Tag Archives: Scouse Gamer 88

Mira’s Brush: First Impressions

Last year, whilst scouting social media platforms and crowdfunding sites for new indie game prospects, I came across a unique-looking 8-BIT title on Kickstarter that was subsequently funded and is due for release in the near future. Mira’s Brush, developed by Duckbill ProDucktions and published by Angel Star Studios, is an 8-BIT 2D side scroller with puzzle elements whereby players must platform and paint their way through levels in order to advance through the game; the best way I can describe the game’s premise is if Super Mario Bros had mechanics similar to Okami. 

I had an interview with the game’s lead designer last year, Blake Speers:

 

https://scousegamer88.com/2020/02/11/qa-with-blake-speers-miras-brush/

 

Who explained to me where the inspiration for this title came from and described in-depth the arduous development cycle that game has had in order to get it to where it was at the time and to get it to the point of which the game was finally put on Kickstarter, where it was then successfully funded. The game is now available via Steam Early Access:

 

https://store.steampowered.com/app/1493880/Miras_Brush/

 

And so I decided to write about my first impressions of the game, about its finer points, and where I feel it could indeed need some improvement before its full release in the not too distant future. Here are my thoughts on the current build of Mira’s Brush

 

 

Graphics

First of all, the world of Chromaland is as wonderfully varied as any other well-established video game universe with a lot of wonderfully outlandish enemies and locations ranging from tropical summer landscapes to icy snow worlds to outer space. In many respects, this game looks to be the labor of love that Blake talked about in our interview, and the conceptual design certainly promises this. However, in its current build, I did find a few inconsistencies with certain textures in certain locations, and a lot of the text around the game giving players instructions still looks quite basic compared to the dialogue text, so that would be something else that would need sprucing up before the game releases, otherwise, it would end up looking fairly unprofessional compared to other games. Regardless, the visual design of the game overall holds great promise for this game.

 

Gameplay

What holds greater promise than that, however, is the gameplay premise. The game involves both precise platforming to advance between each level and backtracking through said levels in order to find hidden items throughout. It has potentially more gameplay value than the average 2D side scroller, as well as providing a higher sense of challenge compared to others with elaborate strategies needed to defeat bosses and solve puzzles. The puzzle-solving element, in particular, reminds me somewhat of Fez, in that the game doesn’t hold the player’s hand throughout, and there is a certain degree of lateral thinking involved in uncovering hidden areas and even advancing through the game normally. 

 

 

Controls

The only problem I found with the game’s control scheme is that it can be tricky jumping on and off of certain types of platforms, namely the huge stars in the second level, due to their changing dimensions, and it can seem unfair to those playing who should have a well-timed jump, but end up falling due to unforeseen inconsistency in the trajectory of their jump as a result. Again, this is something that would need to be addressed before release, but otherwise, the control scheme is as fluent as what is needed. 

 

Lifespan

With a multitude of levels and areas to explore throughout the game, it also has the potential to last far longer than the average 2D side scroller, depending on how much there is to do and how much there is to explore overall. Given the types of games that went on to influence this title and the number of side quests I’ve seen so far, I’m looking forward to finding out exactly how long a game can be made to last.

 

 

Storyline

The story of Mira’s Brush follows the story of Mira, a painter who is hired to save Chromaland from the evil Colonel Blump and his minions, who has arrived to invade the land and sap it of all its color. The basic premise of the game is quite typical of many video games, but what keeps this interesting is that there is a quite strong comedic element to it in the personalities of each quirky character to find along the way, as well as the game is littered with cultural references, namely to classic painters of the renaissance era and more modern contemporaries such as Bob Ross. 

 

Originality

Even at first glance, the game’s level of uniqueness is quite prevalent. It plays out like very few side scrollers I’ve ever played, and the world of Chromaland has its own sense of charm, mystery, and unique design that was everything I was hoping it would be when I first discovered it for myself. With a lot of the basics having been ironed out before release, it does have the potential to make waves throughout the indie community, and I’m very much looking forward to the game’s full release.

 

 

Overall, Mira’s Brush promises an immersing and wonderful gaming experience, and a lot of the hallmarks to be expected are here; it looks great, it plays out great, and the indication is that the final product will be truly something special.

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Q&A With Kiro Team

A while back, I came across a new title in development that was nearing a launch on Kickstarter, and now I’m thrilled to bring it to the attention of an even wider audience than what it has been brought to already. Souno’s Curse, under development by Kiro Team based in Lyon in France, is an action-platforming game featuring staple elements of the Metroidvania genre. It features beautifully hand-drawn visuals reminiscent of games such as Hollow Knight and Cuphead and presents a narrative surrounded by mystery and focusing on such themes as love, regret friendship, and decisive action. Curious to learn as much as I could before the Kickstarter launches tomorrow, I reached out to Kiro Team’s Idir Amrouche to understand more about this wonderfully ambitious-looking title, and what gamers can come to expect whilst playing. Here’s what Idir Amrouche of Kiro Team had to say about Souno’s Curse:

 

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What were the influences behind your game?

Different media like books, movies, and anime, and of course video games. If I were to name a few:

– Kingdom Hearts

– Metal Gear Solid

– Megalobox anime

– The Witcher (game and books)

My main inspiration comes from Hollow Knight and Journey

 

How close are we to seeing the finished product?

The game is around 30% finished. We plan a release window for mid-2023

 

What has been the most exciting aspect of development?

One of them is the creative process when you let your imagination run wild and create new environments, characters, stories, etc…The second one is implementing the created assets in the game and seeing all that you imagined come to life.

 

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What has been the most challenging aspect of development?

The team is composed of people from France, Canada, and the USA, and all of them except for me have full or part-time jobs on the side. The most challenging part was to plan a roadmap taking into account varying availability and finding a workflow that suits everyone’s plannings/time zones.

 

How well has the game been received so far?

I started sharing info about the game on Twitter at the very early stages. I did not expect to have this much support and to have a community this big this fast. So I’d say it has been pretty well received so far.

 

What platforms are you looking to bring the game to?

Souno’s Curse release is planned for Steam and GOG.com. We’d be very happy to release it on Nintendo Switch as well, which is why it is one of our Kickstarter stretch goals.

 

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

A few yes. At first, the game was just an experimental project that was supposed to last 3 or 4 months. But seeing how well it was received we decided to make a full game out of it, so of course, some elements had to be changed in order to adapt to the new scope

 

How exhilarating an experience has it been with the amount of interest taken in the game’s mythology even at this early stage?

It’s honestly crazy. To see so many people following every step of the process is amazing. This also gives us more motivation to come up with the highest quality possible to live up to their expectations. We hope people will love the demo.

 

How instrumental has player feedback in terms of shaping the course of the project been?

I think player feedback is one of the main pillars of game development. We learned so much about the strengths and weaknesses of the game just from watching the players’ behavior. After spending a certain amount of time working on the game you become blind to certain aspects of it.

 

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Amidst the influx of Metroidvania titles throughout the eighth and ninth generations of gaming, what would you say makes Souno’s Curse stand out in your opinion?

Well first it’s not a full-fledged Metroidvania but it’s borrowing elements from the genre. Second, I really think the themes and story of the characters and the plot will leave an impact on the hearts of the players. At least I hope so.

 

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

I’d love to work with Hideo Kojima. It always feels like he is 20 years ahead of everyone else in the industry.

 

What is your opinion of the recent influx of indie developers coming out of France?

