Tag Archives: Nintendo

Q&A With Orube Game Studio

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Pursuing a new upcoming video game experience currently under development, another two games that I have had my eye on for a long time is Super Mombo Quest and Dwarf Journey.  Both developed by Orube Game Studio based in Rio de Janeiro, Brazil, Super Mombo Quest, in development since 2018, is a colouful Metroidvania inspired by the like of Super Meat Boy heavy on combat that requires players to string together combos reminiscent of classic arcade fighting games, similar to Guacamelee or Dust: An Elysian Tail. Dwarf Journey, on the other hand, is an action-adventure Roguelite inspired by Norse mytholgoy and that incorporates heavy RPG elements, such as levelling up the player character and collecting materials in order to forge stronger equipment. With both games set for release in the early part of 2021, I was curious to find out more about these two great-looking games, I got in touch with Orube Studio and their founder Pedro Savino to pose a few questions about the games and what players can come to expect from the final builds. Here’s what Pedro Savino had to say about Super Mombo Quest and Dwarf Journey.

 

What were the influences behind your games?
Our biggest inspiration is to keep in mind that we can bring the playful spirit of games to any type of person, through simple, affordable, and super fun products. As ours are platform games, we have to mention our biggest influences: Super Mario World, Super Meat Boy, Celeste, and Kirby. All of these have incredible mechanics and game feel that were certainly inspiring for our games.

 

What has the developmental process been like?
It’s been great! We are a team of eight people who work remotely and we are all passionate about what we do. Always seeking to learn more and grow together.

 

How close are we to seeing the finished products?
Both games are almost ready to be released. Only a few artistic details are missing. We are already testing the final versions with people from our Discord server to make everything with the best experience possible.

 

What has been the most exciting aspect of developing both games?
The most exciting part is seeing the number of people that we are captivating with our games that haven’t even been released yet. There are people who have been accompanying us for a long time, giving feedback and supporting our work. It is very gratifying to receive this support.

 

What has been the most challenging aspect of developing both games?
The biggest challenge, I believe, is to manage everything so that all we’ve planned for comes out in the best way possible. The challenge in Super Mombo Quest, for example, is making this huge game a reality. The final version will have approximately two hundred and fifty levels. We are producing the biggest game ever made by the company!

 

How well have both games been received so far?
We were surprised by the number of people who were captivated by our games. At TikTok, for example, we were able to build a community of more than 30k people, and we brought over 1,5k to our Discord server. They are always supporting the development, giving feedback, and testing versions so that everything is fine.

 

What platforms are you looking to bring the games to?
We are looking to bring them to computers (at Steam), Mobiles (Android and iOS), and consoles (such as Nintendo Switch, Xbox, and PlayStation).

 

Have there been any ideas at this stage of development that have since been scrapped or reworked where both games are concerned?
Throughout the development process, there were things that didn’t work and that needed to be redone. In Super Mombo Quest, for example, we changed the main currency of the game and the mechanics related to it in the middle of development.

 

Has the studio been mindful of the influx of Metroidvania and rogue-lite titles within the indie scene in order to make this game stand out among the many others?

We produce games that we have had in mind for a long time. The character Mombo, for example, appeared in my graduation work. We developed and learned more about platformers, which today is one of our specialties. But we are always attentive to trends and trying to predict what will be best received by the public.

 

If you had the opportunity to develop a game with any company or any franchise, which would it be, and why?
Aiming high, I believe with Nintendo. It is a company with young spirited games that inspired me a lot and were part of my youth.

 

What’s next for Orube Game Studios following the release of Dwarf Journey and Super Mombo Quest?
We still don’t know for sure how the next project will be, but we intend it to be one of the big ones. You will have to follow us on social media to find out!

 

Are there any other genres of gaming that Orube Game Studios have thought of working on in the future?
We are planning to make a multiplayer RPG. There is nothing right yet, but it’s a wish that we have for the near future.

 

Do you have any advice for aspiring developers that may be reading this?
Currently, Super Mombo Quest has more than two hundred levels, which we consider to be a large scope. However, before producing it, we released several smaller games. The main tip for those who are starting is: make small and simple games. Understand the process and be very aware of how long it takes to produce a game. A game of scope or complexity greater than the team’s capacity can take a long time to produce, increasing its cost and reducing the chances of profit. Sometimes it even happens that the project is not launched because there is no budget to complete, or even that the producers give up on development.

 

Where on the Internet can people find you?
You can find us on Twitter, TikTok, Facebook, and Instagram @OrubeGameStudio! You can join our Discord server too. Here is our Linktree so you can find us everywhere https://linktr.ee/orubegamestudio.

 

Do you have anything else to add?
I think that for those who are looking to live from games, it’s important to know that it’s a very competitive market. Currently, it’s difficult to undertake in the area without having accumulated prior knowledge, much because of the lack of incentives in the sector in some countries. On the other hand, we have an industry under construction and with a lot of potential. More and more companies are consolidating and creating job opportunities for those looking to work in the environment. The game market is growing and will grow for many years to come. With intelligence, dedication, and a little creativity, it is possible to live from games!

 

I’d like to thank Pedro for taking the time out to answer what questions I have as well as providing a very unique insight into the competition that comes with taking the plunge into indie development. It has indeed become an extremely competitive market over the last few gaming generations, as I have witnessed firsthand, but both Super Mombo Quest and Dwarf Journey look to be strong competitors in the plethora of indie games in their genres and I wish them the best of luck with them both, and I hope you guys enjoyed learning more about these two potentially game-changing titles.

 

Game on,

Scouse Gamer 88

Sonic Adventure 2 (Dreamcast)

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Sonic Adventure 2

Developer(s) – Sonic Team USA

Publisher(s) – Sega

Director(s) – Takashi Lizuka

Producer(s) – Yuji Naka

PEGI – 7

Released to a generally favorable response from critics at the time, Sonic Adventure 2 delivered a much different Gameplay experience from the original Sonic Adventure with a more linear play progression, a side quest beloved by many Sonic fans. And the introduction of new characters such as Shadow the Hedgehog and Rouge the Bat. I did spend a great deal of time playing through this game multiple times when I was a kid. But going back into it with an entirely new perspective, I’ve come to the conclusion that I prefer the original game for a number of reasons. 

Graphics – 9/10

The main thing Sonic Adventure 2 improves on its predecessor, however, is the quality of the visuals on the technical level. Some cutscenes are even presented at 60 frames per second unlike the first. Which was presented entirely at 30 frames per second throughout. From a conceptual standpoint, it’s just as wonderfully varied as the first game was taking place in vibrant cities, deep jungles, space stations, and even pyramids. As far as graphics go, it was most definitely one of the best-looking games on the Dreamcast. 

Gameplay – 8/10

The gameplay is structured much differently than the original too. As opposed to having six different overlapping scenarios, there are two scenarios to play between the heroes of the game and the villains, with Sonic, Tails, and Knuckles making up the heroes. And Dr. Robotnik, Shadow the Hedgehog, and Rouge the Bat making up the villains.

The gameplay structure is far less open-ended than the original with merely two predetermined paths. With the added side quest of Chao raising, which is like raising a farm of Tamagotchis. Some players even think that the Chao raising is the best aspect of the game. But to me, in comparison to the first, it falls below par. The gameplay concept of the original game needed to be expanded in the right way. And the developers didn’t do that, making for a more than decent gameplay experience. But just not the experience it could’ve been. 

Controls – 7.5/10

The control scheme is as varied as in the original game, with both Tails and Robotnik in mobile robots this time around. Differing from how Tails handled it in the first game. But the problem. Being is that Sonic’s control scheme, along with Shadow’s, is the same as what is the first Sonic Adventure. And as such, it still presents the same problems. If anything, they actually seem more prevalent as there are fewer open locations than there were in the first game. So although there are positives in regards to the controls, there are enough negatives to keep it as lacking in fluency as the first game. 

Lifespan – 4/10

The biggest downgrade compared to the first game, however, is in regards to the Lifespan. The first game lasted an underwhelmingly short amount of time anyway at 8 hours. But the second game can only be made to last about half that time. Which for a game in a series as popular as Sonic is unacceptable. The point of a sequel is to build on the ideas perpetuated by the first in an attempt to create a better game. And having the second last less time than the first is not building on the first in a positive way. 

Storyline – 8/10

One aspect in which there have been improvements made, however, is in the story and the dialogue. The six characters involved are in the search for the seven chaos emeralds again. But this time, Dr. Robotnik enlists the help of Shadow The Hedgehog and Rouge the Bat to find the emeralds to activate a weapon capable of destroying planets to ensure his dominance over the world. Although there are serious Star Wars vibes, almost to the point of self-parody in fact, the element that makes this game’s story much more interesting than the last is Shadow. On the surface, he seems no better than the likes of Robotnik. But after slowly learning his back story, the player can come to empathize, or maybe even sympathize with him like I ended up doing. 

Originality – 5/10

The game stands out from the original but in many of the wrong ways. Although the overall experience isn’t bad by any means, it’s just not the game it could’ve been developed into in my opinion. And it left me wanting so much more than what is offered. It’s an exceptional example of how not to build on a successful game. Giving players a somewhat watered-down experience. In the end, I found myself asking a lot of what-if questions about this game. And to me, it’s always a bad sign when I find myself doing so. Because it’s a clear indication of the game falling short in comparison to what it could’ve been given a little more development time. 

Happii

However, as much as I have criticized this game, Sonic Adventure 2 is still an enjoyable gaming experience with a fair bit to offer for the short time it lasts. Although it’s nowhere near the quality of the game it had the potential to be, it just about does enough to be considered a worthwhile sequel. 

