Tag Archives: Xbox

Scouse Gamer 88 Assassin's Creed Header

Assassin’s Creed (PC, PlayStation 3 & Xbox 360)

Developer(s) – Ubisoft Montreal

Publisher(s) – Ubisoft

Director(s) – Patrick Desilets

Producer(s) – Jade Redmond

PEGI – 18

Released in the holiday season of 2007, and originally intended to be released as a Prince of Persia game following the success of Prince of Persia: The Sands of Time, Assassin’s Creed marked the start of an even more prolific series of games. Whilst the first game was met with generally favorable reviews at the time, future entries would go on to establish it as one of the definitive IPs of the seventh generation of gaming, and going on to provide a basis of sorts for several games made throughout both the seventh and eighth generations, including Batman: Arkham Asylum and Middle-Earth: Shadow of Mordor. As for my own personal opinion on the original game, it is admittedly quite typical. I feel that whilst it was a very decent game overall, the best of the series would be yet to come.

 

Graphics – 8.5/10

Set primarily in the Holy Land during the third crusade, the vast open world is lovingly crafted to represent the structure and architecture of three primary cities; Acre, Damascus, and Jerusalem. The attention to detail of what these locations would have looked like during this era is staggering (something the developers of the series would become renowned for as it would go on), and though the visuals on the technical level perhaps haven’t aged quite as well as other entries in the series, they were nevertheless cutting-edge for the time, and the game is still a joy to look at on the conceptual level. 

 

Gameplay – 8.5/10

The object of the game, as the name suggests, is primarily to carry out assassination missions. Players gather information by pickpocketing, eavesdropping on intriguing conversations, and can take advantage of several different weapons and methods of combat to carry out each kill. But apart from that, there are also various sidequests to be completed throughout each of the cities, which improve the player character’s abilities. The player is also given access to new weapons and abilities after each main assassination throughout the story, such as throwing knives and additional armor. Again, more features would inevitably be added with later installments of the Assassin’s Creed series, but as far as this game goes, this provided more than just a blueprint for that. It provided players with an immensely addictive experience, going further than what Prince of Persia: The Sands of Time did. I always thought personally that The Prince of Persia revamp of the early 2000s could’ve done with a game being set in an open world, and this was Ubisoft’s answer to that concern. 

 

Controls – 9/10

The control scheme was almost perfect, which was relatively impressive, given that truly nothing like this game existed beforehand. But the biggest issue I had with it, was the one-on-one combat system. It works loosely similar to what it does in The Legend of Zelda: Ocarina of Time, with players locking onto one target at a time to attack them, whilst also being able to counter-attack other surrounding enemies in the process. Whilst it would be refined in later Assassin’s Creed games, I found it to be somewhat flimsy at times in the first, and it was at these points that I could tell that it was a new idea that needed tweaking if the series was ever to progress past this game. Luckily, however, the rest of the game’s mechanics were handled brilliantly; movement across buildings, streets, and rooftops is extremely fluent, which again, was impressive given that the idea was a relatively new thing at the time.

 

Lifespan – 7/10

The biggest disappointment that comes with the first Assassin’s Creed game, however, is the amount of time that it lasts. Whilst not being criminally short, like a lot of other games of the seventh generation, it clocks in at around a total of 30 hours, which is good, but nowhere near the time it could’ve been made to last with the inclusion of a few more sidequests, as again, later games in the series would demonstrate; especially given how the size of the team expanded throughout the game’s development.

 

Storyline – 9/10

The story of Assassin’s Creed is something that would become disjointed over time, but the first lay the foundations for something special. It begins with the main character Desmond Miles, having been imprisoned by an organization named Abstergo. Their intentions are to uncover ancient secrets hidden in Desmond’s ancestral past through a VR machine known as the Animus, which allows the user to experience the lives and events of their descendants. The experiment’s overseer, Warren Vidic uses Desmond and the Animus to tap into the ancestral memories of Desmond’s predecessor, Altair Ibn-La’Ahad, who was a senior member of an organization known as the Assassin Brotherhood. Following a failed attempt on the life of Robert de-Sable, Altair is stripped of his rank, and ordered to carry out various other assassination missions in order to restore his status and reputation among the brotherhood. 

The events of the story, from the perspectives of both Desmond and Altair, unfold into something that will be completely unexpected by players, and truly helped massively to make this game stand out as a hallmark in telling an effective story in gaming throughout the seventh generation. Although fans of the series have had mixed reactions to the directions in which the story was taken, later on, there can be no doubt that the story in the original game was expertly presented. It’s exciting, tense, suspenseful, and without spoiling anything specific, ends on a masterfully executed cliffhanger that you will not believe.