It’s great! The indie community is growing bigger, and more and more structures are being developed in order to help the developers either financially or by providing more exposure.

 

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Have there been any to have reached out to you guys for advice or to give advice throughout the development of Souno’s Curse?

Yes, many. That’s the good thing about Twitter, it’s always good to network and exchange tips and ideas between developers.

 

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

If I had one piece of advice to give it would be: Don’t hide your game until it’s “perfect”. Let people test your prototypes and ideas as soon as possible and get feedback from them. You don’t need art or animations for a mechanic to be fun. Fail early fail often.

 

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Where on the Internet can people find you?

All the detailed information about Souno’s Curse is on our Kickstarter page. We will answer all your questions there:

https://www.kickstarter.com/projects/kiroteam/sounos-curse.

 

If you want to chat and chill with us, you can join our Discord :

 https://discord.com/invite/ukSraCAaFg

 

We are posting daily content about the game development on Twitter : 

https://twitter.com/KiroTeamGames

 

Do you have anything else to add?

See you on October 1st for the Steam Next Fest and Kickstarter launch!

 

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I’d like to take the opportunity to thank Idir for taking the time to out to talk to me about Souno’s Curse and share more information about the game. If anyone is interested in backing this awesome-looking title, you can do so by visiting the Kickstarter page as of tomorrow when the campaign launches. I wish Idir and the rest of the Kiro Team the best of luck with Souno’s curse’ Kickstarter campaign and subsequent launch, and I hope you guys are looking forward to this game as much as I am!

Game on,

Scouse Gamer 88

Fur Fighters SG88 Header

Fur Fighters (PC, Dreamcast, PlayStation 2 & iOS)

Developer(s) – Bizarre Creations

Publisher(s) – Acclaim Games

Designer(s) – Jeff Lewis

Producer(s) – Brian Woodhouse

ELSPA – 11+

 

Released originally on the Sega Dreamcast, and subsequently re-released on the PlayStation 2 as the Viggo’s Revenge edition, Fur Fighters is a third-person shooter 3D platformer hybrid brought to consoles by Liverpool-based developer Bizarre Creations, and whilst not performing particularly well financially, was universally praised by critics at the time of it’s released and has since gained somewhat of a cult following as one of the most overlooked games of the sixth generation. In my opinion, the praise was well-deserved. I remember watching video reviews of the game at the time, but I never got round to picking up a copy at the time of its release. But after finally getting my hands on it and finishing it in full, I wasn’t disappointed. 

 

Graphics – 7.5/10

The game makes use of cel-shading, which was still in relevant infancy at the time with games such as Jet Set Radio, XIII, and the original Sly Cooper making waves in the early 2000s. The environments are quite varied and the character design is just as so to match. In terms of technical quality, it is about on par with most of what players can come to expect from a late fifth generation or early sixth generation game. Being cel-shaded, it didn’t stand out in terms of a technical marvel, but it comes with its own unique conceptual design, which brings a strong sense of charm to the title. 

 

Gameplay – 8/10

A third-person shooting 3D platformer, the objective is to traverse through various different levels and hub worlds shooting enemies and procuring collectibles scattered throughout the game, including tokens and rescuable baby animals. It has an element of Donkey Kong 64 to it, in that the player can take control of several different playable characters, whose abilities must be utilized to progress through certain areas of the game; for example, the dragon character Tweek can glide to reach otherwise impassable ledges, and the penguin character Rico can swim through bodies of water to reach different areas. There is a fair amount of variety to be had in this game, and whilst it doesn’t quite measure up to some of the best 3D platformers ever released, such as Super Mario 64 and Banjo-Kazooie, does relatively well to stand on its own two feet. 

 

Controls – 10/10

The game’s control scheme is faultless, provided the player picks the right control scheme; particularly in the Viggo’s Revenge edition. The default control scheme almost makes the game unplayable, however, with the movement controls being nigh-on impossible to get to grips with. It made me thankful that there was mercifully an auto-aim system for when enemies attack. In my opinion, the best control scheme to go with is the Beginner 2 control scheme; it makes life ten times easier whilst playing. I found it confusing, however, that the developers chose to associate the control scheme with the game’s difficulty because to me, a bad control scheme shouldn’t exist for the sake of adding to the difficulty, simply because it doesn’t; it just adds to the game’s frustration. 

 

Lifespan – 8/10

Lasting around 30 hours, more intrepid players looking to collect everything within the game will not be disappointed. There is plenty on offer for players who want to make the experience last as long as possible, and I was pleasantly surprised myself that there was more to play for in this game than meets the eye. I went in expecting this to be a much more generic gaming experience than what I eventually got, and the game’s surprisingly long lifespan is the main reason why. 

 

Storyline – 6/10

What isn’t so great about this game is that the plot is pretty typical. The evil General Viggo has kidnapped the families of the Fur Fighters and the team resolves to defeat Viggo and get them back. Given that each of the Fur Fighters has his/her own personalities and traits, I would’ve thought the developers would’ve found a lot more room for characterization and plot than what was ultimately included, but I was unfortunately wrong. Luckily, the added voice acting in Viggo’s revenge edition and the fact in and of itself that the different characters do have outstanding personalities and traits keep the story from being overly terrible, but there was definitely room for elaboration in this respect. 

 

Originality – 7/10

The game stands out to a fair enough extent, but the main reason why it doesn’t stand with the best of the best 3D platformers is that it doesn’t do enough to stand out; maybe this is the main thing that hurt sales of the game at the time since it’s easy to make the assumption that this game is a lot less than what it actually is. It’s unfortunate, but to play devil’s advocate, there are also reasons why this game remains a beloved diamond in the rough in the eyes of many other gamers. It’s not a completely generic game, but there are a fair few things that could’ve been worked on to give the extra push it needed at the time in my opinion. 

 

Happii

However, that being said, Fur Fighters is still a very worthwhile title. It has great gameplay elements, it’s conceptual design is just about better than good, and I would recommend at least one playthrough of it. 

 

Score

46.5/60

7.5/10 (Good)

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Dont Die Mr Robot (PS Vita, PS4, iOS & Switch)

Developer(s) – Infinite State Games

Publisher(s) – Sony Interactive Entertainment, Infinite State Games & Digerati

Designer(s) –  Charlie Scott-Skinner & Barry Island

PEGI – 3

 

Developed by small indie outfit Infinite State Games based in Bristol back in 2014, Dont Die Mr Robot is an arcade game similar to the classic titles of the late 70s and most of the 80s, which is straightforward to learn, but exceedingly difficult to master. I’ve sunk a ridiculous amount of hours in this game, and for good reason; it’s just as addicting and as fun to play like the arcade games of old that it was inspired by.

 

Graphics – 7/10

The game takes place in a world known as the electro-abyss, where flashing lights and darkness go hand-in-hand with one another. The settings are most reminiscent of Pac-Man complete with fruit and a yellow-colored main character. Where this game stands out, however, is in its surprisingly diverse variety of enemy designs. The variety gets a lot more apparent the more the player progresses as well, with different types of robots with different kinds of attack patterns designed to throw the player at every turn.

 

Gameplay – 9/10

The concept of Dont Die Mr Robot is simple, as is what is outlined at the beginning of every game by the announcer; get the fruit, avoid the enemies. Fruit blows up when collected, killing almost any type of enemy within the blast radius. Bonus points can be attained by collecting the coins that enemies drop when killed, or by merely brushing up lightly against enemies. There are several different game modes to perpetuate even more variety, including a time trial and even a mission mode. What a lot of indie developers have done whilst having made games of the same ilk as the classic arcade titles of old is to add more than what can be expected in order to keep things fresh and give players more to play for past the satisfaction of exceeding a high score, and Don’t Die, Mr. Robot is no different; that’s part of why I like this game so much. 