Score

42/60

7/10 (Fair)

Enter the Matrix (PC, PlayStation 2, GameCube & Xbox)

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Developer(s) – Shiny Entertainment 

Publisher(s) – Infogrames

Director(s) – The Wachowski Brothers

Designer(s) – David Perry

ELSPA – 15+

Set during the event of the second film The Matrix Reloaded and directed by the film’s original directors, Enter The Matrix was released to mixed critical reception. But performed very well commercially at the time. Personally, this is one of those games that to me is extremely enjoyable to play. Yet gamers and critics seem to hate it for unjustified reasons. A lot of critics at the time commented that both the game and the film were devalued as a result of the release of the game. But I disagree. I enjoyed the film and the game in equal measure and I still do.

Graphics – 9/10

On a technical level, the visuals were cutting the edge at the time. And they more than adequately hold up to this day in comparison with any other sixth-generation titles. There is an odd graphical glitch here and there to prevent it from receiving a perfect score for visuals. But they are few and far between. The best port of the game in terms of this would be the Xbox version. In terms of conceptual design, it’s exactly what people who have watched the films can expect. It’s dark and gritty. And takes place in many locations that are in the film itself. As well as a few new locations added for good measure. 

Gameplay – 7/10

Enter The Matrix is a third-person action adventure that’s heavy on hand-to-hand combat as well as gunplay. If I would have to compare it to any other game, it would most like be Max Payne. As it plays out quite similarly to the former. Again, it’s exactly the kind of game that people familiar with the films can come to expect in terms of gameplay as well. Players can instigate slow motion to their advantage similar to how the film is shot and they have a variety of different weapons and combat abilities at their disposal throughout. There are also car-chasing sequences whereby players either have to control the car or shoot from the window to fend off enemies. Depending on which character they are playing as. There are two-story arcs to experience within the game. This gives it a fair amount of replay value in addition. 

Controls – 8/10

The biggest issue with the Controls in terms of the targeting system. It’s supposed to work in a similar fashion to Ocarina of Time. But as it’s meant to be instigated automatically, it can cause issues with things like hit detection. But otherwise, the control scheme is handled as well as what was needed. I certainly didn’t have as much of a hard time as many other gamers and critics seemed to have. 

Lifespan – 5.5/10

Enter The Matrix can be made to last about 6 and a half hours, which for a linear action game isn’t too bad. If compared to Max Payne in this respect, it falls short, as the former could be made to last around 20 hours. But for those looking to experience this game in full, there is plenty to do to keep things entertaining throughout. It didn’t perpetuate the standards that were met at the time in terms of Lifespan compared to many other games released back then. But it’s not as painfully short as many other games would in years to come either. 

Storyline – 8/10

The story takes place during the events of The Matrix Reloaded but is told from the perspective of a member of the ship The Logos, led by Captain Niobe. She, along with her partner Ghost and their operator Sparks, are tasked with various missions in order to help Neo fulfill his destiny. And bring about the end of the war between man and machine. The story is well written to the point that it feels almost like one massive deleted scene from the Matrix Reloaded. Jada Pinkett-Smith gives a solid performance as Niobe and the plot fits in nicely with the events of the second film. It all ties in to make for what is a very cinematic experience without it feeling too cinematic, like in many other games. 

Originality – 8/10

In terms of uniqueness, it’s exactly what fans of the film come to expect in every respect, but the gameplay, despite the gripes that people may have with it, was enjoyable to a great enough extent and still remains so in my opinion. The combat system, though somewhat flawed, was unlike anything I’d seen prior to playing it. It stands out as a licensed game that was of a decent standard before the general standard of licensed games would be elevated with the release of Batman: Arkham Asylum in 2009, and in my opinion, very unfairly overlooked. 

Happii

Overall, Enter The Matrix is a far better game than what people have given it credit for since its release. Though it has its problems, it’s an enjoyable game that ties in with the films flawlessly. 

Score

45.5/60

7.5/10 (Good)

Q&A With Gaterooze Ink

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Whilst scouting out for new indie developers over the past few weeks, there’s been one developer working on a particular title in particular that I’d had my eye on for quite some time. Ampersat, developed by Gaterooze Ink operating from Australia, is a rogue-lite bullet hell RPG, whereby players must guide an anthropomorphic ampersat across a wide array from different environments, along the way solving various puzzles and contending with hordes of enemies in order to progress. The RPG element exists in the ability to upgrade the player’s stats for things such as attack, defense, and critical hit rates to make the player character stronger over time. The game was heavily inspired by the likes of old-school Legend of Zelda and arcade classics such as Smash TV.

Wanting to find out even more about this game, I contacted the lead developer, known across the indie community as The Pale Gibbon, and asked him a series of questions relating to the game and what players can expect to see upon the release past the initial Steam demo. Here’s what The Pale Gibbon of Gaterooze Ink. had to say about Ampersat:

 

Ampersat 1

Where exactly did the idea to use an ampersat as the game’s main character come from?

I was a huge fan of the original Rogue games – Nethack, Moria, TOME, and especially Angband – which all used an ampersat for your hero (out of necessity in those days). The original spark of an idea for Ampersat was combining ASCII characters for your avatar and enemies with colorful pixelesque environments in “proper” 3D top-down. I thought the mix would be interesting, and it turned out exactly how I imagined so I’m extremely pleased with that.

 

What has the developmental process been like?

Incredibly fun! I’m lucky enough to be able to develop full-time, so every day (and I mean EVERY day, for 12-16 hours) I just sat down and worked through the massive list of things in the dev plan. Broke it into workable chunks so that every day I achieved something, then overnight I “dream coded” so that I could hit the ground running the next morning with a bunch of code already written in my head. I have to say, nearly all of the actual development was an absolute joy, I loved creating something every day.

 

Ampersat 2

How close are we to seeing the finished product?

It’s done! Well, barring anything else coming out of the console QA (like the gamepad UI handling improvements from the first round) – and there is always the temptation to keep tweaking the balance, like armor stats or perk attributes. The idea was to have the Steam and console releases be in the same week or so if possible, so Steam has been pushed back a bit to accommodate. The demo on Steam now is essentially the final game but with only 2 (of 50) levels accessible, and the village Well (procedurally generated levels) can’t be unlocked.

 

What has been the most exciting aspect of development?

I wanted to make every element from scratch – coding, art, music, etc, and I have to say coding was by far the most enjoyable aspect. It combines my “past life” of long-form writing (in the sense of macrostructure and micro succinctness, though coding is far more creative than it seems) with a love of problem solving and puzzles. I found it very addictive!

 

Ampersat 3

What has been the most challenging aspect of development?

It’s all the little things that add up. It’s great when you want to make over 200 unique items but for each one you need to make a 3D model, pixel art, descriptions, animations, sound effects, particle effects, etc, so the effort just multiplies and can become overwhelming if you don’t compartmentalize.

The UI was also very troublesome as I didn’t architect it properly from the start, didn’t consider gamepad control fully, didn’t include hooks for localization, didn’t leave enough space for languages that use more words, didn’t accommodate different language fonts, etc, etc. I really should have just scrapped it and started again at some point! It worked out in the end, but it was really much harder than it would have been if I’d done it right from the start.

The most challenging aspect of the project, though, is everything that comes after development. Ugh. Marketing and PR – no thanks. My wife (partner in Gaterooze, Ink) had been handling that, but we were very happy to sign with a publisher ( @GrabTheGames ) to take over!

 

How well has the game been received so far?

The response has been fantastic so far for such a niche title. Aside from the amazing playtesters we’ve had a bunch of early players who have really “gotten” the game. It’s unabashedly old-school and you start off with weak-ass weapons so it can be disconcerting at first, but people can really get sucked into it – a couple has even played for around 40 hours to find everything in the game (though a normal playthrough would be 6-12 hours depending on skill).

I think the other challenge for people coming new to the game is that it’s marketed as appealing to fans of Roguelites, but it isn’t actually a Roguelite. The main 50 levels are all handcrafted/designed, with only The Well being procedural, and it’s not about multiple “runs”, it’s a single quest that you gradually make your way through, building up your character – though you can approach areas in any order and after death, start from any place you’d been before. Once you have that realization, everything “clicks”.

I’ve also been really pleased with tons of positive comments on the art style, appreciating that blend of ASCII and a more defined world. Oh, and similar comments for the Commodore 64 SID chip sound effects mixed with the more real-world music in parts – I wanted to use that same ethos from the graphics in the sonics and I think that worked too.

 

What had been your prior developmental experiences before founding Gaterooze, Ink?

Before starting development on Ampersat, I’d never actually done any development at all. So I took some crash courses in C# coding in Unity and learned the rest (voxel models, pixel art, music production, etc) along the way.

Prior to that, we had made design documentation for a studio physically-released Xbox 360/PC game, and I’d “managed” some amazing AAA developers on a large, multi-year project so we were at least familiar with the concepts. That helped, as did being a hardcore gamer since the Atari 2600.

 

What platforms are you looking to bring the game to?

On Steam, Ampersat has PC, Linux, and Mac versions, and GrabTheGames is porting it to Switch, Playstation, and Xbox platforms. I saw it running on the Switch handheld the other day – what a thrill!

 

Has the idea been considered to use other textual characters as a recurring theme in other games you develop in the future?

There’s a sequel in mind for Ampersat that will definitely use ASCII enemies again, though with another new custom font that will change things up again with some new themes.

 

Have there been any ideas at this stage of development that has since been scrapped or reworked?

I’m glad to say the end result has matched the original design documentation very closely! The only element that was scrapped entirely was random weather in the village – with the top-down view it just didn’t work well and had no actual impact anyway.

I think the main plan that had to be reworked was the music. I was far too ambitious there for someone who’d never played an instrument or written/studied any music before. My original plan was for a completely different musical track for every single level (yeah, 50) but it was just taking so long it wasn’t feasible. So instead, on top of the intro/epilogue/main menu and such, I focused on a handful of main tunes (village, dungeon, tower, boss) and then switched up the instrumentation to suit the different regions. So the “fire dungeon” uses the same underlying tune as the “ice dungeon”, but instead of icy pianos, bells, violins, and spooky synths, it has a growling organ, power chord guitars, and sharp horns.

That approach worked surprisingly well and the resulting tunes sound quite different. I also realized the actual level music should be more background/atmospheric anyway, so it all suits.

