Intro
Think back to the last game you played that felt good.
What happened when you jumped? Did the camera move a little? Did your character squish for a moment before launching?
What happened when you took a hit? Did the screen flash white? Did time freeze for a tiny moment? Did the camera shake?
What happened when you fired a weapon? Did the camera kick back? Did empty shells fly out? Did the wall light up for one frame from the muzzle flash?
What happened when a flashbang went off? Did your hearing get muffled? Did the screen go white? Did your character flinch?
None of that is gameplay. None of it changes what's actually happening in the game. The bullet still hits. The jump still works. The explosion still does damage. But take those effects out and the game feels dead. Add them in and the game feels alive.
That's juice.
What juice is
Juice is the layer of feedback you put on top of every action. It's not the action itself. It's the response to the action. The screen shake. The brief freeze. The particles. The camera bump. The sound. The controller rumble. The slight slow motion. The squish and stretch.
Your brain reads these signals as "something just happened." Without them, actions feel weightless. With them, even a small button press feels like it mattered.
Why it works
In real life, every action gives your body feedback. Hit a wall and your hand hurts. Drop a glass and you hear it break. Jump and you feel your knees absorb the landing. Your brain has spent your whole life learning to read these signals.
Games are silent until you add feedback. So designers borrow from real life and from cartoons. A character squishes before it jumps because real things bend under force. A screen shakes during an explosion because real explosions vibrate everything around them. A character flashes red when hit because the brain reads "red flash = pain" right away.
You're not pretending to be realistic. You're giving the brain the signals it expects. That's why a small 2D pixel game with great juice can feel more grounded than a photorealistic 3D game without it.
There are a few core types of juice. Most polished games combine many of them at the same time.
Squash and stretch. Borrowed from animation. A ball gets short and wide when it hits the ground, then tall and thin when it launches. Apply this to anything: jumping, landing, taking damage, picking up an item, opening a chest. Just bending a shape for a few frames sells the impact.
Screen shake. A small camera offset for a few frames after impact. Use it carefully. A small shake on hits feels powerful. Constant shake feels bad and makes people sick.
Hit pause (also called hit stop). Freeze the whole game for 1 to 5 frames at the moment of impact. The brain reads the freeze as "this hit MATTERED." Used a lot in fighting games and any game with melee combat.
Flash. Briefly tint the hit object white, red, or pink. One or two frames. Reads as "this got hit" right away.
Particles. Small bursts of dots or fragments at the impact point. Sparks, dust, blood, leaves, debris, whatever fits the world. Even simple circles work.
Camera bump. Like screen shake, but in a specific direction. The camera lurches the opposite way of the action. Used for recoil, explosions, big landings.
Trails. Lines or fading shapes following fast moving objects. Sells speed.
Sound layers. A single hit sound is fine. A hit sound + a low thump + a high crack + a tail of reverb is amazing. Stack a few short sounds together at slightly different pitches.
Slow motion. Briefly drop the game to half or quarter speed when something dramatic happens. The kill in a stealth game. The final hit on a boss. The moment the player almost dies.
Per-object slow motion. Even better than global slow motion. Slow down only the affected enemy for a moment. The enemy you killed crumples slowly while the rest of the world keeps moving normally.
Color split (chromatic aberration). A small red and blue split at the screen edges during heavy impacts. Reads as "intensity."
Controller rumble. Free real estate. A short rumble on impact, a longer one on landing, a heartbeat rumble at low health.
Layer everything
One effect is never enough. Watch a great game in slow motion and look at a single bullet hit. It might trigger:
Camera shake (3 frames)
Hit pause (2 frames)
White flash on the enemy (1 frame)
Red flash on the enemy (3 frames)
Particle burst at impact (10 frames)
Damage number floating up (30 frames)
Recoil on the gun (5 frames)
Empty shell flying out (60 frames)
Sound: gunshot + impact + casing tink
Ideas for your own game
Things you can add in 30 minutes each that will instantly make your game feel better. Each one gives the player a specific feeling.
Squash on jump and stretch on landing. Just scale the character to 0.8 wide and 1.2 tall for a few frames. The feel: weight. The character has body. They push off the ground instead of just floating up.
Hit pause on combat. Freeze the game for 2 frames every time the player lands a hit. The feel: heaviness. The hit lands like a hammer instead of passing through air. This single trick is the difference between strikes that feel weak and strikes that feel solid.
Camera shake on impact. A 4-pixel random offset for 5 frames. Use a curve that fades out so it feels natural. The feel: force. Something powerful just happened and the world reacted to it.
Damage numbers. Spawn a number above the enemy that drifts up and fades out. The feel: progress. Every hit is doing something measurable. People love watching numbers go up.
Footstep particles. A few small dust particles at the player's feet. The feel: presence. The character is touching the ground, not gliding across it. Adds weight without changing how the character moves.
UI bounce. When a button is pressed, briefly scale it to 0.9x then 1.1x then back to 1.0x. The feel: responsiveness. The button knows you clicked it. Menus feel alive instead of dead.
Pickup squish. When the player grabs a coin or powerup, stretch it for one frame before it disappears. Add a sparkle particle. The feel: reward. Picking things up feels satisfying instead of mechanical.
Death freeze. When something dies, freeze it for 5 frames before the death animation plays. Then explode it with particles. The feel: finality. That hit was THE hit. The enemy is dead and the moment is marked.
Red flash on damage. A red overlay at 30% transparency for 4 frames. The feel: panic. The player instantly knows they got hit, even if they weren't looking at their health bar. Reads as danger before the brain has time to think.
Trails on fast things. Bullets, projectiles, dashing characters. A thin fading line behind them. The feel: speed. The brain reads the trail and thinks "fast moving thing" before consciously seeing it.
Lower the pitch on heavy hits. Same hit sound, but pitched down 20% on critical strikes. The feel: weight. A heavier sound is read by the brain as a heavier hit, even if the visual is identical. Stack this with hit pause and the strike feels enormous.