 

Controls – 10/10

The control scheme is perfect, presenting no problems to players with its simplicity in basic design. But at the same time, it also leaves a great deal of scope for players to hone their abilities and become as proficient at the game as possible, as more time will be spent trying to master the game as opposed to learning how it’s played. The learning curve involves finding out how to approach each game type and trying to develop specific strategies in order to take each stage as it comes; it’s especially hard, as in arcade mode, everything is procedurally generated and each playthrough presents a new challenge each time. 

 

Originality – 7/10

An arcade game with as much variety in gameplay as Dont Die Mr Robot cannot be overlooked in terms of originality. It does indeed have its influences where its basic premise is concerned, but it’s just as wonderfully varied as most of every other modern arcade game I’ve played over the last few years, including Titan Attacks, Ultratron, Curses N’ Chaos, Pix the Cat, and Resogun. It’s always refreshing to see developers keep the classic way of playing video games alive, whilst at the same time, giving old and new players a new challenge. 

 

Happii

Overall, Dont Die Mr Robot is an innovative, addicting and exceedingly tense, and fun game to play. I highly recommend it to either old-school gamers looking for a new challenge, or to newer-generation players looking to get a glimpse into how we used to play games back in the day. 

Score

33/40

8/10 (Very Good)

Q&A With Joe Mirabello

Today brings a developer interview that has been a long time in the making, and one that I’m thrilled to be bringing to you guys. One of the bigger success stories in the circle of independent video games development throughout the eighth generation was the studio Terrible Posture Games. The company was founded in Boston Massachusetts by industry veteran Joe Mirabello, who previous to this had worked with 38 Studios, working on titles such as Titan Quest and Kingdoms of Amalur: Reckoning. After 38 Studios went bankrupt in 2012 following the release of Kingdoms of Amalur, despite the game’s overwhelming critical success, Joe and a number of programmers formed Terrible Posture, and together developed the breakout indie hit, Tower of Guns in 2014, which garnished positive reviews from critics and wowed gamers with its variety in combat, catchy soundtrack and quirky sense of humor.

The ideas perpetuated in Tower of Guns would then later be built upon massively with their subsequent release, 2018’s Mothergunship, which built on the basic premise of Tower of Guns but also introduced a number of new mechanics, such as gun building and a more cohesive story mode. Most recently, Terrible Posture has been developing an episodic gamed named 3 out of 10, described by terrible posture as a playable sitcom and centering around the ill-fated game studio Shovelworks, with the game being much heavier on story than the two former titles, but at the time still perpetuating the same level of humor that Terrible Posture has come to be known for.

With myself having been curious to learn more about Terrible Posture for quite some time, I reached out to the company’s founder Joe Mirabello and requested an interview with him, and he agreed, much to my excitement. So this is what Joe Mirabello had to say about Terrible Posture Games:

 

Where did your passion for video games originate from?

From playing games, of course! And from reading comics and watching movies. As a kid growing up, games and books and movies all kind of blended together into a creative mush; I had limited amounts of time I was allowed to stare at a screen, and so I filled up the gaps with drawing, writing, and creating my OWN games and movies… just on paper.

I can’t quite say when, but sometime between the ages of 7 and 10 I switched from enjoying experiencing stories/games to wanting to MAKE stories and gameplay for others to enjoy; whether that was writing my own Choose-Your-Own-Adventures, making levels in Hyper Lode Runner, or trying to teach myself QBASIC; I found the very act of creation itself to be addicting. Even today, when I get caught up in making something it feels less like work and more like play.

 

Did you have aspirations to develop art for video games from an early age, or was there anything else you wanted to design art for before you decided to go down that route?

Oh, I want to make everything. The lines between art and story and even code are very blurry to me since they all scratch that creative itch… and I feel like you could have flipped a coin and I just as easily could have ended up making comics or films instead of games.

That said, while I did love art from a young age and wanted to work as an artist in some trade, this was in the 90s and you have to understand that no one knew you COULD even be an artist for games back then. The idea that the games were made by people with jobs? Wild! Games were magic, made by magicians only. As I grew up I started modding PC games a little and gradually that route kind of began to reveal itself but it wasn’t until college that it really dawned on me that game art specifically was a valid career path. At that point, I was already studying art and had become quite proficient in working with computers… so it was a natural transition to start messing with game art pipelines.

 

Among the first of your works was designing the art for the Titan Quest games for Iron Lore Studios. What game in the series was your favorite to have designed for?

There was only one game in the TQ series, and then an expansion pack. While I worked on a lot of the art for both titles, the first one was my entry into the industry and it wasn’t until the expansion pack that I was trusted with more ambitious assets like characters, monsters, and some set pieces. I loved making monsters specifically.

 

Were there any elements of the Titan Quest series that influenced your later work?

Honestly, the biggest lesson from Titan Quest for me was that sometimes there is extreme value in quantity. I was tasked with building hundreds of weapons on the game. To hit my deadline I would have to make them fast. Really fast. Sometimes eight or ten of them a day. And the thing is; I wanted to spend days on each one, and could have…. I could have made those weapons look amazing… and the game would have been worse for it.

The leads knew that the game’s success relied on a large number of unique special items; not just a handful, but tons. “Quality not Quantity” is a nice and easy motto to remember.. but can be the death sentence for making an actually good game. The flip side of that phrase is recognizing precisely when “Quantity is itself a Quality” of importance. It’s not every game, but with a game like Titan Quest, that mindset was crucial. While I can work with either mindset, the mark of my progress as a developer has been learning when I need to be deploying one strategy over the other.

 

One of the biggest projects you’ve worked on to date was of course Kingdoms of Amalur: Reckoning. What was it like to work on that game, and what approach did you take to designing what art you did?

I actually didn’t work on Reckoning! I mean, I guess I helped concept out the base world, and some zone concepts were shared between the two games technically but I can’t claim any credit for anything in the game. While the Reckoning team was working away on a single-player game, I was on the MMO team at 38 Studios.

 

What was it like to work with Todd McFarlane?

Todd was hilarious. All of us, including himself, would poke fun of him for wanting to put chains and skulls on everything. I didn’t get to know him too well; as he would only check in periodically with each team, but even still I picked up a few interesting art fundamentals from him. Having grown up loving his artwork, it was pretty cool to know he knew my name, even if only for a short while. I doubt he’d remember it now after all these years. 😀

 

Has Todd reached out to you at any point since the founding of Terrible Posture?

Nope! Every couple of years I get to either see or chat with RA Salvatore though, who was the NYT bestselling writer and third celebrity involved with 38 Studios. He’s very cool and offered some feedback on early builds of Tower of Guns.

 

How rewarding was it to see Kingdoms of Amalur garnish as much critical acclaim as it did at the time?

I felt really happy for the team down in Baltimore. They were kicking their own butts into high gear in order to get Reckoning out the door and it was a heck of a rough development cycle for them—predating that team’s relationship with 38 Studios actually. They should be proud of all the work they did.

 

Of course, 38 Studios folded shortly after the release of the game. What was the experience like on the last day in the office?

