games. Pippin Barr, La Molleindustria’s Paolo Pedercini, and Davey Wreden are exemplary in their thoughtful engagement with an ever-expanding list of subjects, including analyses and critiques of game development, popular culture, and capitalism. These works demonstrate the power of games as a site for critical media theory. This potential, however, is hindered by the player-centric trends in the game industry that limit the creative freedom of developers whose work is their livelihood. In the era of communicative capitalism, Jodi Dean argues that the commodification of communication has suspended narrative in favour of the circulation of fragmented and digestible opinions, which not only facilitates the distribution and consumption of communication, but also safeguards communicative capitalism against critique. Ultimately, the very same impulse that drives communicative capitalism is responsible for the player-centric trends that some developers view as an obstacle to their art. Critical game studies has traditionally fallen into two categories: those that emphasize the player as the locus of critique, such as McKenzie Wark’s trifler or Mary Flanagan’s critical play, and those that emphasize design, as in Alexander Galloway’s countergaming, Ian Bogost’s procedural rhetoric, and Gonzalo Frasca’s theory of simulation.
    [Show full text]
  • Articles in This Issue Special Points of Interest
    The Squawk 1 The Squawk Halloween Edition Volume 1, Issue 5 Tuesday October 24, 2017 Shumate Middle School The History of Halloween said that he’s going trick-or- By: Meri Potomi treating with his friends be- Articles in this Issue cause he’s family is too Free candy, yes, please, slow.6th grade Christian Page 2: October Weather, that sounds good to me Donicis said, yes to and Halloweekend, Huanted don’t mind if I do .What he’s going with a friend be- Houses people call Halloween and cause hi has a little brother that happened every single and his little brother is Page 3:New restaurant, year in October. From slow .At what age should PSAT, Population clowns, vampires, princess- people stop trick-or-treating Page 4: Volleyball Last es, and free candy you and what do you think that? name it and it Halloween. 8th grade Brealyn Proud- Game, Cross Country Fi- Halloween originated in lock think at age 14 be- nals, football scores (United Kingdom, Northern cause you are mature. 6th Page 5: Cuphead, Room- France, and Ireland) it and 8th grader Harry Elmazaj and Sydney Murphy ba, New game came from the Celtic festi- val Samhain, many kids un- said at age 17,18 because Page 6: Student Spotlights der age 10 think that you are an adult at that dressing up as a scary un- point.6th,7th,and 8th grade realistic character is Hallow- Social Study teacher said at een they think that it cele- age 16 because you have Special Points of Interest bration October 31 but over better thing to do.In conclu- 2,000 years ago many peo- sion be safe.
    [Show full text]
  • Videogames and Isolation the Galapagos Effect on the Videogame Market
    Single Cycle Degree programme in Lingue culture e società dell’Asia e dell’Africa mediterranea (LICAAM) ordinamento ex DM 270/2004 Final Thesis Videogames and isolation The Galapagos effect on the videogame market Supervisor Ch. Prof. Patrick Heinrich Assistant supervisor Ch. Prof. Pierantonio Zanotti Graduand Luca D’Angelo Matriculation Number 855677 Academic Year 2017 / 2018 Index Index..................................................................................................................................................... 3 要旨 ...................................................................................................................................................... 4 Introduction .......................................................................................................................................... 6 CHAPTER 1: The world of gaming..................................................................................................... 8 1.1 Origin ......................................................................................................................................... 8 1.2 Golden Age of West and East ................................................................................................... 11 1.3 Old “console wars” ................................................................................................................. 17 1.4 The 1990s ................................................................................................................................. 20
    [Show full text]
  • A Practical Guide to Marketing Your Indie Game
    GET READY GET NOTICED GET BIG A Practical Guide to Marketing Your Indie Game Patrick DeFreitas and Garret Romaine CONTENTS Preface viii Chapter 1: Overview of Indie Game Marketing 1 Why Marketing Matters 4 The Right Time is Now 6 How to Start Getting Noticed 6 Where to Start: Irresistible Promotional Materials 9 Trailer Video 9 Screenshots 10 Press Releases 11 Fact Sheets 11 Landing Page 11 Start a Developer’s Blog 12 Reach Out to the Press 13 Following Up 14 Convert Visitors into Active Fans 14 Maintain Your Marketing Momentum 15 Common Mistakes and Pitfalls to Avoid 16 What Makes You Unique? 17 Demographics 18 Personas: Mythical Prototypes 21 Competitive Analysis 23 Strategy and Goals 25 Marketing Goals 27 Lead Generation 28 Creating a Brand 30 Working Without Deep Pockets 31 ii | A Practical Guide to Marketing Your Indie Game Cost-Benefit Analysis 32 Metrics: In Data We Trust 33 Analytics 35 Marketing Channels 37 Shows and Events 37 Jams and Meet-ups 38 Closed Alpha Exposure 39 Contests 39 Don’t Tweet That 40 Pricing and Monetization Strategies 40 PR and Self-Promotion 42 Get Ready 44 Chapter 2: The Four Ps of Marketing for Indie Game Developers 45 The Four Ps Marketing Framework 46 Using the Four Ps 47 Mutually Dependent Variables 48 Yes, Your Game is a Product 48 Price 51 Setting the Right Price 53 Discounting Dos and Don’ts 54 Free to Play 55 Promotion 55 Assets 56 Ongoing Activities 57 Events 57 What About Advertising 58 Relationship-Based Promotion 58 Partner with Established Brands 59 Public Relations (PR)—Should You Hire a Pro,
