ConcernedApe's Haunted Chocolatier

Definitely worth a try, but I had to mod it a little bit to make the energy mechanics a bit more forgiving and to speed up the gameplay a bit - YMMV.

I've heard good things about Animal Crossing too although I've never played it.

Also, in comparison to AAA games from the biggest companies like EA (BF2042 Beta, hello) and Ubisoft, I KNOW that Eric will release a "ready to play" game, without massive bugs and missing content looming.

Animal Crossing is the granddaddy of cozy games, but the core loop didn't keep me engaged. More "arranging your house and island" than farming.

Cozy Grove is Animal Crossing with a far better narrative.

Graveyard Keeper, Littlewood, and My Time In Portia are closer to being "Stardew, but X". Your mileage may vary with each, but I enjoyed parts all of them.

Spiritfarer is my favorite of the lot. It plays differently enough with your hodgepodge boat-city of ghosts, but it feels the closest in spirit (rimshot) to Stardew. Bring a box of tissues.

My own game, Moondrop Mountain, is trying for a roguelike farming experience. It should be coming into Early Access early next year [2].

[1] https://www.pixelatedplaygrounds.com/sidequests/game-design-... [2] https://store.steampowered.com/app/1417750/Moondrop_Mountain...

Not SV-like in terms of gameplay but if you're looking for gorgeous feel-good pixelart games you'll find all that in Eastward.

Great game. AI went wonky when you reached ±100 serfs.

"Eric Barone had just graduated from the University of Washington Tacoma with a degree in computer science when he thought, Now’s my chance. He had decided that he wanted to make his own video games and that now, before he got comfortable in a salaried programming job, was his opportunity to do something about it. He already had his inspiration. He wanted his game to pay homage to Harvest Moon, a charming Japanese series of games in which the player must build a successful farm: grow crops, raise animals, explore the countryside, and form relationships with other villagers. “I loved that game,” he said about his childhood experience with the title. “But it could have been so much better.” He knew that if he didn’t follow through with his own vision, that improved version would never be a reality.

Developing a commercially successful video game isn’t easy. AAA game companies budget hundreds of millions of dollars and employ thousands of people on their top titles. The talent required is similarly broad. Game development requires programming, visual art, musical composition, story writing, game design, and dozens more skills, depending on the genre and style of game developed. The breadth of skills required makes game development much harder for smaller teams than other art forms such as music, writing, or visual arts. Even highly talented independent game developers generally have to collaborate with a few people to span all the skills required. Eric Barone, however, decided to work on his game entirely alone.

Deciding to work alone came from a personal commitment to his vision and an indefatigable self-confidence that he could finish the game. “I like to have complete control over my own vision,” he explained, saying that it might have been “impossible to find people who were on the same page” regarding the design. However, that choice meant that he would need to become proficient in game programming, music composition, pixel art, sound design, and story writing. More than just a game design project, Barone’s odyssey would entail mastering each aspect of game design itself.

Pixel art was Barone’s biggest weakness. This style of art harkens back to the earlier era of video games when rendering graphics was difficult to do on slow computers. Pixel art is not done with fluid lines or photorealistic textures. Instead, a compelling image must be created by placing pixels, the colored dots that make up computer graphics, one at a time—painstaking and difficult work. A pixel artist must convey movement, emotion, and life from a grid of colored squares. Barone liked to doodle and draw, but that didn’t prepare him for the difficulty. He had to learn this skill “completely from scratch.” Getting his art skills to a commercial level wasn’t easy. “I must have done most of the artwork three to five times over,” he said. “For the character portraits, I did those at least ten times.

Barone’s strategy was simple but effective. He practiced by working directly on the graphics he wanted to use in his game. He critiqued his own work and compared it to art he admired. “I tried to break it down scientifically,” he explained. “I would ask myself, ‘Why do I like this? Why don’t I like that?’” when looking at other artists’ work. He supplemented his own practice by reading about pixel art theory and finding tutorials that could fill gaps in his knowledge. When he encountered a difficulty in his art, he broke it down: “I asked, ‘What goal do I want to reach?’ and then ‘How might I get there?’” At some point in his work on the game, he felt his colors were too dull and boring. “I wanted the colors to pop,” he said. So he researched color theory and intensively studied other artists to see how they used colors to make things visually interesting.

Pixel art was just a single aspect Barone had to learn. He also composed all of the music for his game, redoing it from scratch more than once to make sure it met his high expectations. Whole sections of the game mechanics were developed and scrapped when they failed to meet his rigorous standards. This process of practicing directly and redoing things allowed him to get steadily better at all of the aspects of game design. Although it lengthened the time it took to complete the game, it also enabled his finished product to compete with games created by an army of specialized artists, programmers, and composers.

Throughout the five-year development process, Barone avoided seeking employment as a computer programmer. “I didn’t want to get involved in something substantial,” he said. “I wouldn’t have had the time, and I wanted to give game development my best shot.” Instead, he worked as a theater usher, earning minimum wage so that he wouldn’t get distracted. His meager earnings from his job, combined with support from his girlfriend, allowed Barone to get by as he focused on his passion.

That passion and dedication to mastery paid off. Barone released Stardew Valley in February 2016. The game quickly became a surprise hit, outselling many of the big-studio titles offered on the computer game platform Steam. Across multiple platforms, Barone estimates that within the first year of its release, Stardew Valley had sold well over 3 million copies. In months, he went from an unknown designer earning minimum wage to a millionaire named one of Forbes’ “30 Under 30” stars within game development. His dedication to mastering the skills involved played no small part in that success. Destructoid, in its review of Stardew Valley, described the artwork as “incredibly endearing and beautiful.”6 Barone’s commitment to his vision and aggressive self-education had paid off handsomely."

I'm not sure if he has moved on to Monogame (I assume he must have by now).

Plus, we don't know that the sounds/tileset aren't just placeholders to allow him to release the trailer's vertical slice! I appreciate that this is unlikely, but still! What we recognize as normal development practices don't necessarily apply to a studio of one.

Maybe you're focusing on the style too much, and not enough on other artistic elements. Which is understandable in the preview.

I personally enjoy Stardew Valley, and I am sure I will enjoy the Chocolatier. I think these are video games as an art form; not the ground breaking type which makes the critics drool over it, but something like a Bob Ross kitsch that you want to put into your home to make it cozier.