It was rough for a lot of people. There were people who were heartbroken. There were people who were in incredibly dire situations financially, medically, or emotionally. Curt Schilling, the celebrity that ran the studio, kept leading everyone on like there was going to be some last-minute financial solution to keep us all working, but it never materialized and toward the end, a lot of people felt conflicted and betrayed.

For my part, I felt guilty; like perhaps I hadn’t worked smart or hard enough. I also felt extreme guilt because there was so much stress and hurt amidst my colleagues… and I did not feel the same. I felt guilty because I was already thinking about “going indie” someday… and the whole closure of 38 was literally the kick I needed to start making Tower of Guns.

 

Were there any further projects planned by 38 Studios following the release of Kingdoms of Amalur, and any information about that which you can share with us?

Well, I was on the MMO project.. that project was the one that started it all, and then Reckoning came along while we kept plodding away on the MMO. There’s some video footage around the web if you look around enough. It was an ambitious project and I spent years working on the technical systems for the environment team, working closely with engineers on terrain, lighting, cinematics, dungeons… it always felt like I was working on something different there and I was quite proud of the visual richness of the world we’d created.

 

Do you still keep in touch with any of your former colleagues at 38 Studios, or have any of them since gone on to join you at Terrible Posture?

Oh, we keep in touch. When a studio as big as 38 implodes, which does happen from time to time in this industry, the team scatters all at once. In a way, it leads to a network of former coworkers, all looking together, and all sharing the same, well, trauma. I would happily work again with many of these people, and I like to think many would want to work with me again. And, in an instant, we scattered all over the world. This network was crucial to helping a lot of the team find new jobs at other companies, both right after the closure and then later, throughout our careers.

As for me personally, I did end up working with a couple of former 38 Studios folks. Most specifically, Chris Zukowski, Master of all things Tech Art and Beyond. He and I have worked closely for years now as a duo, both on Mothergunship and on 3 out of 10. I’ve also gotten a lot of them to help playtest, occasionally help with a little art or sound, and similar things. I would not be surprised if I work with more of them in the future.

 

How exhilarated were you to see Kingdoms of Amalur remastered recently for eighth-generation consoles?

I felt amused, actually. Reckoning’s rights were purchased by THQ Nordic, which used to be just “Nordic Games” or something like that… but they seem to be going around buying everything I’ve ever worked on. They bought the rights and remastered Titan Quest as well! And the rights to the THQ name itself, who published Titan Quest! It’s like they are chasing me! If they are true completionists maybe they’ll ask if they can remaster Tower of Guns someday!

 

Where did the name Terrible Posture come from?

I earned that name through years of hard work not sitting up straight.

 

The impression I got from playing both Tower of Guns and Mothergunship was that the team had a lot of fun during development putting a lot of humorous and random things into the final game. Is having fun one of the main focuses for you and the team while making a game?

Hah. I’m glad the games have that impression. Not all parts of making a game are fun, but generally speaking, if you’re not enjoying the work then that will be reflected in the final game. Enjoying yourself is crucial to making something that fosters, well, joy.. which is what we wanted from both of those games.

 

Of course, going from designing games for others to designing games yourself would’ve come with its own series of complications and challenges. But what was the feeling around Terrible Posture when Tower of Guns went on to become as successful as what it did?

Honestly? It’s been such a whirlwind that I haven’t been able to take a step back and take stock of it. I went from being solo and thinking that Tower of Guns was just a sabbatical to suddenly having a second career on my hands. It’s been a fun, wild ride and I have no shortage of other ideas to bring to people in the future, so I sure hope we can continue to do what we do.

 

I remember Mothergunship being a pretty big deal for an indie game at the time. What was it like seeing that game receive as much critical acclaim as it did; especially when compared to many of the mainstream games you worked on?

It’s interesting that you say that; we were seeing a wave of other excellent titles coming out around then and were intimidated. It was simply a more crowded place to make games than it had been when Tower of Guns was released. That said, I am pleased so many people have enjoyed the game, as it really was a blast to make. I still think future games could even go further though; Tower of Guns and Mothergunship were popular, but I don’t feel like they broke into the mainstream the same way a game with a multi-million dollar marketing budget does. It would be wonderful to work on that sort of game again someday.

 

What was it like for you and your team to make the transition from developing more traditional games to something a little more akin to a visual novel with 3 Out of 10?

3 out of 10 isn’t really a visual novel as much as a playable sitcom… and it was really a labor of love. We had wanted to work on something more story-based for a while and we had a blast developing a unique pipeline and content creation toolset. In a way, me and Chris Zukowski, saw an opportunity to do interesting things using Unreal 4, storytelling, and fast iteration animation, and when we presented the project to Epic, they saw the vision as well. That aspect of the project; working closely with Epic Games to make something completely different, was the chance of a lifetime.

 

What’s next for you and Terrible Posture?

We’re always working on interesting things, most of which I can’t talk about just yet, but I can say that we recently partnered with a company named DJ2 to start working on a television adaptation of 3 out of 10. The project is a natural fit for TV and we’re eager to see where that goes, but we also know that the TV industry moves at a much different pace than games… so we’re keeping ourselves plenty busy with other projects as well.

 

Is there any genre of game that you haven’t yet tried to develop that you might like to at some point?

Well, due to the nature of 3 out of 10 we were able to explore a TON of different genres; puzzle games, rhythm games, Zelda clones, pinball, platformers, car combat… heck, even a physics-based-stealth-quasi-golf-game where you put around a pet crate.  That said, I have always wanted to work on a stealth FPS.. so perhaps someday that will be in the cards (although I’m not working on one currently).

 

If you had the opportunity to work with another developer on any franchise of your choice, which one would it be, and why?

Oh, man. That’s a tough question. Honestly, I consider myself lucky to be working with Zuko, my coworker I mentioned earlier. He and I work very well together and we do pretty awesome stuff. That said, there are other developers I really admire and would love to work with someday. For example, I’d love to work with EdmundM on“The Maxx” game or a horror game with Kenneth Scott. I’d love the chance to make a Tremors game. Or to work on a new Thief game. Or to revive the No One Lives Forever franchise, a criminally forgotten series.

 

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

Unfortunately, the route I took to get into the industry isn’t the same one most developers take now; back in the early 2000s you simply had to show up and be moderately skilled in a technical discipline (like game art is/was) and the industry would pluck you up.

The show-up-and-be-skilled part is still partly true, but the base skill level is much much higher these days. That said, another tactic I used; teaching myself as much as I could through tutorials, side projects, modding scenes, and online communities has become even more viable than it was 20 years ago. These days, the knowledge of how to make games isn’t nearly as gated and tools like Blender, UE4/5, and similar are ever-more accessible. So, today the trick is not getting discouraged. It takes time to gain skill. It takes work and momentum and motivation to keep going. Find ways to give that motivation and you’ll have half the work done.  For example; make a lot of smaller projects so you will finish them. Or, instead, enter game jams, which have a set deadline. Or, instead, join a mod team for some project, where you will have teammates. Or enter an art station contest. Or basically, do whatever it takes to fool your brain into not freaking out about what you don’t know and to just create—that’s the most important thing. Make terrible stuff and then edit your next thing to be a little better than the last. It’s easier said than done, but that tactic is still a valid route to improvement at most trades, game development included.

 

Is there anything else you’d like to add?

Sorry, it took me so long to reply to you! Thanks for having me though!

