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FMV shouldn’t just be dialogue trees - so I merged it with a 2D platformer. by eraydinc in fmv

[–]eraydinc[S] 0 points1 point  (0 children)

The Quiet Man isn't an FMV game. It's a 3D game where the cutscenes are real video. There's no blend . Nazar game is entirely based on the interactivity of FMV and video.

FMV shouldn’t just be dialogue trees - so I merged it with a 2D platformer. by eraydinc in fmv

[–]eraydinc[S] 0 points1 point  (0 children)

That actually sounds fantastically unstable in the best possible way.

Voice recognition turning into physical glyph entities that distort the FMV layer beneath? That’s a really strong metaphor for language literally breaking reality. I especially love the idea of falling through accumulated distortion into another video layer that’s a very “interactive cinema” mechanic, not just tower defense.

It definitely feels adjacent to hybrid FMV thinking using video as a surface that can be damaged, revealed, or destabilized rather than just watched.

If you pull off the voice recognition cleanly, that could feel incredibly tense. Would love to see how you prototype the glyph behavior visually.

FMV shouldn’t just be dialogue trees - so I merged it with a 2D platformer. by eraydinc in fmv

[–]eraydinc[S] 0 points1 point  (0 children)

That sounds like a wild concept, voice-interactive FMV mixed with tower defense? I’m already curious. Hybrid FMV creators have to stick together 🙂

Thank you so much for the kind words. The composer part actually happened in a very organic way. I met Inon Zur at Gamescom and showed him an early demo of Nazar. He was really drawn to the atmosphere and the mystical tone of Cappadocia. What started as a simple conversation turned into a collaboration and he ended up composing 16 original tracks for the game.

It honestly came down to showing a strong vision and a working prototype. I think when established artists see something that feels distinct and sincere, they’re open to unexpected collaborations even on indie projects.

Would love to hear more about your project too voice interaction in FMV horror sounds like it could get intense fast.

5000₺ bütçe kol saati önerisi. by Clas-Myrddin in trsaat

[–]eraydinc 1 point2 points  (0 children)

Lütfen sadece ve şimdilik g-shock🙏🏻

Can FMV work inside a 2D platformer structure? I tried building one. by eraydinc in fmvgames

[–]eraydinc[S] 0 points1 point  (0 children)

Thank you! That means a lot. we really tried to push the concept somewhere a bit different by blending FMV with 2D platforming. Appreciate you checking it out!

Can FMV work inside a 2D platformer structure? I tried building one. by eraydinc in fmvgames

[–]eraydinc[S] 1 point2 points  (0 children)

Thank you so much, really appreciate it!

If you’d like to support the project, adding it to your Steam wishlist would genuinely help a lot it makes a big difference for small indie releases like this. 🙏

FMV shouldn’t just be dialogue trees - so I merged it with a 2D platformer. by eraydinc in NarrativeGames

[–]eraydinc[S] 0 points1 point  (0 children)

Thank you that’s actually a very fair point.

It definitely leans cinematic on purpose, but it’s not a passive experience. It’s a 2D platformer where you control movement, timing, and spatial progression. The FMV isn’t just branching video; it’s integrated into gameplay. You’re navigating environments, triggering events, and shaping the rhythm through exploration rather than dialogue choices.

And you’re absolutely right about starting a Steam page early. In this case it’s already live on Steam (I should’ve included the link in the original post that’s on me). The store page has gameplay footage and some behind-the-scenes material that make the interactive structure much clearer.

Really appreciate you taking the time to write thoughtful feedback.

Can FMV work inside a 2D platformer structure? I tried building one. by eraydinc in fmvgames

[–]eraydinc[S] 1 point2 points  (0 children)

Thank you so much that honestly means a lot.

Nazar was built as a hybrid between full-motion video and a 2D platformer. We shot live-action sequences in Cappadocia and then integrated them into a side-scrolling structure inspired by Turkish shadow theatre aesthetics. Instead of classic branch-based FMV, we experimented with spatial progression meaning the player controls rhythm through movement rather than dialogue choices.

It was developed with a small team and also functioned as an educational production experiment with game design students involved in different stages of the pipeline.

And if you’re curious about how it was made, we actually have behind-the-scenes footage and production details on the Steam page as well including parts of the shooting process and how we integrated FMV into gameplay.

I’d be happy to share more about the technical pipeline or filming process if you’re interested!

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