 

What do you feel would be next for Gaterooze, Ink following Ampersat’s release?

I mentioned the sequel earlier, but we also have other games planned, all with a retro/old-school bent but in different genres. Got to keep things interesting! While Ampersat is the first game we’ve done, Gaterooze has been our (my wife and me) creative partnership for twenty years with projects in various mediums as well as lots of contract work for third parties. We’re able to focus on our own stuff now though, for example aside from Ampersat we recently released a great photography zine (https://bit.ly/3jkn9LY). Some future games may actually be combined with books, graphic novels, etc to compliment them!

 

If you had the opportunity to develop a game with any company or any franchise, which would it be, and why?

Honestly, that doesn’t sound appealing at all. We wouldn’t want to deal with restrictions, external pressure, etc. Life’s too short. Sure, in my fantasies I’d love to work with Elder Scrolls or Zelda, but I know the reality would not match the fantasy. Don’t get me wrong, if I was young and starting a career I would be honored to get a job at Bethesda or Nintendo, but we’re very happy having the freedom to do whatever the heck we feel like now 🙂

 

Do you have any advice for aspiring developers that may be reading this?

Jump in and get cracking! Seriously, just start fiddling around, experimenting, and learning everything you can. There’s nothing holding you back – start with something like Unity or Godot, some free tutorials, and just have fun. Find what you enjoy and what to focus on.

Probably the biggest advice, though, is if you’re taking the indie route make sure you’re doing it out of passion, not as a way to make money. Because on average you will make less than flipping burgers, possibly a lot less. Long-term sustainability is hard and rarer than you think, and financially life-changing hits are far rarer. But if you are developing out of the pure love of it, nothing else matters.

 

Where on the Internet can people find you?

www.gaterooze.com, however, the best place is probably on Twitter: @gaterooze

 

Do you have anything else to add?

Thanks for the support, it’s really appreciated! Ampersat is the game I always wanted to play – the action of Gauntlet and Smash TV (in the Tower levels) with RPG depth and real progression – so we’d love to make like-minded people aware that it’s (soon to be) out there.

 

I’d like to thank Gaterooze and The Pale Gibbon for taking the time out to talk more about this game and to wish the team the best of luck with it upon release. Ampersat is one of the most wonderfully outlandish titles I’ve seen for some time, and from what I’ve seen of gameplay, it holds a lot of promise in my opinion. If anyone is interested, you can play the demo on Steam via the link below:

https://store.steampowered.com/app/1356040/Ampersat/

In the meantime, I hope you guys enjoyed this article because I particularly enjoyed putting it together.

Game on,

Scouse Gamer 88

Maximo: Ghosts to Glory (PlayStation 2)

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Maximo

Developer(s) – Capcom Digital Studios

Publisher(s) – Capcom 

Designer(s) – David Stiller, Scott Rodgers & William Anderson

Producer(s) – Mark Rodgers

ELSPA – 11+

Originally intended for release on the Nintendo 64 and eventually ported to the PlayStation 2 back in 2002, Maximo was released to huge critical acclaim. Received well by not only the current generation at the time but also by many old-school gamers. As what the developers intended. Drawing inspiration from the Ghosts ‘N Goblins franchise, the aim was to bring the classic style of challenging gameplay to the sixth generation. And provide players with a much more stern challenge than what they would’ve been used to at the time.

Personally, though I have a few gripes with the game, especially as I don’t think it’s aged as well as other games on the system, I say as a prerequisite that I spent a lot of time playing this game when it was released. And for good reason. Overall, it’s one of those Capcom franchises that has sadly been neglected in recent generations. Along with Breath of Fire and Viewtiful Joe. 

Graphics – 7/10

The game takes place in a world partly inspired by Ghosts ‘N Goblins. But the inclusion of other more varied landscapes such as marshes, ice worlds, and even hell itself, makes it do well to stand out from its spiritual predecessor. As well as from many other games of the time. The biggest issue I have with it, however, is as the game was intended originally for release on fifth-generation hardware, it is quite evident that that was the case.

Some of the textures in the game are inconsistent with what players would’ve been used to even at this relatively early period within the sixth generation. And it makes the game look even more outdated today as a result. The cutscenes throughout do relatively well to try and supplement that, however. And there were other games released on the PlayStation 2, later on, that looked even more outdated than this, including Malice. 

Gameplay – 8/10

The aspect in which this game truly stands out, however, is in the gameplay. A linear 3D action-adventure platformer, it plays out very much like a 3D version of Ghosts ‘N Goblins. With players having to rely on quick wits, revision of enemy attack patterns. And conservation of resources in order to stay alive and grow stronger over time. There is a multitude of abilities to acquire throughout the game. As well as power-ups providing perks such as invisibility and elemental sword augmentations. For a game that emphasizes challenge so much, however, it’s remarkable how easy the boss fights are overall. The only exception to that is the game’s end boss, which can feel incredibly tense throughout. 

Controls – 10/10

Mercifully, there are no issues with the controls in a game that relies on precise platforming and we’ll-timed attacks to get by. It’s actually quite impressive how well-handled they are for a game that perpetuated such a new idea at the time. As if the developers understood what it meant to include the best of the sixth generation. As well as the sense of challenge that came with the best games of the kind during the third and fourth generations. 

Lifespan – 6/10

As a linear game, Maximo can be made to last about 5 hours, which is okay. But not great, even for a game of the time. In a generation where twenty-plus-hour platformers were being developed on the PlayStation 2 like Jak & Daxter and Ratchet & Clank, this game pales in comparison in terms of lifespan. Though you can appreciate the developers were in a time crunch to get it out as soon as possible since It had been in development hell to an extent, I couldn’t help but think what kind of a game it would’ve been given more time spent on it. 

Storyline – 7/10

The story of the game is quite basic, with a few distinct elements thrown in for good measure. It involves a knight named Maximo who resolves to free his love interest, Sophia, from the evil King Achille. At the start, Achille kills Maximo, who is in turn revived by the Grim Reaper. He delegates to him the task of stopping Achille from raising the dead to build his army. The Grim Reaper is easily the best character in the game, as he provides the most personality out of any other character by a country mile. Similar to how Genie is the best character in Aladdin. There is a nice twist at the end, which will throw players for a loop, as it did to me. But the developers definitely put more stock in the gameplay, as developers should always do in my opinion. 

Originality – 7/10

This game was like a breath of fresh air for many gamers at the time, old and new. It provides a stern challenge for third and fourth-generation veterans alike. And still provides a stern challenge for the most part to this day. It’s certainly a must-have for fans of games made on the same ilk in recent years like Dark Souls, Cuphead, and others, but it provides a very different kind of challenge in another respect which, as at the time of its release, can be appreciated by gamers of all different generations. 

Happii

In summation, Maximo: Ghosts to Glory is a gaming experience that, whilst may not hold up in terms of visual quality, definitely holds up in terms of gameplay. I recommend it to any player who may be looking for a new kind of challenge that whilst stern, is still not entirely inaccessible. 

Score

45/60

7.5/10 (Good)

The Twelve Tales of Chris Seavor Part I: Early Life

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Full Article Here – The Full Twelve Tales of Chris Seavor

Disclaimer: This interview contains some strong language. Anyone who is offended by such content is advised against reading this interview.

 

The fifth generation of gaming is one of the most beloved periods in the medium, with consoles such as the Nintendo 64, the original PlayStation, and the Sega Dreamcast going on to become among the most popular and well-received platforms in the history of video games. However, come the end of the fifth generation, as the transition to the sixth was being made, among the last games published by Nintendo for the Nintendo 64 was Conker’s Bad Fur Day; a game which garnished critical acclaim upon release and has since gone on to become a favorite among fans of the console.

I was lucky enough to have an interview this week with the lead programmer of the game; Chris Seavor. Chris joined Rare back in 1994, where he was tasked with developing for the Killer Instinct series initially; he then went on to not only work on many Rare games on the programming side of things but also voice many characters created by Rare, such as Spinal from Killer Instinct, Gruntilda of Banjo Kazooie and Banjo Tooie, and of course several characters in Conker’s Bad Fur Day, including Conker himself.

After having left Rare in 2011, he most recently established Gory Details Ltd with former Rare collaborator Shawn Pile, and together have developed both Parashoot Stan and a dark adventure game named The Unlikely Legend of Rusty Pup, and as of this writing, there is also a new game in development from Gory Details, said to be a twin-stick dungeon-bash title. I had a lot of questions for Chris concerning his early life, his time at Rare, the development of Conker’s Bad Fur Day, as well as the ultimately canceled sequel, and of course, his work at Gory Details Ltd and what gamers can expect from their new project. Here’s our in-depth interview: The Twelve Tales of Chris Seavor:

 

Chris Seavor 1

Where did your passion for video games originate from?

Playing them as a kid… That and board games…. A friend had been bought Dungeons and Dragons for Christmas (the pink edition which I still have) and he couldn’t understand it so he gave it to me… It was a revelation. This is where my love of ‘game mechanics’ came from which then evolved into video games when I had access to a BBC Micro and eventually the eponymous Spectrum 48K.

 

What games would you play as a child and how would they go on to influence you as a developer?

Ironically the first game I ever bought was Knightlore. I got it from a mate for half price. 5 quid I think. My favorite game from childhood though is RebelStar Raiders which was a turn-based squad game where you had to infiltrate a base on the Moon. Still holds up. Obviously, Ultimate games were in there, but also John Ritman’s variants on the genre like Head Over Heals, which brilliantly introduced a second character to add a cooperative element to the puzzle solving. Quite groundbreaking. The list is huge though; Elite, Paradroid, Out of the Shadows, The Hobbit, Lords of Midnight, Bards Tale, Chuckie Egg, Monty Mole, etc. Oddly though, I never really liked Manic Miner or Jet Set Willy as I found them too difficult. What a scrub eh?

 

What consoles did you own early on?