    [Show full text]
  • Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture By
    Independent Video Games and the Games ‘Indiestry’ Spectrum: Dissecting the Online Discourse of Independent Game Developers in Industry Culture by Robin Lillian Haislett, B.S., M.A. A Dissertation In Media and Communication Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Robert Moses Peaslee Chair of Committee Dr. Todd Chambers Dr. Megan Condis Dr. Wyatt Philips Mark Sheridan Dean of the Graduate School December, 2019 Copyright 2019, Robin Lillian Haislett Texas Tech University, Robin Lillian Haislett, December 2019 ACKNOWLEDGMENTS This is the result of the supremely knowledgeable Dr. Robert Moses Peaslee who took me to Fantastic Fest Arcade in 2012 as part of a fandom and fan production class during my doctoral work. This is where I met many of the independent game designers I’ve come to know and respect while feeling this renewed sense of vigor about my academic studies. I came alive when I discovered this area of study and I still have that spark every time I talk about it to others or read someone else’s inquiry into independent game development. For this, I thank Dr. Peaslee for being the catalyst in finding a home for my passions. More pertinent to the pages that follow, Dr. Peaslee also carefully combed through each malformed draft I sent his way, narrowed my range of topics, encouraged me to keep my sense of progress and challenged me to overcome challenges I had not previously faced. I feel honored to have worked with him on this as well as previous projects.
    [Show full text]
  • Canadian Hybrid Tournament 2017 Packet H.Txt- Written by Tossups
    Canadian Hybrid Tournament 2017 Packet H.txt- Written by Tossups 1. This is the only FIFA World Cup in history where all four countries of the United Kingdom have ​ qualified. At this World Cup, Anatoli Ilyin scored the game winning goal to clinch a playoff spot in the Soviet Union’s first World Cup appearance. This World Cup saw a weakened English squad because of the Munich Air Disaster of the same year. France defeated West Germany (*) 6-3 in the third-place playoff ​ at this World Cup on a four-goal performance from their leading scorer. In this World Cup, a tournament history high 13 goals were scored by France’s Just Fontaine, and 6 goals, all in the playoffs, were scored by a 17-year old Pele. For 10 points, name this FIFA World Cup where hosts Sweden lost the final to give the first title to Brazil. ANSWER: 1958 FIFA World Cup ​ ​ 2. This leader quelled an uprising of 50,000 Black African soldiers after the execution of Mu’Tamin. This ​ leader who won the battle of Jacob’s Ford surrounded their tent with chalk to reveal the footsteps of assassins. Balian of Ibelin surrendered a city to this leader’s forces and paid this leader 30,000 dinars. This leader was handed a crushing defeat by (*) Baldwin IV at the battle of Montgisard, but later captured ​ Guy de Lusignan near an extinct volcano. This leader called off a siege at Tyre, and also signed the Treaty of Ramla which allowed pilgrimages in their land. This victor of a battle at the Horns of Hattin lost against the forces of Richard the Lionheart at Arsuf, and conquered the Kingdom of Jerusalem.
    [Show full text]
  • Gamer Speak: Analyzing Masculine Speech in Gaming Culture
    Gamer Speak: Analyzing Masculine Speech in Gaming Culture Adrianna L. Chandler Linguistics Faculty Mentor: Dr. Lynn Burley The video gaming community is often stigmatized as having characteristics of toxic masculinity, such as misogyny, homophobia and a tendency for violent behavior. While it has been well documented that the video gaming community is dominated by male gamers, and that there are many instances of toxicity within the community, does this mean that the speech of the community is overwhelmingly masculine, in the stereotypically hegemonic sense? If not, what kind of masculinity, or femininity, is the typical gamer more likely to perform in their speech? And is there evidence of this speech actively working to reinforce the characteristics of toxic masculinity within the community? The purpose of this paper is to answer these questions, through reviewing previously researched academic articles, and through discourse analysis of three random online discussion boards, analyzing the use of masculine speech features within each discussion. The research portion seeks to identify what aspects of speech qualify as masculine, give context of gamer culture as well as insight into the online gaming community, and identify the role masculinity plays within modern gamer culture. The analysis portion analyses randomly CLA Journal 7 (2019) pp. 11-34 12 selected discussion boards from the gaming community, sharing opinions on video game topics on games such as the Kingdom Hearts franchise, Red Dead Redemption 2 and Cuphead. Through using discourse analysis, excerpts from these discussions are analyzed for any of the aspects of masculinity found within the research section. Lastly, the findings from the analysis are summarized and concluded, and all the questions put forth are answered.
