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SLASH TIME in-game: the KILLCAM on a room's last cut
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Playable on the web

SLASH TIME

Bullet-time action roguelite

Time moves only when you move.

A top-down action game in an ink-print style. While you aren't dashing the world runs at 5% speed; drag out a line, let go, and every enemy and bullet on it is cut clean in two. Eight chapters and 80 rooms, with an ink dragon waiting in the last one.

Genre
Bullet-time action roguelite
Platform
Web browser, desktop and mobile
Status
Playable on the web
How to play
Play it in the browser
Built with
three.js, JavaScript, Vite, Web Audio, Blender

Gameplay

Time follows you

Standing still, the world runs at 5%; dashing, it runs at 100%. Idle for more than 2.2 seconds, though, and time creeps up towards 32% to force your hand.

One cut through the whole line

Drag to aim and let go to dash. Every enemy and bullet on the predicted line is sliced, and the pieces separate along the real cut; a line that only just misses snaps onto the target.

KILLCAM

The last cut in a room freezes, pushes in and plays in slow motion before a ROOM CLEAR ink stamp lands. All the impact is ink: brush strokes, splashes, enso circles and seals. Only ink flies, never blood.

Eight chapters, 80 rooms

Chapter one, the dojo, is a straight line; from chapter two the map branches and the door you dash through is the path you pick. Nineteen enemy types, eight bosses and 17 signature rooms, each with its own mechanism.

Tools and progression

Substitution, kunai, caltrops, smoke bombs and a grappling hook all trigger on their own, two at most per run; pick upgrades during a run, and spend coins in the shop and climb ink ranks DAN 1 to 5 between runs.

Screens

SLASH TIME in-game: the KILLCAM on a room's last cut
Room 1: the drag line runs through three gunners
Chapter five, the fog harbor: a bomber bursts into an ink flower
Room 40: the thunder god boss, ringed by four drums
Room 80: the ink dragon, final boss

Under the hood

The cuts are real: the pose being cut is baked into static geometry, each piece carries up to three clipping planes, and the shader paints ink grain on the cut face and moves its depth onto the plane, so cuts stay flat and overlapping parts never show through.

Characters, rooms and tools are Blender models; all sound and music is synthesized procedurally, with no audio files or external fonts. Even the busiest room stays under 150 draw calls on a phone.

Automated smoke tests drag a real triple kill and dash through the door into the next room, and the phone version runs the same steps by touch; the interface comes in 12 languages.

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Hold to stick. Let go to fly.