None. I was at college when the NES and SNES and Mega Drive came out, so had little money and was too busy drinking and dossing around on the beach (I was at college in Cornwall for 4 years, then Bournemouth for 1). Games kinda left my life for a long time…… Next device I bought after my C64 was a SNES whilst working at Rare just to play Zelda and DKC, so yeah!

 

Chris Seavor 2

What is your earliest memory of game design?

I would design whole RPG systems for tabletop gaming. My 2 favorite systems were MERPS and Warhammer Fantasy RPG. MERPS for its crazy crit tables (and the lore) and WHRPG for the gothic world-building. Loved em to bits. I stole from both. I also wrote a Fighting Fantasy novel, but only got as far as about 100 entries before losing track. Those things are hecka-complex to write.

 

Were there any development companies you aspired to work with before you went to work with Rare?

Psygnosis. I didn’t know who Rare were, to be honest… Psygnosis were in Liverpool as well, so I could stay with the parents and save some cash. Lazy fucker I was. I had an interview with a few; EA, Psygnosis, and Rare included. Not sure what happened with Pysg, but EA offered a job eventually but I’d already started at Rare and liked it. Mainly because I’d made some friends and to be honest, that’s always the most stressful part of starting out somewhere new: being alone. The job turned out okay too 😉

 

Where there any other careers you attempted to pursue before going into games design and game voice-over work?

Not attempted, but I’d always planned to go into the film industry. My actual skill set was 3D graphics (a career path very much in its infancy in ‘93, unlike now) so film / TV seemed a natural fit. Games I never considered and in the end just sort of fell into it with a chance conversation with a long time friend Ady Smith (Rare, Eidos). Ironically Ady is teaching game stuff down at my old college in Cornwall now.

 

Chris Seavor 3

What was your upbringing like? Did your parents have any positive or negative reaction to your enjoyment of games, or was there even an element of that during your childhood?

I’d have to say it was pretty negative when I was 13 -15. I always like to remind my Mum of a comment she made once after I spent a whole day playing The Hobbit on the big TV.. ‘You’ll never make any money playing games all day…. It’s not a proper job’. She’s right about one thing though… It’s not a ‘proper job’, thank the maker!

 

Did any facet of your childhood go on to influence you as a developer, similar to how traveling through the forests of Kyoto inspired Shigeru Miyamoto to create The Legend of Zelda?

Not directly. I’ve always loved the cinema experience and would watch every movie I could… I guess that helped in later life. I read a lot of Horror and SciFi, not so much fantasies apart from Prof T the bulk of it back then was, to be blunt: Shit. I read a lot of Fantasy today though, the grim, dark stuff. It’s so much better nowadays.

 

What was it like for you to experience the medium of gaming taking off back in the 70s and 80s?

It just was… You don’t really know you’re IN something when it’s happening around you… Like DKC or the N64 period at Rare. It was just a job, and you were hoping your game would sell more than the other Barns did. Only now looking back do you realize the fondness people have for that time, and the games we’d made as a company… It’s kinda weird as I don’t think of it in those terms.

 

Was the aspiration to become an actor or voice-over artist from an early age as well, or was that something that manifested later on?

Nope. I’m not a voice actor, I’m a 3d Artist / Game Designer. The voice work was a time saver and for practical issues. It seems to be its own thing now in games, with big names getting involved… Fair enough I suppose, but I think it’s a waste of money. Keanu Reeves is a great guy by all accounts but he can’t act for shit. Spend the money on some unknowns who need the break instead…
To be honest, I think the influx of big Hollywood names into the games industry is largely down to the egos of the Production Managers, Execs, and Bosses… It’s the only chance these people will ever get to hang out with the Stars!! Also, BAFTA can try and inject their dull game awards ceremony with a bit of glitz and glamour… Game development has little glitz, even less glamour. And then of course there are Mr. Keighley’s Game Awards… I mean, really? I rest my case, your honor. Here’s the proof it’s a bullshit waste of money .. Name me one person who bought Cyberpunk 2077 because Keanu Reeves was in it? You found one?? They’re a fucking liar.

 

Who were your inspirations where your voice acting was concerned?

Again, no one really. I just did some silly voices based on accents and the range of my voice. Conker’s voice came pretty easily, in fact, I think I just did it instinctively the first time Robin and I were in the studio.

 

Were there any teachers you had at school who would have a lasting impression on you where your career was concerned?

Absolutely not, Fuck those idiots.

 

My teachers tried to tell me that the best years of my life would be my school years, but I disagree with them; my best years have been everything that came afterward. But did you enjoy school when you were a kid?

Absolutely not. Fuck those idiots even more… School was shit. Sadists and morons. I fucking hated it with a vengeance. Imagine trying to encourage 14-year-old lads to enjoy reading then dumping Jane Austin’s Mansfield Park in their lap. WTF!? Stephen King, Tolkien, Sven Hassel first… THEN Jane Austin, in later life, when you have enough life experience to relish in its satire.

 

What was the best piece of advice you were given as a child?

That kind of thing only happens in YA fiction… I never much paid any attention to adults as a kid. I think I became aware of how flawed they all were at a very young age. The one bit of advice I do remember was from my Nan: ‘Christ lad, don’t get old…’

 

Rare had been renowned for their sense of humor with hidden jokes and Easter eggs in their games and Conker was no different. But where did your sense of humor stem from early on?

I wasn’t particularly funny as a kid. In fact, I was and still am almost terminally shy. I still find it stressful to group up with people in games and be expected to have a conversation, even in chat. (except when I’m shouting abuse 😉 I think my humor stems from looking at life’s absurdity and just laughing at it all. People can be so fucking dumb, so finding comedy gold in the actions and words of others is a never-ending resource. I’m a pessimist and a cynic. That’s where my humor comes from I think….. Plus I’m a bit weird and apparently lacking intact (although I am usually told this after the fact…)

 

Part II: Rare

The Twelve Tales of Chris Seavor Part II: Rare

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Full article here – The Full Twelve Tales of Chris Seavor

Disclaimer: This interview contains some strong language. Anyone who is offended by such content is advised against reading this interview.

 

How did the opportunity to work for Rare first come about?

Shared petrol money and a day out from Uni. I just turned up and they offered me a job. That’s it really. What was your first day at Rare like and what were you tasked with working on initially? It was fine… I was pretty nervous but that went very quickly…. I shared a room with Kev Bayliss, and we got on fine. Still do (which is amazing for me 😉 ) My first job was to sketch out and start building the environment for Sabrewulf in Killer Instinct.

 

In terms of working on the Killer Instinct series, what are you most proud of?

Killer Gold I reckon… Just because it was my first experience with actual polygons in a game, rather than pre-rendered. A whole other kettle of fish. I had to convert my original Nurbs Models from KI2 to work in the new engine. First game out from Rare with actual live 3D models… Quite proud of that. And they look okay I reckon, particularly Spinal’s Slave Galley…. (Early nods to Sea of Thieves there ;)) joke.

 

Did you ever come up with any ideas for any additional characters for Killer Instinct or Diddy Kong Racing?

I did a couple of characters for Killer Instinct 2 (arcade) which were not used. Fully modeled one of them, a Vampire Prince with long white hair. Even did a set of animations. I wish I still had the frames but nope… All gone.

 

How rewarding was it seeing your work come to fruition with the release of a game at Rare?

Best thing ever… Really, everyone should try it.

 

Rare 1

Are there any interesting stories about how the voice of Spinal first came about?

Same as Grunty really.. Scream and Cackle. I’m a one-note pony when it comes to baddies.

 

The concept for Gruntilda’s voice, I’d imagine, would’ve been one of the most straightforward ones to have had to come up with, but was that the case? Was there another different approach taken where she was concerned?

I just screamed and cackled… That’s what witches do right? 😉

 

How exhilarating was it knowing you had just voiced a major Nintendo villain at the time?

It was 10 minutes of work, and the tight arses didn’t even give me a free copy of the game… To this day I have never owned a copy of Banjo. Not sure but think it’s probably the same sample they use in the new Smash?? Maybe?

 

Rare 2

Who was your favorite character to have voiced before Conker?

The ones that didn’t have me coughing my guts up and no voice for 2 days. Conker. it has to be him really… Death, Conkula, Frankie, any with interesting dialogue and motivations.

 

Which additional character in Diddy Kong Racing (with the exception of Conker) do you feel would’ve been worthy of a spin-off series?

I don’t care enough about Diddy Kong Racing to be honest. Wasn’t there a Tiger? The Tiger then.

 

What were the Stamper brothers like to work for?

They were great, very hands-on when needed, very hands-off when we were getting on with it. I mean, things could from time to time get fractious but it was usually just clashing egos (mine mainly) Tim’s passion for games when I first joined Rare was in his very being. All he cared about was the game/games. Chris, I saw less of because he tended to be the business side of things, and was a software guy anyway. They had a certain dynamic as brothers, sort of like a video game boss ironically. The whole was greater than the sum of its parts… (hmm, sounds like shade, but I don’t mean it in that way)

 

Chris Seavor 8

Were there any Rare games that you would’ve liked to work on, but never got the opportunity to?

From a purely mercenary cash standpoint? Oh DK 64 and DK Racer. They made fucking TONS of cash for the teams. But creatively? Nah, I’m happy the way things were. But what about Goldeneye, You say!? Cashwise? Nah… old deal. Creatively?? I think I would have done things to stop it from being the game it is now. Not good things… I was still in a DOOM 2 mindset at the time.

 

Were you scheduled to work in some capacity on Rare’s canceled game Project Dream before it later became Banjo-Kazooie?

Nope. Definitely nope…

 

If you could’ve voiced any other Nintendo character (or Rare character) at the time, who would it have been and what approach would you have taken to do it?

Never really thought of it. The only character I would love to have voiced which Rare (almost) got to do was Harry Potter. It would have meant I’d have been the first person to perform that character in media. A good one for the CV. Plus I think I’d have made a decent enough game out of the books (only 3 were out at the time) as I was already a big fan, had I been asked… Nevermind.