 

Originality – 8.5/10

Despite Assassin’s Creed having its many influences, such as Ubisoft’s own Prince of Persia and Grand Theft Auto, the fact of the matter is that this series has always delivered something unlike any other before it, and it was all very effectively perpetuated with the original game. Since I first played through it, which was many years ago, I’ve come to have a newfound respect for the original game and everything that is accomplished at the time. During the series’ early years, especially after the release of Assassin’s Creed II, (which remains my favorite installment), I used to look at the original game as being simply the inferior blueprint. But after having played it again recently, I’ve since discovered a new appreciation for it.

 

Happii

Overall, Assassin’s Creed, whilst not being the best game in the series, still remains one of the defining gaming experiences of its time. It’s a game that still holds up, despite its few flaws, and I recommend it to anyone looking to revisit a seventh-generation classic. 

Score

50.5/60

8/10 (Very Good)

Scouse Gamer 88 Fallout 3 Header

Fallout 3 (PC, PlayStation 3 & Xbox 360)

Developer(s) – Bethesda Game Studios

Publisher(s) – Bethesda Softworks

Director(s) – Todd Howard

Producer(s) – Ashley Cheng & Gavin Carter

PEGI – 18

 

Fallout 3 released in 2008 following a long dispute between Bethesda and Interplay over the rights to the franchise, was developed on the same engine as Bethesda’s previous seventh-generation hit, The Elder Scrolls IV: Oblivion, but provided a very different take on the RPG genre, incorporating first-person shooting elements, as well as many of the gameplay elements from the original 2 Fallout games. Although I think the best of the Fallout series was yet to come following both the release of this game, and Fallout: New Vegas. The third game in the series is a moderately enjoyable title, despite the fact that it was such a radical departure from the original Fallout formula, (which in and of itself caused quite a divide between fans), and regardless of its flaws, still does fairly well to hold up.

 

Graphics – 9/10

In stark contrast to the world of Tamriel from The Elder Scrolls, Fallout 3, like in the original series, is set in the post-apocalyptic USA following a resource war fought between America and China, but the third is specifically set in a post-war Washington DC known as the Capital Wasteland. As such, several Washington landmarks are darted across the land, such as the Washington Monument and the Capitol Building, but the environment is heavily irradiated and the city is in ruins. The visuals of this game are its most striking feature, going beyond what Oblivion delivered on the technical level, and providing something that most RPG fans at the time wouldn’t have been accustomed to, since although the first 2 Fallout games sold relatively well among the circle of PC games in the late 90s, the series didn’t find its way into the top echelon of games until the release of this title. The entire atmosphere of the game is wonderfully dark and gritty, and a lot of the locations found around the Capital wasteland make the player feel things emotionally that they will not expect to feel going into it. 

 

Gameplay – 7/10

The game is an RPG first-person shooter hybrid; a lot like Borderlands without the use of cel-shaded visuals. Players level up using the SPECIAL system that had been perpetuated since Fallout 1, and experience points are also spent on improving attributes such as computer hacking, lockpicking, and proficiency in various different types of guns; again in a somewhat similar fashion to Oblivion’s character progression system. The game also has a new take on turn-based combat with the inclusion of VATS (Vault-Tec Assisted Targeting System), which allows players to scan enemies and aim for specific parts of the body that may be more vulnerable than others in order to gain the upper hand in battle. 

Especially when the player becomes stronger over time, using VATS can feel extremely satisfying, and watching the cinematic kills has become a beloved feature of the series since. But besides this, there are a plethora of secrets, side quests, and different locations to discover throughout the Capital Wasteland that will have players hooked for many, many hours. What I would recommend is that players find a copy of the Game of the Year edition, since not only will they be treated to even more content, but this version also fixes the game’s biggest flaw, which is the inability to play past the end. 

 

Controls – 6/10

The biggest problem with this game, however, is its control scheme; especially in the early stages of the game. Because the player character is not yet necessarily proficient enough in shooting or accuracy, the lack of accuracy can become a particularly big problem; in some cases, even to the point where players may switch off early doors. It’s no wonder Bethesda later enlisted the help of id Software to hone the FPS mechanics with Fallout 4 because it is a big problem that presents itself in a very profound way in this title, especially given the countless amount of FPS games that came before it. Mercifully, the game gets better to play as the player character progresses level by level, but patience can potentially wear thin with some players as well. The Pip-Boy system can also take a little bit of getting used to at first, but that doesn’t pose anywhere near as much of a problem as the shooting does early on. 