I’d like to take this opportunity to give a massive thank you to Joe and wish him and Terrible Posture Games the best of luck for the future. Joe and Terrible posture have produced some of the most creative and addicting titles of the eighth generation in my opinion, and I can’t wait to see where the company goes next in terms of new ideas and new projects. With the many ideas that Joe has in the pipeline, I believe Terrible Posture has the potential to go even further than what they have already gone in such a short span of time, and It’ll be very interesting to see what they come up with next. If you’re interested, you can follow Terrible Posture by subscribing to their mail list via the link below:

https://www.terribleposture.com/

But in the meantime, I hope you guys enjoyed this interview because I certainly did.

 

Game on,

Scouse Gamer 88

 

SG88 Ender Lilies Header

Ender Lilies: Quietus of the Knights (PC, PlayStation 4, Xbox One, Xbox Series X & Switch)

Developer(s) – Live Wire & AdGlobe

Publisher(s) – Binary Haze Interactive

Director(s) – Keisuke Okabe

Producer(s) – Junichi Asame

PEGI – 12

 

Released last month to overwhelmingly positive critical acclaim, Ender Lilies: Quietus of the Knights is a Metroidvania title, unlike most others. Combining dark fantasy with Japanese anime, it presents players with challenging gameplay reminiscent of the Dark Souls series and incorporates beautifully twisted mythology that results in a roller coaster of emotion from beginning to end. Some time ago, I had written a first impressions article on this game:

https://scousegamer88.com/2021/02/01/ender-lilies-quietus-of-the-knights-first-impressions/

And I summarized my astonishment at just how good a game the developers seemed to be promising players. After finally finishing this game, I was anything but disappointed.

 

Graphics – 10/10

The game’s visuals make use of 2D sprites and environments similar to many modern-day Metroidvania classics such as the Ori games and Dust: An Elysian Tail. Albeit, Ender Lilies has a much darker atmosphere than either of the aforementioned games combined. Taking place in the sorrowful environments of Land’s End, the world had been ravaged by an evil entity known as the Blight, causing death and destruction throughout the world. Each location across the game is suitably scary and ominous, but at the same time, the game presents players with a feel of simultaneous beauty and melancholy in elements such as the soundtrack and certain other environmental designs. It’s rare that I’ve played a game that has such a stark contrast between eloquence and darkness as Ender Lilies does.

 

Gameplay – 8/10

The game is a 2D Metroidvania with RPG elements. Throughout the game, the player acquires more abilities to advance to otherwise impassable areas, in lieu of Metroidvania tradition, but new abilities in combat can also be learned throughout in the form of defeating both the main bosses and a series of sub-bosses that offer lesser, but strategically valuable abilities that can be used in accordance with either each situation in combat or for the purposes of exploration, and there’s certainly a lot of exploration to be had in this game. Backtracking is an important feature of this game, with players being able to discover many new and even secret areas within the game. But most prominent of all is the level of challenge that it presents players with. It’s not quite on the same level as Blasphemous in this respect, but it’s most definitely not a game for the faint of heart. Oftentimes, I found myself wondering whether or not I was in a more advanced area of the game than what I ought to have been, only to realize that I was completely on course to finishing it at almost all times. 

 

Controls – 10/10

As is needed in a game like this, the controls also pose no problems thankfully. If there had been any issues, it would’ve caused bigger problems than what it would in a game of reasonable difficulty, since Ender Lilies is a lot more demanding than the average Metroidvania. But any slip-ups where this game is concerned will be down to the player. It takes a great deal of skill and experience to advance through this game, but thankfully, the controls will not slow players down. 

 

Lifespan – 7/10

The game can be made to last a total of 22 hours, give or take, which for a Metroidvania is a reasonable amount of time to last. It’s nowhere near on the level as what Hollow Knight can be made to last, but this puts it on par with the average 2D open-world title at least. With any luck, the developers did leave scope for expansion in the form of either a sequel or DLC because this is a series that is most definitely worth continuing after one game, but only time will tell on that one, unfortunately. 

 

Storyline – 8/10

The story of Ender Lilies focuses on a young white priestess named Lily, who after waking up in a derelict church, discovers that the world has been ravaged by entities such as the evil Blighted creatures and the Rain of Death. Aided by numerous incorporeal allies, who are the last remaining remnants of individuals who were affected by the Rain of Death, Lily resolves to put an end to the curse and thus restore Land’s end to its former glory. As I commented in my first impressions article, I noticed similarities early on between this game and Shadow of the Colossus on the thematic level, as the game seemed to perpetuate the same feeling of bittersweetness throughout. Having played through it in its entirety, I stick by my initial assessment. The game takes the player through a whirlwind of emotion that will have them on the edge of their seats as they discover the backstory of each ally acquired throughout the game and ultimately discovering the fates of Lily and Land’s End

 

Originality – 7.5/10

Although the idea of a Metroidvania RPG had been perpetuated before on numerous occasions, the elements that make this game stand out among most other Metroidvanias, as well as other games in general, is in the atmosphere that it presents throughout, as well as it’s beautifully distorted mythology. Eldritch horrors litter Land’s End throughout, the game provides players with a wonderful contrast between beauty and horror, and it’s unlike anything I’ve ever seen in a video game, making it truly an unforgettable experience that players will savor for a long time. 

 

Happii

Overall, Ender Lilies is most definitely one of the best games I’ve played of 2021; it’s a weird and elegant game that will give players a stern challenge and along with that an immense sense of satisfaction, but at the same time, leave them with a profound sense of wonder after experiencing the story. It’s exactly the game that those in the Momodora series should’ve been.

Score

50.5/60

8/10 (Very Good)

Mages Defence Header

Q&A With Happy Eagle Games

Whilst browsing social media platforms for new video game prospects, I was approached by yet another indie developer looking to bring their game to a wider audience. Mages Defense, under development at Happy Eagle Games based in Brazil, is an action-strategy game with tower defense elements set in a fantasy world reminiscent of the works of Tolkein. The main objective of the game is to protect a crystal from dark creatures bent on destroying the world. Enemies attack in waves and to defend the crystal, players must place traps in increasingly strategic ways and use the magic of the mages to beat each wave. 

Wanting to know even more about this exciting and addictive-looking title, I proposed to the game’s project leader Felix Tedesco about the possibility of conducting a Q&A for the site to ask him some questions about the direction in which development has gone, and my go, and what players can come to expect with this game ahead of the launch of a Kickstarter campaign planned for October. Here’s what Felix Tedesco of Happy Eagle Games had to say about Mages Defense:

 

Mages Defence 1

What were the influences behind your game?

One of our first influences was that Orcs Must Die. Orcs Must Die is a 3rd person tower defense and we got a lot of elements from there and definitely this game shapes ours. The other game that inspired us was kingdom rush, another tower defense game that gave us a lot of new ideas…

 

What has the developmental process been like?

The process has been fun and positive. We committed so many mistakes, more than we can count, but all mistakes we made became part of us and we learned from them. Of course, we are going to commit a lot more, but we know that is part of the plan.

 

How close are we to seeing the finished product?

We intend to make a Kickstarter campaign in October to gather some money and finish our product. Depending on how the game goes on Kickstarter, we are planning to develop some new and unique levels and release the game early next year. Probably February or March…

 

Mages Defence 2

What has been the most exciting aspect of development?

We think it was the fact that we are creating our own technique because it’s our first big game. We made a lot of mistakes in the process that made us much more ready for the next one. For the next game, we know how to avoid the mistakes we’ve made and that makes us stronger. We learn how to work as a team and to overcome problems.

 

What has been the most challenging aspect of development?