 

Chris Seavor Grant Kirkhope

Who were the funniest people in the Rare office to work with?

That’s a tough one. Everyone pretty much made me laugh, sometimes unintentionally… Grant Kirkhope has ‘funny bones’ just because of his outlook on life and his rock ‘n’ roll stories. Robin’s funny as well, particularly when he’s drunk……. Martin Hollis has a very dry sense of humor and Noz always made me laugh at his various woes over the years…Doaky though, he’s just sick that man.

 

What was your reaction when you first heard about Microsoft buying out Rare?

Yay!! EA and Activision were the 2 other main contenders. Whatever criticisms people have for MS, I have no doubts whatsoever Rare as a studio would not exist now if they’d succeeded. Nintendo though? They made a great off by all accounts, and already owned nearly half the company… I don’t even want to think about that.

 

What made you come to the decision to leave Rare back in 2011?

I didn’t. I was happy to stay but things were, shall we say, engineered to make sure I didn’t….. Long story, not a pleasant experience, and some of the people involved, one in particular can go fuck themselves. They know who they are; not that things didn’t turn out well in the end… I got a nice fat cheque to send me on my way and here we are.

 

What is your opinion on the current state of Rare?

At the time I left it was not very good, what with a combination of Don Mattrick and his cronies not to mention that Kinect abomination. I was 90% sure we would be shut down within a few years… Since then though, along came Sea of Thieves .. Amazing what can happen when you just let a team get on with things and stop fucking them about. I think they’re in a very strong position now, although they really do need to mine that IP goldmine a bit more … Baffles me that they don’t.

 

Part III: Conker’s Bad Fur Day

The Twelve Tales of Chris Seavor Part III: Conker’s Bad Fur Day

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Disclaimer: This interview contains some strong language. Anyone who is offended by such content is advised against reading this interview.

 

What was the developmental process like early on with Conker’s Bad Fur Day during when the game was supposed to be either Twelve Tales or Conker 64?

I was only doing art at that point, and the direction the game was taking design-wise was not something I could influence. We were essentially trying to make a Mario 64 type platformer. It was…. Fractious.

 

How did you initially feel after being moved up to the project’s leader by the Stampers?

They knew it was what I wanted so they gave me a chance. Seemed to work out, although I think I was expected to fail.

 

What was it like working with Robin Beanland?

Yeah, okay. We don’t really get along 😉 Nah, he’s always been a talented bastard, unlike me who’s been winging it for years…. I think we get on workwise because we understand what we both want versus the limitations of the medium. It’s important to temper your expectations and ambitions with what’s actually possible. Plus we both like lager and vindaloos. Although age has finally caught up with me on both counts there.

 

Conker's Bad Fur Day 1

What was the feeling across the team following the game’s showcasing at E3 1998?

Was that the BFD first showing? I remember the TT one being a fucking disaster. The BFD one was as good as it got. Great stand by Nintendo, free beer, most of the team was there too so it was a decent crowd. And no interview pools, which I really hate… There’s nothing like a bunch of bored games journos asking tedious questions for 12 hours straight to break your soul.

 

What was the revised pitch to Nintendo like when the intention changed to make the more mature game it turned out to be?

I don’t know. I pitched it to Tim and Chris, not Nintendo. I didn’t work for Nintendo; I worked for Rare, but I’m sure some discussions were had. To be honest, if T+C were happy with what we were doing then Nintendo would have been too. Rare was the golden goose at that point don’t forget, and it gave us a good deal of leverage.

 

What was the feeling across the development team when the project was finally finished after the long development cycle the game had?

We went home for some sleep. Then I went to Edinburgh for the New Year and got completely smashed. I also bought a sword which I then had to carry around all night. There’s a great restaurant on the Royal Mile called The Witchery, it’s basically like something out of Harry Potter. The maitre’de rather than scowl at me and my sword she kindly took it and hung it in the coatroom citing an old rule of no swords in the dining area. (I think she might have been joshing me )

 

Conker's Bad Fur Day 2

How rewarding was it to see the game garnish as much critical acclaim as it did?

Validation. And relief. I wish we’d have launched in Japan too… I think they’d have liked a pissing, drunk, cute squirrel.

 

How did the voice for Conker come about?

It was the first voice I did. No process, just came out fully formed on day one…. One of those things I guess, The lisp was to add a curtness that belied the character but apart from that it was spontaneous.

 

Were there any other references to popular culture that were planned to be included in the game, but never made it, apart from the Pokemon reference?

There were a few levels that got cut, but that was for the sake of time rather than censorship. Pokemon is the only really notable one. There are a few easter eggs though… more than a few. Oh, wait there were two scenes cut from L&R for, reasons. And that’s all I’m gonna say about that.

 

Conker's Bad Fur Day 3

What was the feeling about experiencing the game’s ending for the first time, as it provides such a stark contrast to the comedy perpetuated throughout most of the rest of the game?

I had that ending in mind right from the very start. If we were going to subvert the genre then let’s go for it. I don’t think I agree with the premise of the game being a comedy in a light sense. The game is DARK all the way through, and the laughs tend to stem from the misery and bad luck of others and the unintentional actions of the protagonist. I make it clear right in the very first shot of his eyes on the throne that this won’t end well for Conker.

 

What would you change about the game if you had the opportunity?

I’ve thought about this a lot. Maybe pare things back a bit to get a lower rating (which actually wouldn’t be as much as you think) or maybe not… It is what it is. I do regret not doing the fake outtakes after the credits, I had that planned quite early on when we’d started experimenting with 4th wall-breaking stuff in the game. Just not enough time, sadly.

 

Conker's Bad Fur Day 4

How satisfying an experience has it been seeing Conker’s Bad Fur Day being updated for new audiences in the form of both Live and Reloaded and Rare Replay?

Yeah, it gave me a chance to make a PVP combat game which is a difficult thing to get right.. I also added a narrative thread through it as an experiment to a further idea (Getting’ Medievil). I think it worked quite well… They shut the servers ages ago though….. Rare Replay I had nothing to do with… It’s a thing I guess. Sold well, so says a lot about there being plenty of old-school Rare fans still out there spending money.

 

As it’s one of the most outlandish stories I’ve heard in all of gaming I have to ask; whose idea was it to come up with the Conker’s Bad Fur Day condoms campaign?

Not me. It’s a bit tacky, literally 😉

 

What new Gameplay elements were planned for inclusion in Conker’s Other Bad Fur Day?

More of the same really…. Who can say? That’s the kind of detail you get to when at the coal face and we didn’t get that far.

 

Conker's Bad Fur Day 5

Early concept art has since been released on the Internet of the Conker sequel, but what other new types of locations and characters were planned to be included?

About half the game was completely new areas and the other half was updated and evolved areas from the original. The structure was pretty much the same, hub world, then smaller story worlds…. Familiar, extended with a fine blend of old and new.

 

Have you further developed the idea of a sequel since leaving Rare?

Nah of course not. No point.

 

If Rare ever called you back to develop the sequel to Conker, would you do it?

Depends on what I’m asked to do. If it’s just to read someone else’s lines then nope. If they want me to write and direct it, then maybe, but it would be a lot of work and cost a lot of money for something so niche. Who can say.. MS has got deep pockets. Risk wise it makes a lot more sense to make BK3 and they haven’t done that either, so go figure.

 

Part IV: Gory Details

 

The Twelve Tales of Chris Seavor Part IV: Gory Details

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Disclaimer: This interview contains some strong language. Anyone who is offended by such content is advised against reading this interview.

 

How did the idea come about for you and Shawn Pile to establish Gory Detail?

Boredom, plus I knew if I didn’t do something with all the time I suddenly had then I’d go insane. Shawn was the same I think, but you’d have to ask him. We’d actually talked about it long before mainly as a creative outlet, never really thinking it would happen. Then circumstance changed and here we are.

 

What were the influences behind Parashoot Stan and Rusty Pup?

Stan is a cliché, which was the point of the character. The kid pretending to be the hero but actually IS the hero. Rusty Pup is forged from a similar fire influence wise but is a lot more subtle. It’s actually set in the same world as Stan if you look closely but is a lot more tragic. No one has decoded Rusty Pup yet, which I’m fine with but it isn’t some vague metaphor or opaque fable. It’s a series of events, in order, which really happens. The clues are all there.

 

What were the most exciting aspects of developing the games?

‘Exciting’ is not a word I’d use to describe game development. A bunch of execs off to some launch party or awards ceremony to get drunk might disagree but that’s not development.

 

What were the most challenging aspects of developing the games?

Getting past pre-production and into full production. Until your that factory, churning out assets and regular versions there’s always a nagging feeling at the back of your mind this might be canceled any second. Pre-production is nice creatively and full production is a grind, but the security of the product is a huge weight off your mind. (hey, that rhymed!!)

 

How satisfying had it been seeing both these games garnish what commercial and critical acclaim they have?

Commercially? Yeah right, we’re millionaires now Rodders. Critical, well I think they’re great little games (Rusty not so little) Labour of love, both of ’em. I wish more of the mainstream media had bothered to review Rusty. We sent out a ton of codes. They claim they support indies etc, but they don’t really… Not really. I actually had one outlet say they weren’t interested unless I gave them an interview about our next game which I’d pitched as a Conker Spiritual Successor. It was kind of a publicity stunt (though true in essence). Needless to say, we said no. If I was in the games biz to make lots of money I’d have crawled my way up the corporate ladder, squeezed the right prostates, and jumped ship every time I fucked up. I’d rather be poor. I’m fine though but no more Porsche’s. Not this week anyway.

 

Were there any ideas planned for inclusion in either game that were later scrapped or reworked?

Yeah, loads. Rusty had a whole crafting system and twice as many mechanics including mind control baddies, loads more platform types, and a whole extra world… it was just too much, and the crafting would have made testing all the possibilities pretty much impossible. Stan was going to have 2D side-scrolling mini-bosses where he landed on a large Zeppelin and would run through with guns blazing. We just didn’t have the time and I also felt it was a bit jarring with the rest of the mechanics.