 

Lifespan – 10/10

Given everything, there is to do in this game, and the DLC, it can take way beyond 100 hours to complete, which is long enough for any gamer to enjoy. It easily outlasts Fallout: New Vegas, since, in that game, there’s hardly anything to do in comparison, but it also greatly outlasts the original 2 Fallout games. It’s no wonder the fanbase was largely split down the middle when this game came out since despite being such a departure, there was plenty to enjoy with this game.

 

Storyline – 6/10

The story of Fallout 3 takes place 200 years after the US is destroyed in the nuclear war with China. The player character is an inhabitant of Vault 101, and after reaching adulthood, his/her dad James, voiced by Liam Neeson, leaves the vault, causing the rest of the inhabitants to descent into chaos. After being hunted down by the rest of the inhabitants, the player character is basically forced out of the vault into the harsh and unforgiving environment of the Capital Wasteland and resolves to find his/her father. It sounds simple in scope, but events later unfold into something far bigger when it’s discovered why James left the vault and the number of different factions that become involved in the situation, such as the Enclave and the Brotherhood of Steel. As well as being pretty compelling, it also stays remarkably true to the source material of the original games and provides players with a fairly engrossing experience in terms of story. 

 

Originality – 7.5/10

What makes Fallout 3 game as unique as it is are a lot of things, such as the different approach to first-person RPG combat, the contemporary settings not normal for an RPG, and the amount of controversy this game created at the time. It becomes obvious very early on that game goes places where other developers would dare not go at the time. Places such as the Dunwich Building and Tranquility Lane make for experiences that I’d never felt playing a game before, and several of the other vaults darted across the Capital Wasteland have their own sordid stories to tell. A majority of this game’s story is told through its lore, and it’s awesome to experience. 

 

Happii

Overall, Fallout 3, whilst not in my opinion is the timeless classic that other gamers tend to praise it as, is still a very enjoyable gaming experience, and in my opinion, better than the original Fallout. It’s not the best entry in the series (in my opinion, that would be Fallout 4), but it’s still a very respectable entry despite its flaws, and one of the more unique western RPGs ever developed. 

Score

44.5/60

7/10 (Fair)

Guest Article: The Full Sync Network

For today’s article, and for the first time in a long time, I have a guest blogger on to express his opinions on the current landscape of gaming and his predictions on where it may go amidst the newly ushered in ninth generation of the medium. Josh Maddox of the FULL SYNC Network and I had recently been in contact in regards to the subject and offered to have his say on the blog on the new generation of gaming as well on the most recent releases, including Monster Hunter Rise, Resident Evil: The Village and others. established in 2016, the FULL SYNC Network is a collaboration of gamers around the world specializing in news, reviews, and previews of upcoming games, as well as streaming on their YouTube and Twitch channels of games, hardware reviews, and instruction videos. So without further ado, here’s what Josh Maddox had to say about the future of gaming and the ninth generation:

 

Despite the latest generation of consoles and graphics cards launching last year, many people are still playing on old hardware due to stock issues. We all thought that may ease up as we entered 2021 but the scalping game is still strong and thousands continue to struggle to get anything. Some have succeeded, myself included with my PS5. But others still check Discord for stock alerts every day then rush over to get into queues for the stock they keep missing out on.

But let’s not dwell on it too much, easy to say since I got what I wanted, and let’s take a look at the future of gaming instead.

 

Consoles

Less than six months after the PS5 launched, Sony is already looking at upgrading the storage on their consoles and making it more accessible for those that already bagged one to do it as well. I mean, I love my PS5 but there is nowhere near enough storage on it, with less than a terabyte to spare and a chunk of that is for the firmware. But I think this is a record of how quickly a manufacturer has decided to upgrade their console following release.

Xbox hasn’t announced plans yet, but don’t be surprised to see the usual slimline versions coming out in a few year’s time. Hopefully, by then they’ll actually have stock.

I guess, the console everyone is hoping for though is an upgraded Nintendo Switch. Whilst we all love the Switch, it is extremely underutilized. I mean Nintendo is great for innovation and creativity, and they have excellent first-party titles. But what they ooze in that, they lack in a common-sense almost, never truly fulfilling potential. I mean, look at the Switch, so versatile. Can be played docked and handheld. It’s a purpose-built gaming tablet essentially, that is able to be docked and played on the TV.

However, you can’t get Netflix, no internet browser, low internal storage too. I mean, it has the technology in there of an old SmartPhone, newer ones are arguably more powerful than it. And smartphones do everything in life. So the potential is there for the Switch to do the same. Yet Nintendo seems insistent on just doing what they want to do. Which is admirable, but also incredibly stupid. Question is, would an improved Switch have better functionality? Who knows.