The mechanics were the most challenging part of development. At the beginning of the project, we had some trouble making it fun, simple, and functional and even after making a lot of the game, we still needed to adapt and change some parts of it.

 

There was limited information on the Internet about Happy Eagle. Can you give a rundown of the history of the company, where you’re based and what prior developmental experiences you have?

We were acting in some game jams, especially here in Brazil. We made some small games and prototypes to train our abilities and gain some experience. The name came because we are focused on creating happy, fun, and positive games especially because of the world’s problems we had. We think the main goal of life is being happy and that’s why we are focused on creating a fun and colorful game. The eagle means that we want to fly as high as possible and we are going to do everything in our control to make it happen.

 

Mages Defence 3

How well has the game been received so far?

We just showed the game to a local community at the moment… The feedback is being pretty cool and helped us to build a new perspective of the game. Because of the feedback, we think it has a lot of potential, and we are making the best product we can! We are working on a great Demo that will be ready in October for our Kickstarter campaign.

 

What platforms are you looking to bring the game to?

We just have plans to bring it for PC right now. But we are open to new possibilities.

 

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

We are reworking on the Boss fights. We planned something that we were pretty cool with in the beginning but when we build it, it wasn’t good enough. So we are making the fight with the bosses again. The initial idea was that the bosses would fight against the player 1 x 1. but now we are bringing the boss along the waves of enemies.

 

Mages Defence 4

Are you planning to make Mages Defense into a series, or are you and the development team looking to try something new following the release of Mages Defense?

Probably. We are going to try something new. At least this is our thought at the moment. Of course, if the game reaches great success, we are going to make Mages Defense 2 and grow our team.

 

How instrumental has player feedback in terms of shaping the course of the project been?

It was the most important thing! Their feedback made us change a lot of aspects of the game, including some parts of the mechanics making it more simple and easy to master. I think one of our difficulties right now is balance the game and the maps and the players are the keys to that.

 

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

Rockstar is my favorite company by far. I just love the idea of an open-world game where you can do everything and if I had the opportunity, I’d make a partnership with them.

 

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

Follow your dreams. Work with whatever makes you happy… Of course, that is not a possibility for everybody but go for passion instead of just money. Money needs to be the consequence, not the goal. If you are really committed to something, the money will come. Be Hunger!

 

Where on the Internet can people find you?

We are working on our other media. You can find us right now on Twitter:

 

https://twitter.com/CreativeFelix

You also can WISHLIST Mages Defense now On STEAM!

 

https://store.steampowered.com/app/1528330/Mages_Defense/

Do you have anything else to add?

We just want to thank you for the opportunity to spread our game and thanks to everyone who is helping us to make the project more and more attractive! You are awesome!!!

 

I also want to take this opportunity to thank Felix for reaching out to me and bringing this game to my attention, as well as agreeing to our interview. Mages Defense looks like a game that can potentially make for ours of addicting gameplay, and as a fan of the conventional medieval fantasy genre myself, I’m very much looking forward to learning more about the mythology behind it. In recent months, I’ve interviewed a number of indie developers originating from Brazil, including 2ndBoss Studios, Statera Studios, and Orube Studios, and the indie scene in the country is looking very exciting at the moment, and Happy Eagle is set to be another prominent example of which. I hope you guys are looking forward to the game’s Kickstarter campaign in October, and hope that you’re looking forward to playing this game as much as I am

 

Game on,

Scouse Gamer 88

Astro Colony Header

Q&A With Tefel

Seeking out interviews with developers often puts me in touch with a lot of promising programmers who are working on their game solo or as part of a small team; today’s Q&A is one of those exciting examples. Astro Colony, programmed by Polish developer and former Splash Damage alumnus, Lukasz “Tefel” Czarnecki, along with a small team of artists, designers, and composers, is a relatively new Kickstarter project that has recently been successfully funded after a third of the campaign had passed. Inspired by some of the biggest names in indie sandbox games, such as Minecraft, it focuses on the management and maintenance of a space colony, whereby players must gather resources and supplies in order to expand on their colony, explore the deepest recesses of space, and spend resources on upgrades through an elaborate research system to improve the technology required to maintain the colony. I was approached by Tefel mid-week and introduced to this potentially groundbreaking title, and I was immediately interested in learning more about it. I asked him a few questions I had about the game and what it could potentially evolve into following its successful Kickstarter campaign. Here’s what Lukasz “Tefel” Czarnecki had to say about Astro Colony:

 

Astro Colony 1

What were the influences behind your game?

Originally I was inspired by Factorio when I met developers somewhere in 2014. Since then automation genre was my favorite, so I had started the development of my own automation game. When I left Splash Damage (around 3 years ago) I met Konrad who suggested that we may want to make a space exploration game with colonies full of life inspired by Space Engineers. Astro Colony is a combination of both, mixing exploration & automation and also adding destructible Voxels known from Minecraft

 

What has the developmental process been like?

I started prototyping the game in 2018 focusing on more complex problems, like movement systems for giant space stations, docking many space stations simultaneously, creating own multi-threaded grid pathfinding systems, and other conveyor / crafting systems. When every crucial mechanic for development was in place, together with Konrad we started to plan more gameplay features, adding devices necessary from the gameplay standpoint.

During this process, I realize how hard game design may be. I got stuck few times, not knowing how to solve the problem. For example, having Astronauts arriving at the colony, but not having Cook yet to prepare food for them. I had to add Hydrotonic to the mix (produced in Hydro generator) early in the game, which fills the gap and allows fulfilling early Astronaut needs before they are specialized to produce more caloric food.

 

Astro Colony 2

How close are we to seeing the finished product?

Since the beginning, we have been planning every feature of the game carefully to not overload the scope of the project, which makes us currently very confident about delivering the game next year. We have established the main game loop with everything planned and moved to the polishing stage and bug fixing. We would still like to add some additional features, but we want to make sure that everything is fully playable and well balanced before moving to the next stage this year.

 

What has been the most exciting aspect of development?

For me as a game programmer, the most exciting was to improve our Astronauts system with a shader animation, which allows adding millions of Astronauts at the same time. It was very funny to watch poor Astronauts getting stuck in narrow corridors!

 

What has been the most challenging aspect of development?

Making sure that Voxel technology works nicely with a grid system, at the same time looking spectacular too. I am using many “tricks” to get away from Minecraft’s blocky look, but still keeping the shape where every device can be placed on the terrain precisely. Procedurally generated planets it’s a key mechanic, so I had to spend a long time to make it right! After having assisted in the development of mainstream titles such as Halo: The Master Chief Collection, what attracted you to the independent development scene? Making my own independent game was always my dream, maybe that’s why I made many prototypes in the past (my YouTube channel is full of them)!

Even before I started working in the AAA game industry, I always wanted something more! I was very excited working on Halo MCC in a fantastic atmosphere with so many passionate game developers. However I think everything got somehow predictable (not saying boring): knowing exactly what is our goal, not working on a new title but porting old ones… the situation was slowly killing my creativity. I reached the moment when I couldn’t stand it anymore.

 

Astro Colony 3

Were there any veteran developers that you got the chance to work with that offered you any advice ahead of going independent?

Yes, I met many veterans, lead developers with 20+ years of experience telling me stories about releasing games for the first generation of consoles (PSX and Xbox). Ways to advertise are now different, but challenges to overcome are still similar: you start from planning features, listen to community feedback, prepare the first MVP version which is followed by a demo and beta testing.

 

How well has the game been received so far?

