In our bullet hell game, the boss battle is designed to be an intense and dynamic experience, where the boss feels intimidating and controlling, directly influencing the player's decisions and actions. We emphasize constant movement to create tension and pressure, with a focus on a satisfying build-up and release during the battle. Visually rewarding moments are key, with the boss battle evolving through phases that surprise and challenge the player, changing the environment and gameplay to keep the experience fresh and engaging.

Our game features a unique boss battle where Baaxal, the boss, is not just a static enemy but the world itself, manipulating the environment to keep players on edge. The battle unfolds across four phases, each represented by a different face of a rotating box, adding variety and challenge. Unlike traditional bullet hell games, ours uses a grid-based system, emphasizing timing and pathfinding over free movement for greater clarity and tension. The game also syncs animations, visual effects, and sound with the boss's emotional reactions, providing impactful and visually striking feedback to the player.

During the early stages of development, our controls were clunky, unresponsive, and didn’t align with our core gameplay pillars. To address this, we implemented two key systems: an input buffer and "Coyote Time" for our parry mechanic. These additions give players more leeway, reducing the chances of feeling frustrated or unfairly penalized. After introducing these systems, we noticed a significant decrease in player frustration during testing. Additionally, we incorporated a hit stop effect, slowing time when players successfully parry critical objects, enhancing the sense of satisfaction.

We’ve designed a variety of unique projectiles with varying levels of difficulty, which we introduce progressively throughout the game. For instance, we’ve structured our gameplay to align with the different sections of our music—verses and choruses. In the first verse, we introduce a single projectile, such as a boomerang that returns after reaching the edge of the grid. In the second verse, a new projectile is added. When the chorus hits, we combine these projectiles to challenge the player, and we repeat this process throughout the game. As the music reaches its climax, so does the intensity of the gameplay, with the most complex projectile patterns synchronized with the peak of the music.