 

PC

When it comes to PC, the future is a strange one. VR was supposed to be the future of PC gaming, but it still hasn’t hit the heights it was expected to. But sales figures for the Oculus Quest 2 look good, and with it being wireless and suitable for smaller spaces, it is likely we may soon see the rise so many predicted. 

In terms of hardware, the newest graphics cards are all released, but as with the latest PlayStation and Xbox releases, there is hardly any stock. Scalpers have been buying it all up, and many who have got the latest GPUs have been using them for mining cryptocurrencies since Bitcoin decided to explode to over $50,000 earlier this year. Which leaves many gamers in a tough position.

Now, they could upgrade to the last-gen cards, because they’re still capable of things like 4K and decent frame rates in games. But the problem is, with the shortage, the costs of older models have skyrocketed. I bought my RX 570 4GB for £80 over a year ago, and I’ve seen the same model going for £140 nearly double what I paid. And now many of the last generation cards are even selling at higher than the retail price of new cards. But, because no one can get them, people are paying stupid money. We don’t actually know when this madness will end.

 

Games

Who doesn’t love games right? But there are always so many titles to choose from, it can be tough to decide on what to get if you’re on a budget. And with so many games coming out this year, I thought I’d just write a quick list about some upcoming titles we’re excited to see.

  • Outriders – Developed by People Can Fly and published by Square Enix, Outriders is a third-person RPG adventure due to release April 2021.
  • Guilty Gear – A fighting game from Bandai Namco that is very anime-based in style. This was also due out in April 2021 but has since been pushed back to solve issues that cropped up in the latest beta tests.
  • Resident Evil Village – Due out in May, the latest installment to the Resident Evil series looks to be one of the most intriguing and detailed yet. A must-have for horror game fans.
  • Monster Hunter Rise – Following the release of the Monster Hunter movie, the newest addition to the popular game series launches later this month.
  • Back 4 Blood – Back 4 Blood is an upcoming multiplayer survival horror game developed by Turtle Rock Studios and published by Warner Bros. Interactive Entertainment. It has major Left4Dead feels to it, and had incredible feedback after the latest beta tests. This one is due out a little later this year in June.

But it’s not entirely new games that are coming out. There are a whole bunch of remakes and remasters too. Two of the most popular people are looking forward to our Prince of Persia: Sands of Time, and Oddworld: Soulstorm, which is a reimagining of the classic Oddworld: Abe’s Exodus. Still, I seem to be waiting on a remake of my beloved childhood title Croc. I was hoping with the reintroduction of Crash Bandicoot and Spyro that this would follow behind shortly after, but alas, nothing so far.

 

What are your thoughts?

There you have it, our thoughts on the future of gaming this year. But what do you guys think? Will we see a “Switch Pro” in 2021? Will stock of new consoles and graphics cards ever become more accessible? Is there a game you think we should be checking out not on our list? Or maybe you agree we need a Croc remake and want to start a petition with us? Whatever your thoughts, let us know what you think in the comments below or over on our social media channels.

 

I’d like to take the opportunity to thank Josh for taking the time out to contribute to the blog in what is truly a fascinating read about the possibilities and the limitations that very well come with the advent of the ninth generation of gaming. If you’d like the check out the various different platforms FULL SYNC operates out of, all links are below:

Main Site – https://fullsync.co.uk/

Facebook – https://www.facebook.com/fullsyncnetwork

Twitch – https://www.twitch.tv/fullsyncgaming

YouTube – https://www.youtube.com/channel/UCvrGKhe7y4gTmgD2pxxBsAA

Twitter – https://twitter.com/fullsyncnetwork

Gamer’s Apparel – https://gamersapparel.co.uk/store/fullsync

Be sure to check out their stuff, but in the meantime, I hope you guys enjoyed reading what Josh had to say, and if the opportunity comes about for me to work with FULL SYNC again, it will be up on my social media pages too.

Game on,

Scouse Gamer 88

Scouse Gamer 88 Enter The Matrix Header

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

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 this day in comparison with any other sixth-generation titles. There is the 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 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, 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 similar 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 show 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, which 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 comparing 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 told from the perspective of the 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 and 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)

SG88 The Simpsons: Road Rage Header

The Simpsons: Road Rage (PlayStation 2, Xbox, GameCube & Game Boy Advance)

Developer(s) – Radical Entertainment & Altron

Publisher(s) – EA &THQ

PEGI – 3

 

Developed by Radical Entertainment and released for a number of sixth-generation consoles, The Simpsons: Road Rage is a driving game similar to Crazy Taxi; so similar in the fact that Sega ended up bringing a lawsuit to Fox Entertainment, which was settled before it went to court. The home console version received mixed reviews upon release, which the Game Boy Advance port was universally panned. I would put it in the category of it being a mixed bag as opposed to it being an overall negative experience; the game, while flawed, does have some redeeming quality to it and is a relatively enjoyable title to play. 