 

Is there any DLC planned for Rusty Pup in the future?

I did some stuff, even made some assets. It was an extra chapter, a deeper area with shorter, very difficult one-shot puzzles. A haunted house theme. But it would have taken 6 months to make, largely down to me and was and also totally free. Time is precious, so I decided it was best spent on developing the new IP.

 

What can you tell us about Gory Detail’s third project?

It’s coming on okay. I spent the bulk of last year preparing assets and I’m pretty happy with the tone and look of the game. It’s a typical twin-stick dungeon bash game but with a twist… Fast-paced, silly characters voiced by me and lots and lots of bad language, blood, and guts. COVID didn’t help though. At some point you need to sit with people and point and talk… I’ve not seen Shawn for a year now. Still, we’re not slaves to publishers and huge wage bills so it’s not a problem. You really only want the stress of making the game, which is more than enough.

 

Would you still like to see Urchin be brought to life under Gory Detail?

Yes… But we can’t call it that. Anyway, games aren’t the only medium in which to explore interesting narratives. 😉

 

Have any of the former Rare alumni at Playtonic Games had any advice to share with you and Shawn or has there been any general conversation between you all?

Yeah, we’ve chatted a few times… Gavin has been really helpful and made some gracious offers of help with production but the studio environment isn’t something I find appealing… It’s just me. I’m an old fart. In the future though, who can say? They’ll certainly have first dibs on the next game we do if they want it.

 

What are your opinions of the indie development scene today?

Business-wise, it’s very healthy for a lucky few, but for most I suspect it’s a struggle in a saturated market. Getting eyes on your work is increasingly difficult, and for the very small indies such as Gory, it’s almost impossible. From a gamer’s point of view, it couldn’t be any better. There’s a lot of good stuff out there and with the big boys taking fewer and fewer risks with their products, ironically people are turning away from their games as they tend to be over-produced and under-developed.

 

What genre of game have you and Shawn never undertaken before that you would like to do one day?

I have folders full of stuff. I think the next game though will be our last probably, as its core game is just the beginning. It’s designed around mini self-contained storylines, like the chapters in Conker. So if it’s a success I’ll be happy to just keep making and selling new Chapters as DLC so long as people still keep buying them. That’s the plan anyway.

 

Which pre-existing video game character would you like to see make a cameo in either Parashoot Stan or Rusty Pup?

They’re not that type of game, particularly Rusty. The next one though… I have plans for lots of cameos, although not very complimentary ones. 😉

 

Do you and Shawn find that having creative freedom is one of the best things about developing games for yourselves?

It is. It’s the price you pay for having to fund everything yourself. We’re not averse to having a publisher, just not during development. Finish the game first, then see if anyone fancies tackling all that marketing, support stuff I fucking hate doing.

 

Have Rare since reached out to you following the establishment of Gory Detail or the release of the two games?

Only for Conker stuff. I’m happy to do it although I suspect it was a last resort. I was sent some recordings of a guy they’d hired to mimic Conker and it wasn’t very good. Point is, they tried to do it with someone else and must have realized the fans would not accept a fake Conker. Heh! I also offered to do other voices, for the Young Conker app, but they already had someone for them. Just Conker for me…

 

What have you been most proud of throughout your career?

Rusty Pup… So far. I filled that game with my very soul.

 

Is there any advice you would be able to offer any aspiring developers who may be reading this?

Don’t let anyone tell you you can’t do something.. …. It might be true, but the best way to find out isn’t by shrugging, but by trying to make it work and then finding out they were wrong.

 

I’d like to take the opportunity to thank Chris for agreeing to answer my questions, and for sharing so much about his storied career and what we can expect to see from him and Gory Details Ltd in the future. If you’re interested in what Gory Details has to offer, you can view their steam page via the link below:

https://store.steampowered.com/search/?developer=Gory%20Detail%20Limited

You can also keep up with Chris’s posts on Twitter via his Twitter handle:

@conkerhimself

A full review of The Unlikely Legend of Rusty Pup will be coming to the site very soon but in the meantime, I’d also like to wish Chris, Shawn Pile, and Gory Details the best of luck with their current games as well as their new upcoming project… MARVELLOUS!!

Game on,

Scouse Gamer 88

The Full Twelve Tales of Chris Seavor

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Disclaimer: This interview contains some strong language. Anyone who is offended by such content is advised against reading this interview.

The fifth generation of gaming is one of the most beloved periods in the medium, with consoles such as the Nintendo 64, the original PlayStation, and the Sega Dreamcast going on to become among the most popular and well-received platforms in the history of video games. However, come the end of the fifth generation, as the transition to the sixth was being made, among the last games published by Nintendo for the Nintendo 64 was Conker’s Bad Fur Day; a game that garnished critical acclaim upon release and has since gone on to become a favorite among fans of the console. I was lucky enough to have an interview this week with the lead programmer of the game; Chris Seavor. Chris joined Rare back in 1994, where he was tasked with developing the Killer Instinct series initially; he then went on to not only work on many Rare games on the programming side of things, but also voice many characters created by Rare, such as Spinal from Killer Instinct, Gruntilda of Banjo Kazooie and Banjo Tooie, and of course several characters in Conker’s Bad Fur Day, including Conker himself.

After having left Rare in 2011, he most recently established Gory Details Ltd with former Rare collaborator Shawn Pile, and together have developed both Parashoot Stan and a dark adventure game named The Unlikely Legend of Rusty Pup, and as of this writing, there is also a new game in development from Gory Details, said to be a twin-stick dungeon-bash title. I had a lot of questions for Chris concerning his early life, his time at Rare, the development of Conker’s Bad Fur Day, as well as the ultimately canceled sequel, and of course, his work at Gory Details Ltd and what gamers can expect from their new project. Here’s our in-depth interview: The Twelve Tales of Chris Seavor:

Where did your passion for video games originate from?

Playing them as a kid… That and board games…. A friend had bought Dungeons and Dragons for Christmas (the pink edition which I still have) and he couldn’t understand it so he gave it to me… It was a revelation. This is where my love of ‘game mechanics’ came from which then evolved into video games when I had access to a BBC Micro and eventually the eponymous Spectrum 48K.

What games would you play as a child and how would they go on to influence you as a developer?

Ironically the first game I ever bought was Knightlore. I got it from a mate for half price. 5 quid I think. My favorite game from childhood though is RebelStar Raiders which was a turn-based squad game where you had to infiltrate a base on the Moon. Still holds up. Obviously, Ultimate games were in there, but also John Reitman’s variants on the genre like Head Over Heals, which brilliantly introduced a second character to add a cooperative element to the puzzle solving. Quite groundbreaking. The list is huge though; Elite, Paradroid, Out of the Shadows, The Hobbit, Lords of Midnight, Bards Tale, Chuckie Egg, Monty Mole, etc. Oddly though, I never really liked Manic Miner or Jet Set Willy as I found them too difficult. What a scrub eh?

What consoles did you own early on?

None. I was at college when the NES SNES and Mega Drive came out, so had little money and was too busy drinking and dossing around on the beach (I was at college in Cornwall for 4 years, then Bournemouth for 1). Games kind of left my life for a long time…… The next device I bought after my C64 was an SNES whilst working at Rare just to play Zelda and DKC, so yeah!

What is your earliest memory of game design?

I would design whole RPG systems for tabletop gaming. My 2 favorite systems were MERPS and Warhammer Fantasy RPG. MERPS for its crazy crit tables (and the lore) and WHRPG for the gothic world-building. Loved em to bits. I stole from both. I also wrote a Fighting Fantasy novel, but only got as far as about 100 entries before losing track. Those things are hecka-complex to write.

Were there any development companies you aspired to work with before you went to work with Rare?

Psygnosis. I didn’t know who Rare were, to be honest… Psygnosis were in Liverpool as well, so I could stay with the parents and save some cash. Lazy fucker I was. I had an interview with a few; EA, Psygnosis, and Rare included. Not sure what happened with Pysg, but EA offered a job eventually but I’d already started at Rare and liked it. Mainly because I’d made some friends and to be honest, that’s always the most stressful part of starting out somewhere new: being alone. The job turned out okay too 😉

Were there any other careers you attempted to pursue before going into game design and game voice-over work?

Not attempted, but I’d always planned to go into the film industry. My actual skill set was 3D graphics (a career path very much in its infancy in ‘93, unlike now) so film / TV seemed a natural fit. Games I never considered and in the end just sort of fell into it with a chance conversation with a long time friend Ady Smith (Rare, Eidos). Ironically Ady is teaching game stuff down at my old college in Cornwall now.

What was your upbringing like? Did your parents have any positive or negative reaction to your enjoyment of games, or was there even an element of that during your childhood?

I’d have to say it was pretty negative when I was 13 -15. I always like to remind my Mum of a comment she made once after I spent a whole day playing The Hobbit on the big TV.. ‘You’ll never make any money playing games all day…. It’s not a proper job’. She’s right about one thing though… It’s not a ‘proper job’, thank the maker!

Did any facet of your childhood go on to influence you as a developer, similar to how traveling through the forests of Kyoto inspired Shigeru Miyamoto to create The Legend of Zelda?

Not directly. I’ve always loved the cinema experience and would watch every movie I could… I guess that helped in later life. I read a lot of Horror and SciFi, not so much fantasies apart from Prof T the bulk of it back then was, to be blunt: Shit. I read a lot of Fantasy today though, the grim, dark stuff. It’s so much better nowadays.

What was it like for you to experience the medium of gaming taking off back in the 70s and 80s?

It just was… You don’t really know you’re IN something when it’s happening around you… Like DKC or the N64 period at Rare. It was just a job, and you were hoping your game would sell more than the other Barns did. Only now looking back do you realize the fondness people have for that time, and the games we’d made as a company… It’s kinda weird as I don’t think of it in those terms.