During the first few days of our campaign, we’ve been overwhelmed by the community’s feedback! We didn’t realize how many people were waiting for a new automation title.

Certainly having elements similar to other successful games allowed players to immediately understand and see the potential, but many aspects make Astro Colony unique, and certainly, a breath of fresh air teases the imagination of the public.

 

What platforms are you looking to bring the game to?

Currently, we are focusing only on PC, to ensure the release next year! We have many requests from players to bring the game to iOS and Linux too, so we will put an extra effort to make it possible very soon.

 

What are the most prominent examples of science fiction that have gone on to inspire Astro Colony?

Some of the inspiration comes from science fiction films, like Ridley Scott’s The Martian and Joseph Kosinski’s Oblivion, where the protagonist finds himself alone in space, having to find and invent ways of using resources to survive.

Nolan’s Interstellar and the French comic Valérian et Laureline (from Pierre Christin and Jean-Claude Mézières) also provided inspiration for the aesthetics of planets and environments.

 

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

Like I mentioned before, every feature was carefully planned. So far there was no need of removing or reworking any of the already implemented features! Some of them were extended like Asteroid Catcher being automated with the next upgrade.

But elements of the inventory that we created previously – as the floor – are actually in need of a cut: do we really need twenty different types of tiles?!

 

How instrumental has player feedback in terms of shaping the course of the project been?

We’ve been working closely with some publishers, play-testing the game early to ensure that every mechanic of the game is easily understandable. We wish to open our game to a wider audience and sharing it with the community, but that will come when Early Access is released next year, so every player can give his direct feedback!

 

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

Blizzard company will be definitely my choice, as I was a Starcraft programmer and a huge fan of many of their titles, like Diablo and Warcraft.

 

How have your past experiences as a developer helped you along the course of this project?

Having worked as a developer in the past helped me enormously to create a realistic schedule and system to not get lost. Previously, when I was creating other prototypes, I was too quick-tempered., creating mechanics without much plan. Now, instead, I know how important is to take your time testing mechanics, ensuring that the combination with each other creates harmony and nothing is left to chance, so every next iteration is raising the quality bar!

 

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

Don’t get into solo development too early. You will always have time for your independent project and realizing the game of your dream, but gathering experience in AAA companies is priceless and gives the basis to achieve the best!

 

Where on the Internet can people find you? 

YT tutorial and development channel: https://www.youtube.com/UnrealTefel Twitter for daily updates and news: https://twitter.com/TefelDev, and obviously Kickstarter https://www.kickstarter.com/projects/teradgames/astrocolony

 

Do you have anything else to add?

I really want to thank everyone who helped us to reach our goal in the ongoing Kickstarter campaign, and I cannot wait to share Astro Colony with the players!

 

I’d just like to take the opportunity to thank Lukasz for reaching out to me and bringing this game to my attention, and also to congratulate him and the team on the game’s successful backing in such a short period of time. Astro Colony looks like a particularly innovative game, so when I first laid eyes on the trailer, it was no wonder to me that this game had been funded as quickly as it was. With the potential, it has in terms of offering variety in gameplay to players, and the interest surrounding the game’s mythology, I can’t wait to start playing this game upon release. If you guys like the look of Astro Colony and would like to fund the game’s stretch goals on Kickstarter, you can do via the link above, but in the meantime, I hope you’re all as excited for the release of this title as I am.

Game on,

Scouse Gamer 88.

Plot of the Druid Header

Q&A With Adventure4Life Studios

Some months back, I had discovered a promising title set for unveiling on Kickstarter rooted in wonder,  conspiracy, and British humor; this week, I’m happy to say I’m able to bring it to the attention of the wider audience it deserves. Plot of the Druid is a medieval fantasy point-and-click adventure game featuring humor inspired by the likes of Monty Python and other classic examples of British comedy. Developed by Adventure4Life Studios, it tells the story of a disgraced druid’s apprentice who sets out to restore the natural order of the world as we know it. What will make this point-and-click stand out on paper (depending on how funding goes) is the fact that it is potentially set to be open-ended, as players can choose to deal with different situations in however way they choose as opposed to it having one pre-determined path. The player must also use spells learned in order to solve puzzles, interact with NPCs, and progress through the game.

Eager to know more about this prospect-filled title amidst its current Kickstarter campaign, I got in touch with Adventure4Life’s CEO Yakir Israel and asked him a few questions in regards to the game, and what kind of weird and wonderful things players can expect going into it, and how it may stand among some of the very best games in the genre, such as Monkey Island, Broken Sword or Grim Fandango. Here’s what Yakir Israel of Adventure4Life Studios had to say about Plot of the Druid.

 

Plot of the Druid 1

What were the influences behind your game? 

I’m a big fan of everything related to fantasy and comedy. I also grew up on point-and-click adventure games such as Indiana Jones and the Fate of Atlantis, Simon the Sorcerer, and Monkey Island, which shape the main course of my game. When I played Book of Unwritten Tales ten years ago, I realized that the PnC genre hadn’t died, and it inspired me to make my own game with a similar fantasy setting.

King’s Quest, Harry Potter, and The Wonderful Wizard of Oz all had an impact on the setting as well. More than that, Plot of the Druid has a big mixture of influencers: The whole focus on druids comes from the Asterix comics and Radagast from Lord of the Rings, the shapeshifting mechanic comes from Visionaries – Knights of the Magical Light, the art style was inspired by the 2D beautiful hand-painted Broken Sword series, and all the wacky characters in the game took inspiration from Simon the Sorcerer, Discworld, and Monkey Island.

 

What has the developmental process been like?

I’ve been working on this game for almost six years, and there were many ups and downs. I worked full-time in hi-tech and saved some money each month to pay expert freelancers for aspects of the game that I can’t do myself, but it was a very tight budget. Some of the team members lost motivation when the budget ran out. And each time someone leaves, it causes delays to find a replacement.
Luckily, since this game is my dream, I keep moving on even so and never stop making it. Now, in the last year, I can say the team has become more stable, and I’ve also gotten small investments from people who believe in the project. These helped me release the prologue, and I came to the conclusion I have to go as soon as possible to crowdfunding if I want the full game to happen.

 

How close are we to seeing the finished product? 

My goal is to finish it by the beginning of 2023. Right now only twenty percent of the game is done, but if the game will get funded that can boost the development process. And I can reach that goal.

 

Plot of the Druid 2

What has been the most exciting aspect of development? 

After the prologue was released I got a lot of feedback, and with the experience, I gained during the years I decided to rewrite some of the story elements. It was very exciting to spot parts that weren’t working very well and improve them. I was very proud of the final result.

 

What has been the most challenging aspect of development?  

Doing optimization – I had to decrease the build size and manage the memory more efficiently. The animations are frame-by-frame, so I had to put a lot of effort into making the loading time shorter. Each load took more than 15 seconds. After optimization, it took less than 2 seconds and the build size decreased by 70 percent!

  

How well has the game been received so far? 

I would say pretty good. It’s listed as Very Positive on Steam and often I get positive messages from around the world. It’s really encouraging me to keep moving, knowing that things are going in the right direction!

 

What platforms are you looking to bring the game to?

PC is my main priority, which I think is the main audience for point-and-click games. But if I get lucky and reach certain stretch goals, I will be happy to port to mobile and consoles as well. 

 

Are there any stretch goals planned for the Kickstarter campaign?

Yes, besides the typical goals such as localization, adding voice and mobile versions, I would like to add multiple paths, two different endings, more shapeshifting abilities, CGI cutscenes, and a comic book.