 

Graphics – 7/10

The game is set across various locations throughout the town of Springfield, the Downtown district, and the Nuclear Power Plant to name but a few. The visuals were one aspect at the time that was heavily criticized upon release of this game, but I’ve never understood why other reviewers had such a gripe with them. They’re technically sound as they look just as well as any other early sixth generation game, and it’s among the first games to have cel-shaded visuals, which helped to make it stand out at the time. The graphics are also conceptually sound, as it has exactly what a player would expect playing a game based on The Simpsons; cartoonish graphics that aren’t necessarily cutting-edge. What’s more is that all the original voice actors are present, which again, only adds to the feel of what was to be expected. 

 

Gameplay – 7/10

A driving game by genre, whilst it does borrow heavily from Crazy Taxi, there are also a number of distinct gameplay features as well, such as bonuses given for either careful or reckless driving, a cast of familiar Simpsons characters, and vehicles to unlock and a story mode. The similarities to Crazy Taxi never bothered me as much as it bothered other players. The way I see it, It’s a lot like comparing Mario Kart 64 to Diddy Kong Racing; Diddy Kong Racing had more distinct features to it that provided a lot more entertainment than Mario Kart 64 in my opinion, making it the better game. Likewise, I actually prefer The Simpsons: Road Rage to Crazy Taxi. 

 

Controls – 8/10

The controls were another aspect that critics had problems with as well, and in this respect, I can empathize with their concerns to a certain extent. It can be very easy to unintentionally crash into things due to very sensitive collision mechanics and it can cause some issues that can’t necessarily be put down to how reckless players are driving at the time. There are shortcuts around each track to make for smoother driving, but I think the game would’ve benefitted from there being more of them to add to the game’s fluidity. That being said, cars are a lot easier to handle than what they are in many other racing games, so there are issues that other critics had with this game that I still disagree with in terms of controls. 

 

Lifespan – 8/10

Thanks to the inclusion of a story mode and a high score system, the game can take an unprecedented amount of time to finish, which impressed me greatly. 20 hours is the average lifespan of this game; this is the time it takes to unlock every course, unlock every character, surpass all the high scores, and get through the story mode. I can’t help but think that if there were more of an incentive to collect as much money as possible as opposed to simply the high score, then there would be a little bit more to play for, but still, I was taken aback by just how long it took to beat this game when I beat it at the time it came out. 

 

Storyline – 5/10

The story of the game involves the Simpsons, as well as several other familiar characters in the series, setting up their own taxi services in order to compete with, and eventually drive out, a dangerous radioactive bus service set up by Mr. Burns. There are a couple of jokes thrown into cutscenes that are somewhat reminiscent of the golden age of the Simpsons throughout the 90s, but depending on which character the player selects, there’s not the level of comedy you would expect from a Simpsons game. The best characters to pick for that are simply the funnier characters that exist within the show, like Homer, Moe, and Krusty the Clown. 

 

Originality – 6/10

There’s no denying that Crazy Taxi was a major influence behind this game. However, as I stated earlier, this game was one of the first to make use of cel-shaded visuals, which would go on to be used in games of major franchises, such as The Legend of Zelda and Borderlands. Jet Set Radio was the very first, but it’s because of elements like that, as well as what gameplay differences there are compared to Crazy Taxi, which makes this game stand out more than what people may realize. 

 

Niiutral

Overall, The Simpsons: Road Rage, whilst not being the game had the potential to be, is by no means a completely disappointing experience. It has plenty to do, great visuals, the quirky cast of Simpsons fan favorites, and all the best things about Crazy Taxi intact, which makes for the better game out of the two in my opinion. 

Score

41/60

6.5/10 (Above Average)

The Twelve Tales of Chris Seavor Part I: Early Life

Full Article Here

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:

 

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!

 

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.

 

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

Full article here

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.

 

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, 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)

 

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.

 

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

Full article here

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 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.

 

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 )

 

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.

 

Where 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.

 

Part IV: Gory Details

 

The Twelve Tales of Chris Seavor Part IV: Gory Details

Full article here

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

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:

 

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!

 

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.

 

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…)

 

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, 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)

 

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.

 

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 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.

 

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 )

 

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.

 

Where 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 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