Was the aspiration to become an actor or voice-over artist from an early age as well, or was that something that manifested later on?

Nope. I’m not a voice actor, I’m a 3d Artist / Game Designer. The voice work was a time saver and for practical issues. It seems to be its own thing now in games, with big names getting involved… Fair enough I suppose, but I think it’s a waste of money. Keanu Reeves is a great guy by all accounts but he can’t act for shit. Spend the money on some unknowns who need the break instead…
To be honest, I think the influx of big Hollywood names into the games industry is largely down to the egos of the Production Managers, Execs, and Bosses… It’s the only chance these people will ever get to hang out with the Stars!! Also, BAFTA can try and inject their dull game awards ceremony with a bit of glitz and glamour… Game development has little glitz, even less glamour. And then of course there are Mr. Keighley’s Game Awards… I mean, really? I rest my case, your honor. Here’s the proof it’s a bullshit waste of money .. Name me one person who bought Cyberpunk 2077 because Keanu Reeves was in it? You found one?? They’re a fucking liar.

Who were your inspirations where your voice acting was concerned?

Again, no one really. I just did some silly voices based on accents and the range of my voice. Conker’s voice came pretty easily, in fact, I think I just did it instinctively the first time Robin and I were in the studio.

Were there any teachers you had at school who would have a lasting impression on you where your career was concerned?

Absolutely not, Fuck those idiots.

My teachers tried to tell me that the best years of my life would be my school years, but I disagree with them; my best years have been everything that came afterward. But did you enjoy school when you were a kid?

Absolutely not. Fuck those idiots even more… School was shit. Sadists and morons. I fucking hated it with a vengeance. Imagine trying to encourage 14-year-old lads to enjoy reading and then dumping Jane Austin’s Mansfield Park in their lap. WTF!? Stephen King, Tolkien, Sven Hassel first… THEN Jane Austin, in later life, when you have enough life experience to relish in its satire.

What was the best piece of advice you were given as a child?

That kind of thing only happens in YA fiction… I never paid any attention to adults as a kid. I think I became aware of how flawed they all were at a very young age. The one bit of advice I do remember was from my Nan: ‘Christ lad, don’t get old…’

Rare had been renowned for their sense of humor with hidden jokes and Easter eggs in their games and Conker was no different. But where did your sense of humor stem from early on?

I wasn’t particularly funny as a kid. In fact, I was and still am almost terminally shy. I still find it stressful to group up with people in games and be expected to have a conversation, even in chat. (except when I’m shouting abuse 😉 I think my humor stems from looking at life’s absurdity and just laughing at it all. People can be so fucking dumb, so finding comedy gold in the actions and words of others is a never-ending resource. I’m a pessimist and a cynic. That’s where my humor comes from I think….. Plus I’m a bit weird and apparently lacking intact (although I am usually told this after the fact…)

How did the opportunity to work for Rare first come about?

Shared petrol money and a day out from Uni. I just turned up and they offered me a job. That’s it really.

What was your first day at Rare like and what were you tasked with working on initially?

It was fine… I was pretty nervous but that went very quickly…. I shared a room with Kev Bayliss, and we got on fine. Still do (which is amazing for me 😉 ) My first job was to sketch out and start building the environment for Sabrewulf in Killer Instinct.

In terms of working on the Killer Instinct series, what are you most proud of?

Killer Gold I reckon… Just because it was my first experience with actual polygons in a game, rather than pre-rendered. A whole other kettle of fish. I had to convert my original Nurbs Models from KI2 to work in the new engine. First game out from Rare with actual live 3D models… Quite proud of that. And they look okay I reckon, particularly Spinal’s Slave Galley…. (Early nods to Sea of Thieves there ;)) joke.

Did you ever come up with any ideas for any additional characters for Killer Instinct or Diddy Kong Racing?

I did a couple of characters for Killer Instinct 2 (arcade) which were not used. Fully modeled one of them, a Vampire Prince with long white hair. Even did a set of animations. I wish I still had the frames but nope… All gone.

How rewarding was it seeing your work come to fruition with the release of a game at Rare?

Best thing ever… Really, everyone should try it.

Are there any interesting stories about how the voice of Spinal first came about?

Same as Grunty really.. Scream and Cackle. I’m a one-note pony when it comes to baddies.

The concept for Gruntilda’s voice, I’d imagine, would’ve been one of the most straightforward ones to have had to come up with, but was that the case? Was there another different approach taken where she was concerned?

I just screamed and cackled… That’s what witches do right? 😉

How exhilarating was it knowing you had just voiced a major Nintendo villain at the time?

It was 10 minutes of work, and the tight arses didn’t even give me a free copy of the game… To this day I have never owned a copy of Banjo. Not sure but think it’s probably the same sample they use in the new Smash?? Maybe?

Who was your favorite character to have voiced before Conker?

The ones that didn’t have me coughing my guts up and no voice for 2 days. Conker. it has to be him really… Death, Conkula, Frankie, any with interesting dialogue and motivations.

Which additional character in Diddy Kong Racing (with the exception of Conker) do you feel would’ve been worthy of a spin-off series?

I don’t care enough about Diddy Kong Racing to be honest. Wasn’t there a Tiger? The Tiger then.

What were the Stamper brothers like to work for?

They were great, very hands-on when needed, and very hands-off when we were getting on with it. I mean, things could from time to time get fractious but it was usually just clashing egos (mine mainly) Tim’s passion for games when I first joined Rare was in his very being. All he cared about was the game/games. Chris, I saw less of because he tended to be the business side of things, and was a software guy anyway. They had a certain dynamic as brothers, sort of like a video game boss ironically. The whole was greater than the sum of its parts… (hmm, sounds like shade, but I don’t mean it that way)

Were there any Rare games that you would’ve liked to work on, but never got the opportunity to?

From a purely mercenary cash standpoint? Oh DK 64 and DK Racer. They made fucking TONS of cash for the teams. But creatively? Nah, I’m happy the way things were. But what about Goldeneye, You say!? Cashwise? Nah… an old deal. Creatively?? I think I would have done things to stop it from being the game it is now. Not good things… I was still in a DOOM 2 mindset at the time.

Were you scheduled to work in some capacity on Rare’s canceled game Project Dream before it later became Banjo-Kazooie?

Nope. Definitely nope…

If you could’ve voiced any other Nintendo character (or Rare character) at the time, who would it have been and what approach would you have taken to do it?

Never really thought of it. The only character I would love to have voiced which Rare (almost) got to do was Harry Potter. It would have meant I’d have been the first person to perform that character in media. A good one for the CV. Plus I think I’d have made a decent enough game out of the books (only 3 were out at the time) as I was already a big fan, had I been asked… Nevermind.

Who were the funniest people in the Rare office to work with?

That’s a tough one. Everyone pretty much made me laugh, sometimes unintentionally… Grant Kirkhope has ‘funny bones’ just because of his outlook on life and his rock ‘n’ roll stories. Robin’s funny as well, particularly when he’s drunk……. Martin Hollis has a very dry sense of humor and Noz always made me laugh at his various woes over the years…Doaky though, he’s just sick that man.

What was your reaction when you first heard about Microsoft buying out Rare?

Yay!! EA and Activision were the 2 other main contenders. Whatever criticisms people have for MS, I have no doubts whatsoever Rare as a studio would not exist now if they’d succeeded. Nintendo though? They made a great off by all accounts, and already owned nearly half the company… I don’t even want to think about that.

What made you come to the decision to leave Rare back in 2011?

I didn’t. I was happy to stay but things were, shall we say, engineered to make sure I didn’t….. Long story, not a pleasant experience, and some of the people involved, one in particular can go fuck themselves. They know who they are; not that things didn’t turn out well in the end… I got a nice fat cheque to send me on my way and here we are.

What is your opinion on the current state of Rare?

At the time I left it was not very good, what with a combination of Don Mattrick and his cronies not to mention that Kinect abomination. I was 90% sure we would be shut down within a few years… Since then though, along came Sea of Thieves .. Amazing what can happen when you just let a team get on with things and stop fucking them about. I think they’re in a very strong position now, although they really do need to mine that IP goldmine a bit more … Baffles me that they don’t.

What was the developmental process like early on when the game was supposed to be either Twelve Tales or Conker 64?

I was only doing art at that point, and the direction the game was taking design-wise was not something I could influence. We were essentially trying to make a Mario 64-type platformer. It was…. Fractious.

How did you initially feel after being moved up to the project’s leader by the Stampers?

They knew it was what I wanted so they gave me a chance. Seemed to work out, although I think I was expected to fail.

What was it like working with Robin Beanland?

Yeah, okay. We don’t really get along 😉 Nah, he’s always been a talented bastard, unlike me who’s been winging it for years…. I think we get on workwise because we understand what we both want versus the limitations of the medium. It’s important to temper your expectations and ambitions with what’s actually possible. Plus we both like lager and vindaloos. Although age has finally caught up with me on both counts there.

What was the feeling across the team following the game’s showcasing at E3 1998?

Was that the BFD’s first showing? I remember the TT one being a fucking disaster. The BFD one was as good as it got. Great stand by Nintendo, free beer, most of the team was there too so it was a decent crowd. And no interview pools, which I really hate… There’s nothing like a bunch of bored games journos asking tedious questions for 12 hours straight to break your soul.

What was the revised pitch to Nintendo like when the intention changed to make the more mature game it turned out to be?

I don’t know. I pitched it to Tim and Chris, not Nintendo. I didn’t work for Nintendo; I worked for Rare, but I’m sure some discussions were had. To be honest, if T+C were happy with what we were doing then Nintendo would have been too. Rare was the golden goose at that point don’t forget, and it gave us a good deal of leverage.

What was the feeling across the development team when the project was finally finished after the long development cycle the game had?

We went home for some sleep. Then I went to Edinburgh for the New Year and got completely smashed. I also bought a sword which I then had to carry around all night. There’s a great restaurant on the Royal Mile called The Witchery, it’s basically like something out of Harry Potter. The maitre’de rather than scowl at me and my sword she kindly took it and hung it in the coatroom citing an old rule of no swords in the dining area. (I think she might have been joshing me )

How rewarding was it to see the game garnish as much critical acclaim as it did?