 

What examples of British humor influenced this game?

In addition to the British point and click games I mentioned, Monty Python and Blackadder. 

 

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

When I rewrote the story elements, some of the concepts had to be removed or adapted to fit the new ideas. I kept the polished parts, which had taken lots of time and effort, and applied them in a different context. It’s funny since people that tried the first rough versions back in 2017-2018 won’t recognize the new version especially in terms of story and puzzles.

 

How instrumental has player feedback in terms of shaping the course of the project been? 

Usually, I trust my gut feeling, but of course, making a game isn’t just about the creator. The phase where the player’s feedback has the most impact is beta testing. I listen carefully to what they have to say and decide if their suggestion is practical and if it enhances the game experience, like if something isn’t clear or additional hints are needed. After the release, I tend to work mostly on major bug fixes to avoid unnecessary ripple effects.

 

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

I would like to make an alternate sequel to Simon the Sorcerer 2! My idea is to keep the game in the same 2D pixel style, but with a different story that starts immediately after the cliffhanger at the end, when Simon and Sordid switched bodies. So you can play as Simon in Sordid’s body at the start of the game, while you see cutscenes of Sordid in Simon’s body in the real world, trying to be menacing but no one really cares. How funny would that be?!

 

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

  1. Work on something you would like to play yourself. 
  2. Start with a small project – you can learn a lot from the dev process… you will improve later.
  3. Break your work into small milestones – each milestone achieved can boost your motivation, you will have something to show, and you can get feedback from it.
  4. Don’t wait to finish your game and then start to promote it – you need to build a community around it as soon as possible. Building a fan base takes time and effort. Spreading the word is more than 70% of a project’s success, BUT make sure the contents you send to the press are high quality!

Where on the Internet can people find you?

The best place to start is the website – www.plotofthedruid.com, from there you can subscribe to newsletters to get updates and reach our social media – Facebook, Twitter, Instagram and Discord.

 

Do you have anything else to add?

We released a free prologue last year, you can play it here:

https://store.steampowered.com/app/1544570/Plot_of_the_Druid_Nightwatch/
And like I already mentioned, being funded is crucial for making the full game, please consider

backing it: https://www.kickstarter.com/projects/plot-of-the-druid/plot-of-the-druid
There are cool rewards, such as an original big box version like the old school game used to have, the backers can make contributions and even appear in the game itself!

 

I’d like to thank Yakir for taking the time out to answer my questions on Plot of the Druid. Alongside names such as Lucy Dreaming, there seems to be an incoming influx of indie point-and-click adventure games, and Plot of the Druid, at first glance, looks like a game that is sure to deliver an extremely memorable experience to both fans of the genre and newcomers. If you’d like to back the game on Kickstarter, you can do so via the link provided, but in the meantime, I hope you guys enjoyed this one because I certainly did.

Game on,

Scouse Gamer 88

SG88 The Addams Family Header

The Addams Family (Super NES & Mega Drive)

Developer(s) – Ocean Software

Publisher(s) – Ocean Software & Flying Edge

Designer(s) – Warren Lancashire

PEGI – N/A (Suitable for all ages)

 

Initially released in 1992 by Software for fourth-generation hardware, The Addams Family game, based on the 1991 movie starring Raul Julia, Angelica Huston, and Christopher Lloyd, received mixed reviews when it came out, (much like the film), is described as a boring Mario clone, or Mega Magazine even advising players to either “watch a tree, or grow something instead”. Versions for older consoles, such as the NES, Commodore 64, ZX Spectrum, and even handheld consoles were also developed, but each of these versions is like their own games in and of themselves. 

With the original port, however, it’s interesting to me how the perception of an old game can potentially change over time. If I’d been reviewing back in the time of the Super NES, I may very well have had similar concerns to the likes of Mega Magazine, but even still, my overall opinion would have been very different, since not only do I enjoy this game a lot today, but I also played the hell out of it back when it was released. I enjoyed it thoroughly back then, and I still enjoy playing it now. 

 

Graphics – 8/10

The visuals differ slightly between both the Super NES and the Mega Drive version, but both versions do exceptionally well to capture the feel of not only the 1991 film but the franchise in general. It’s one of those games based on a license that tries to celebrate the license as much as possible, and I always enjoy a licensed game for that reason. The game takes place in and around the Addams residence, which is plagued by creatures of the night that Gomez Addams must contend with. Each area of the house is uniquely designed and differentiated from one another, giving it a strong vibe of classic Castlevania games. In particular, the portraits on the walls of the portrait gallery are excellently detailed in terms of technical performance, with the characters bearing striking resemblances to the real-life actors; not only that of Raul Julia as Gomez, Angelica Huston as Morticia, and Christopher Lloyd as Uncle Fester but also of Christina Ricci as Wednesday and Jimmy Workman as Pugsley. 

 

Gameplay – 8.5/10

Not quite a traditional 2D side scroller, the player has the option to come and go as they please throughout the Addams residence, giving it far more of a Metroidvania feel. The objective is to navigate the Addams residence and rescue each of the other family members; Wednesday, Pugsley, Grandma Addams, Uncle Fester, and finally Morticia. Throughout the game, there are several secret areas to uncover along the way, as well as different power-ups to use in order to reach otherwise impassable areas or to give the player an edge in combat. There’s also a series of pretty challenging boss fights to contend with at the end of each area; and challenging is the right word for this game, as there are also many different platforming sequences that will test even the most hardened of platformer fans. 

 

Controls – 10/10

The game’s controls are also as fluent as any good platformer was at the time. Featuring other items to use throughout, it’s actually given more variety in terms of gameplay than the average side scroller, and therefore, more functionality in terms of controls than in other games of the same ilk. There’s so much in this game to differentiate it from others in terms of controls alone that it made me wonder how even reviewers at the time couldn’t recognize that back then. 

 

Lifespan – 8.5/10

The lifespan is even longer than the average platformer, clocking in at around an hour and a half to two hours, depending on whether or not the player decides to complete it to 100%. Of course, there would be other games in other genres that would blow this amount of time out of the water, and would only continue to do so going into the fifth generation of gaming, but there’s a lot to be said for a game like this that dared to defy convention, even if it went pretty much unnoticed at the time. 

 

Storyline – 7/10

The plot of the story follows the second half of the films quite closely, Tully Alford, the Addams Family lawyer, has taken over the Addams estate and captured the remaining Addams family members, and Gomez resolves to rescue them. The plot element of the film concerning Uncle Fester is also present, as he has amnesia and he is cured of it once Gomez releases him. The plot is presented nowhere near as well as what it is in the original film, but it does a good enough job setting up the premise of gameplay.

 

Originality – 8/10

It’s very easy to overlook how quietly innovative this game was back in its time. It perpetuated a lot of the same ideas that the likes of Super Metroid and Castlevania: Symphony of the Night did birthing the entire Metroidvania genre a full two years before the release of Super Metroid. It was even quite easy for me to take it for granted back in the day since I was unfamiliar with the concepts of gaming history and even the differentiation of gaming genres at the time, but as I’ve grown older and learned far more than I knew about games since, It’s made me appreciate truly how innovative this title was. 

 

Happii

Overall The Addams Family remains every bit as much of a joy to play today as what it was back when it was released. I highly recommend this game to any side-scrolling fan who may be either looking for a challenge or looking to try a silently original game that unfortunately fell through the cracks at the time of its release. 

Score

49/60

8/10 (Very Good)