    [Show full text]
  • 'N' Andy: the Colour Blind Ideology in Video Game Voice Acting
    Document generated on 09/30/2021 2:10 p.m. Loading The Journal of the Canadian Game Studies Association Avatar 'n' Andy The Colour Blind Ideology in Video Game Voice Acting Philip Miletic Volume 13, Number 21, Summer 2020 Article abstract Despite recent criticisms that call out blackface in video game voice acting, the URI: https://id.erudit.org/iderudit/1071450ar term “blackface” was and still is seldomly used to describe the act of casting DOI: https://doi.org/10.7202/1071450ar white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding See table of contents the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Publisher(s) Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national Canadian Game Studies Association standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors. ISSN 1923-2691 (digital) Explore this journal Cite this article Miletic, P. (2020). Avatar 'n' Andy: The Colour Blind Ideology in Video Game Voice Acting. Loading, 13(21), 34–54. https://doi.org/10.7202/1071450ar Copyright, 2020 Philip Miletic This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • Understanding Boss Battles: a Case Study of Cuphead
    Understanding Boss Battles: A Case Study of Cuphead Andrew Wood and Adam Summerville California State Polytechnic University [email protected] and [email protected] Abstract design, music, animations, attack sets, and challenges. This array of bosses presents a perfect setup for analyzing and “Bosses” – powerful, difficult enemies – have been a directly comparing boss battles. part of video games for the majority of their existence. Despite their integral role in many games, they have While each boss is unique, they share many features – rarely been the focus of study. Cuphead is a run-and-gun similar attacks, patterns, platforming challenges, etc. This style 2D action game with a large pool of boss battles, work is focused on determining which of these factors making it an ideal game for comparing and contrast- makes a 2D action shoot-em-up boss battle enjoyable. To ing bosses, to determine what makes a compelling (or do this we: frustrating) boss battle. In this case study, we developed an ontology of ‘shoot-em-up’-genre attacks and bosses. 1. Develop an ontology for SHMUP attacks and bosses With this system for codifying a boss battle, we clus- 2. Cluster SHMUP attacks to find similarities across differ- ter the attacks using a Gaussian Mixture Model – which ent attacks are then used to represent a boss as a “bag-of-attacks”. We then use multinomial regression to predict the player 3. Perform a regression to determine which attacks and boss experience of a boss given the parameterized boss. features are engaging and which are frustrating While bosses have been the focus of some other work Keywords – we are the first to try to perform a “static analysis” (i.e.
    [Show full text]
  • The Roles, Mechanics, and Evolution of Boss Battles in Video Games" (2018)
    Long Island University Digital Commons @ LIU Undergraduate Honors College Theses 2016- LIU Post 2018 The Roles, Mechanics, and Evolution of Boss Battles in ideoV Games Theodore Agriogianis Long Island University, [email protected] Follow this and additional works at: https://digitalcommons.liu.edu/post_honors_theses Recommended Citation Agriogianis, Theodore, "The Roles, Mechanics, and Evolution of Boss Battles in Video Games" (2018). Undergraduate Honors College Theses 2016-. 45. https://digitalcommons.liu.edu/post_honors_theses/45 This Thesis is brought to you for free and open access by the LIU Post at Digital Commons @ LIU. It has been accepted for inclusion in Undergraduate Honors College Theses 2016- by an authorized administrator of Digital Commons @ LIU. For more information, please contact [email protected]. The Roles, Mechanics, and Evolution of Boss Battles in Video Games An Honors College Thesis by Theodore Agriogianis Fall 2018 Digital Game Design and Development ______________________________ Faculty Advisor: Ramiro Corbetta ______________________________ Reader: Andrew Wallace ______________________________ Abstract The main focus of my thesis is boss battles, unique enemies in video games that are normally tougher than normal enemies. I explore their place in the gaming industry in order to formulate an idea of how the concept came to be, how they are created, how the concept has evolved, and how I can implement them into my future games. I’ve separated my thesis into five chapters, barring the introduction and conclusion. The first is a timeline of boss battles that have influenced the video game market and introduced new concepts. This chapter encapsulates the first boss ever in 1975 up to the late ‘90s and early 2000s.
    [Show full text]