Validation. And relief. I wish we’d have launched in Japan too… I think they’d have liked a pissing, drunk, cute squirrel.

How did the voice for Conker come about?

It was the first voice I did. No process, just came out fully formed on day one…. One of those things I guess, The lisp was to add a curtness that belied the character but apart from that it was spontaneous.

Were there any other references to popular culture that were planned to be included in the game, but never made it, apart from the Pokemon reference?

There were a few levels that got cut, but that was for the sake of time rather than censorship. Pokemon is the only really notable one. There are a few easter eggs though… more than a few. Oh, wait there were two scenes cut from L&R for, reasons. And that’s all I’m gonna say about that.

What was the feeling about experiencing the game’s ending for the first time, as it provides such a stark contrast to the comedy perpetuated throughout most of the rest of the game?

I had that ending in mind right from the very start. If we were going to subvert the genre then let’s go for it. I don’t think I agree with the premise of the game being a comedy in a light sense. The game is DARK all the way through, and the laughs tend to stem from the misery and bad luck of others and the unintentional actions of the protagonist. I make it clear right in the very first shot of his eyes on the throne that this won’t end well for Conker.

What would you change about the game if you had the opportunity?

I’ve thought about this a lot. Maybe pare things back a bit to get a lower rating (which actually wouldn’t be as much as you think) or maybe not… It is what it is. I do regret not doing the fake outtakes after the credits, I had that planned quite early on when we’d started experimenting with 4th wall breaking stuff in the game. Just not enough time, sadly.

How satisfying an experience has it been seeing Conker’s Bad Fur Day being updated for new audiences in the form of both Live and Reloaded and Rare Replay?

Yeah, it gave me a chance to make a PVP combat game which is a difficult thing to get right.. I also added a narrative thread through it as an experiment to a further idea (Getting’ Medievil). I think it worked quite well… They shut the servers ages ago though….. Rare Replay I had nothing to do with… It’s a thing I guess. Sold well, so says a lot about there being plenty of old-school Rare fans still out there spending money.

As it’s one of the most outlandish stories I’ve heard in all of gaming I have to ask; whose idea was it to come up with the Conker’s Bad Fur Day condoms campaign?

Not me. It’s a bit tacky, literally 😉

What new Gameplay elements were planned for inclusion in Conker’s Other Bad Fur Day?

More of the same really…. Who can say? That’s the kind of detail you get to when at the coal face and we didn’t get that far.

Early concept art has since been released on the Internet of the Conker sequel, but what other new types of locations and characters were planned to be included?

About half the game was completely new areas and the other half was updated and evolved areas from the original. The structure was pretty much the same, hub world, then smaller story worlds…. Familiar, extended with a fine blend of old and new.

Have you further developed the idea of a sequel since leaving Rare?

Nah of course not. No point.

If Rare ever called you back to develop the sequel to Conker, would you do it?

Depends on what I’m asked to do. If it’s just to read someone else’s lines then nope. If they want me to write and direct it, then maybe, but it would be a lot of work and cost a lot of money for something so niche. Who can say.. MS have got deep pockets. Risk wise it makes a lot more sense to make BK3 and they haven’t done that either, so go figure.

How did the idea come about for you and Shawn Pile to establish Gory Detail?

Boredom, plus I knew if I didn’t do something with all the time I suddenly had then I’d go insane. Shawn was the same I think, but you’d have to ask him. We’d actually talked about it long before mainly as a creative outlet, never really thinking it would happen. Then circumstance changed and here we are.

What were the influences behind Parashoot Stan and Rusty Pup?

Stan is a cliché, which was the point of the character. The kid pretending to be the hero but actually IS the hero. Rusty Pup is forged from a similar fire influence wise but is a lot more subtle. It’s actually set in the same world as Stan if you look closely but is a lot more tragic. No one has decoded Rusty Pup yet, which I’m fine with but it isn’t some vague metaphor or opaque fable. It’s a series of events, in order, which really happens. The clues are all there.

What were the most exciting aspects of developing the games?

‘Exciting’ is not a word I’d use to describe game development. A bunch of execs off to some launch party or awards ceremony to get drunk might disagree but that’s not development.

What were the most challenging aspects of developing the games?

Getting past pre-production and into full production. Until your that factory, churning out assets and regular versions there’s always a nagging feeling at the back of your mind this might be canceled any second. Pre-production is nice creatively and full production is a grind, but the security of the product is a huge weight off your mind. (hey, that rhymed!!)

How satisfying had it been seeing both these games garnish what commercial and critical acclaim they have?

Commercially? Yeah right, we’re millionaires now Rodders. Critical, well I think they’re great little games (Rusty not so little) Labour of love, both of ’em. I wish more of the mainstream media had bothered to review Rusty. We sent out a ton of codes. They claim they support indies etc, but they don’t really… Not really. I actually had one outlet say they weren’t interested unless I gave them an interview about our next game which I’d pitched as a Conker Spiritual Successor. It was kind of a publicity stunt (though true in essence). Needless to say, we said no. If I was in the games biz to make lots of money I’d have crawled my way up the corporate ladder, squeezed the right prostates, and jumped ship every time I fucked up. I’d rather be poor. I’m fine though but no more Porsche’s. Not this week anyway.

Were there any ideas planned for inclusion in either game that were later scrapped or reworked?

Yeah, loads. Rusty had a whole crafting system and twice as many mechanics including mind control baddies, loads more platform types, and a whole extra world… it was just too much, and the crafting would have made testing all the possibilities pretty much impossible. Stan was going to have 2D side-scrolling mini-bosses where he landed on a large Zeppelin and would run through with guns blazing. We just didn’t have the time and I also felt it was a bit jarring with the rest of the mechanics.

Is there any DLC planned for Rusty Pup in the future?

I did some stuff, even made some assets. It was an extra chapter, a deeper area with shorter, very difficult one-shot puzzles. A haunted house theme. But it would have taken 6 months to make, largely down to me and was and also totally free. Time is precious, so I decided it was best spent on developing the new IP.

What can you tell us about Gory Detail’s third project?

It’s coming on okay. I spent the bulk of last year preparing assets and I’m pretty happy with the tone and look of the game. It’s a typical twin-stick dungeon bash game but with a twist… Fast-paced, silly characters voiced by me and lots and lots of bad language, blood, and guts. COVID didn’t help though. At some point you need to sit with people and point and talk… I’ve not seen Shawn for a year now. Still, we’re not slaves to publishers and huge wage bills so it’s not a problem. You really only want the stress of making the game, which is more than enough.

Would you still like to see Urchin be brought to life under Gory Detail?

Yes… But we can’t call it that. Anyway, games aren’t the only medium in which to explore interesting narratives. 😉

Have any of the former Rare alumni at Playtonic Games had any advice to share with you and Shawn or has there been any general conversation between you all?

Yeah, we’ve chatted a few times… Gavin has been really helpful and made some gracious offers of help with production but the studio environment isn’t something I find appealing… It’s just me. I’m an old fart. In the future though, who can say? They’ll certainly have first dibs on the next game we do if they want it.

What are your opinions of the indie development scene today?

Business-wise, it’s very healthy for a lucky few, but for most I suspect it’s a struggle in a saturated market. Getting eyes on your work is increasingly difficult, and for the very small indies such as Gory, it’s almost impossible. From a gamer’s point of view, it couldn’t be any better. There’s a lot of good stuff out there and with the big boys taking fewer and fewer risks with their products, ironically people are turning away from their games as they tend to be over-produced and under-developed.

What genre of game have you and Shawn never undertaken before that you would like to do one day?

I have folders full of stuff. I think the next game though will be our last probably, as its core game is just the beginning. It’s designed around mini self-contained storylines, like the chapters in Conker. So if it’s a success I’ll be happy to just keep making and selling new Chapters as DLC so long as people still keep buying them. That’s the plan anyway.

Which pre-existing video game character would you like to see make a cameo in either Parashoot Stan or Rusty Pup?

They’re not that type of game, particularly Rusty. The next one though… I have plans for lots of cameos, although not very complimentary ones. 😉

Do you and Shawn find that having creative freedom is one of the best things about developing games for yourselves?

It is. It’s the price you pay for having to fund everything yourself. We’re not averse to having a publisher, just not during development. Finish the game first, then see if anyone fancies tackling all that marketing, support stuff I fucking hate doing.

Have Rare since reached out to you following the establishment of Gory Detail or the release of the two games?

Only for Conker stuff. I’m happy to do it although I suspect it was a last resort. I was sent some recordings of a guy they’d hired to mimic Conker and it wasn’t very good. Point is, they tried to do it with someone else and must have realized the fans would not accept a fake Conker. Heh! I also offered to do other voices, for the Young Conker app, but they already had someone for them. Just Conker for me…

What have you been most proud of throughout your career?

Rusty Pup… So far. I filled that game with my very soul.

Is there any advice you would be able to offer any aspiring developers who may be reading this?

Don’t let anyone tell you you can’t do something.. …. It might be true, but the best way to find out isn’t by shrugging, but by trying to make it work and then finding out they were wrong.

I’d like to take the opportunity to thank Chris for agreeing to answer my questions, and for sharing so much about his storied career and what we can expect to see from him and Gory Details Ltd in the future. If you’re interested in what Gory Details has to offer, you can view their steam page via the link below:

https://store.steampowered.com/search/?developer=Gory%20Detail%20Limited

You can also keep up with Chris’s posts on Twitter via his Twitter handle:

@conkerhimself

A full review of The Unlikely Legend of Rusty Pup can be accessed via the hyperlink, but in the meantime, I’d also like to wish Chris, Shawn Pile, and Gory Details the best of luck with their current games as well as their new upcoming project… MARVELLOUS!!

Game on,

Scouse Gamer 88