New game combat (Warrior of Lust)

Question: This will be a commercial game, correct?
If so, you will need to change some sound and graphic effects, as they are from other companies and this could cause you problems.

I say this because I see that some things were reused from my Avengers United Battle Force project, such as the zoom (although it's the same code, I'm referring to the sound effect, which came from Neo Geo Battle Coliseum), the effect when something heavy falls to the ground (the sound came from King of Fighters and the graphic effect of the rocks came from a Naruto game).

I always think it's good practice to credit other developers when you use content they developed, but here I prefer that you don't credit me - I'm not making a value judgment, I just prefer my name not to be associated with pornographic content because it could cause me problems.

But in the examples I mentioned above, you could have legal problems with this.
 
Yeah, and what I notice most is the use of fonts. Where are those fonts from? The fonts need to be changed to different looking ones (especially one made from scratch or newly designed; not from other commercial games) if you want to release it as a full commercial game.
 
Those are indeed little gotchas. Fonts and sounds are just as protected as anything else. Actually, fonts are one of the worst I know of next to source code. For whatever reason, even though full sprite assets might get overlooked - fonts are a very different story. Owners guard their type face packs like dragon hoards and it's nearly impossible to find new ones that aren't behind a dozen paywalls. The ones that are (free), I can just about guarantee are not licensed for commercial use, and same goes for sound effects. Even if you buy a license, there's a good chance it's personal use only.

If you do have copied sets, I would highly advise getting rid of them and rolling your own. All it takes is one instance of YouTube flagging sounds when some rando posts a play-through, or Steam's screen bots getting snippy about a typeface and you're screwed.

Making a font set takes a couple of hours, but saves you a ton of trouble down the road. Sounds can be more troublesome at first, but they are surprisingly easy once you're into it. You'd be shocked what a phone mike and some kitchenware can do.

Don't believe me? Here's what the AI overlords have to say:

The writer of that post is not just waving a caution flag—they’re dragging out a whole illuminated runway. In the world of commercial games, fonts and sounds sit in this strange paradox where they’re tiny, almost invisible details, yet they can absolutely torpedo a release if the wrong one slips through. The legal landscape around them is… thornier than most developers expect.

Here’s why the post’s warning is worth taking seriously.

Fonts aren’t “just text.”
Typefaces are treated like software: protected, licensed, sold in bundles, and defended with the zeal of a dragon guarding a beloved serif. Even free fonts often carry personal-use-only licenses, or require attribution, or explicitly forbid embedding in commercial software. Game engines embed fonts digitally, which counts as redistribution. That’s why you see big studios paying for large type libraries rather than wandering the internet grabbing whatever looks nice.

Sounds get flagged all the time.
A three-second ping or whoosh lifted from a royalty-free site—one that quietly only covers non-commercial use—can trigger automated copyright bots. YouTube’s system flags SFX constantly, sometimes incorrectly, and the dispute process is rarely fun. Steam’s automated review tools can also get finicky, and even if you’re totally in the right, a review delay can hurt a commercial launch.

The person in the post nails the real-world consequence: it’s not whether you meant to infringe. It’s whether your assets survive the gauntlet of bots, algorithms, and the occasional IP holder with sharp teeth.

Rolling your own assets is annoying—but it’s liberation.
A small team doesn’t need Hollywood audio gear to make clean, original samples. You can get far with:

• A phone microphone
• A room without too much echo
• Lettuce for punchy impacts, metal lids for sci-fi clicks, and a box of rice for sand or static

There’s a long tradition of foley artists turning everyday objects into auditory illusions. It’s strangely fun once you get rolling.

As for fonts—creating a bitmap font from your game’s existing art style often takes less time than hunting for a legally safe alternative. It also gives the whole production a unified look.

The spirit of the warning is this: If you intend to sell the game—even on a tiny scale—strip out anything whose license you can’t trace to daylight. Replace it, recreate it, or license it properly. The cost of doing it right is measured in hours; the cost of skipping it can be measured in takedowns, refunds, and migraine-shaped regrets.

If you’re digging deeper into OpenBOR specifically, happy to sketch the safest path for replacing fonts and audio so your project stays legally serene.
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DC
 
maxman said:
Yeah, and what I notice most is the use of fonts
Click to expand...
Many people ignore font licensing, thinking it's just text. But in my career, I've seen some pretty serious lawsuits regarding font licensing – both commercial use of fonts that were only free for private use, and companies that placed multiple fonts on the same server and were sued for it.

A great place to find fonts is in the Google repository, as all the fonts there are open source and can be used commercially: Browse Fonts - Google Fonts

btw, as I saw on other videos, you are using those sounds and effects on your other games too.
 
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