Life after Kickstarter: Catching up with The Corridor
Around this time last year, I happened across a rather interesting indie horror game called The Corridor: On Behalf of the Dead. Developed by Bradford-based indie studio Desktop Daydreams, it’s a 3D first-person horror game coming to PC and Xbox One, and, if I may say so myself, I think it looks pretty damn cool.
You haven’t heard of it? Allow me to bring you up to speed. The game places you in the shoes of Ri Anderson, a Custodian (think a neurological Sherlock Holmes mixed with equal parts Judge Dredd and Inception‘s Dom Cobb and you’re on the right lines) who has to enter the mind of a suspected murderer and navigate through their various memories to get to the truth of a (probably rather grisly) murder case. This process of entering minds and poking about with their memories is facilitated with the use of a special program called The Corridor (think The Matrix‘s VR program, only with less gun-blasting lobby scenes and designer sunglasses and more creepy monsters and mind-bending madness). As the name might suggest, the program displays the suspect’s mind to the Custodian as a virtual corridor, which acts as a hub area from which the player accesses the various scattered memories of the subject. I say scattered, because the order in which they are accessed is randomised each playthrough. The player has to navigate their way through mysterious mental echoes to find important clues, avoid creatures and gradually build up a case of evidence in order to make a final judgement on the suspect at the climax of the game.
Sounds neat right? Intrigued by the game and its curious cognitive concepts, I previously spoke to the game’s Designer, Tim Newsome-Ward, on the eve of the game’s August 2014 Kickstarter campaign to find out more. Although the game generated positive media coverage, was selected for Steam Greenlight and picked up plenty of new fans along the way, in the end the project sadly didn’t reach its minimum funding goal. Since then we haven’t heard much from the Desktop Daydreamers, and to an outsider, it looked like the lights might have ultimately been switched off on The Corridor for good.
Thankfully, I can tell you right now that this is definitely not the case. I once again met with Tim and his colleague Darren Flowers, Desktop Daydream’s Creative Director, to talk about what’s new with The Corridor, and it sounds like things are very much full scream (sorry) ahead.
“It’s a been a tough road,” laughs Tim good-naturedly as he nurses a hot cup of coffee, “We’re still going strong even though we’ve had a rollercoaster ride at the beginning of this year.” It’s a bright sunny Bradford morning when I meet Tim and Darren, and in contrast to their pleasant and cheery company, the nice weather and the plush furnishings of Waterstones’ cafe, I’m about to learn just how dark and tough this rollercoaster ride through the harsh reality of indie development has been for the tiny two-person studio. I kick things off with a rather unsophisticated opening question; what happened next after the Kickstarter failed?
“We had to think positively,” Tim recalls. “Steam have given us the okay, so we thought look, let’s keep working on the game keep pushing as far as we can.” Their resolve to keep going in the face of adversity is even more impressive when it’s revealed that the team’s programmer left the project at the end of last year. “We got to Christmas, and then our coder Chris left, so we lost our technical side. As a designer I’m part technical and part arty, and Daz is full art on the creative side of things, so we just thought oh shit!” he laughs. “We’ve known Chris since university, and we mean no disrespect to him; he had other things to do and his own financial concerns to deal with. He had to move on. We still talk to him and he’s still interested in working with us at some point, but basically he couldn’t dedicate the time that we needed and that’s fair enough.”
Chris’ departure inexorably forced the team into the unenviable position of having to find a new programmer – fast. “Everything we’d done up to that point was just a prototype, there were no solid or fixed frameworks; everything was hashed together to get a playable idea down. What we really needed was someone who could come in and tackle the engineering side of things. Someone to come in, take the reins and tell us what we need to do from a tech standpoint. We were humming and hawing for ages, but eventually we just turned to the community to see if there was anyone who liked the idea. We set up a post on the Unity forums at the beginning of this year which contained a few screenshots and the basic premise of the game.”
Little did they know however, that their programming soulmate was just around the digital corner. “We got tons of replies from coders, so it took a while to sift through all these applications. Eventually, we contacted Tony Li from Pixel Crushers in the States – he’s been fantastic as he bought into the whole idea and just gets what we’re going for completely. There was just something about Tony that made you know he was going to deliver; he was very much to the point and he came across with a lot of confidence. He was really good because he just knew what we needed and was totally professional. We sent Tony the GDD (Game Design Document) and he read through it and said what would work and what wouldn’t. We actually ended up ripping out more or less everything we’d started with and started again from scratch.”
On top of the personnel setbacks, another big concern from a technical standpoint was the game’s engine. Up to this point, The Corridor had been developed using Unity 4, but the release of the shiny new Unity 5 engine in March 2015 posed an enticing, but costly temptation for Desktop Daydreams. “Unity 5 had just launched and we thought wow, that looks nice! We’d already built a lot of the game in Unity 4 by this point – we had about five or six full levels finished and looking nice with the physically based shading kit, so we set these up in another test project and started converting them over to Unity 5.”
The decision to move things over to the newly announced Unity 5 was a particularly agonising choice for Darren. “I went kicking and screaming into Unity 5!” he laughs. “I didn’t want to do it at all, because there’s only two of us tackling this side of the game, so to completely changeover from Unity 4 to 5 would be a lot of work. We’d both put so much time into the game already, but were at a point with Unity 4 where I think we’d pushed it to its limits.”
Nevertheless, as Darren explains to me their visual aims for the game, it certainly sounds like all the extra work that went into migrating the project over to Unity 5 was well worth the trouble. “The main thing we had to be sure of was that it would be visually acceptable. We’ve set ourselves quite a high mantle – we’re not skimping anywhere, and if there’s something that doesn’t look right then we do it again. At first, when opening what we’d already made in Unity 4 in the new engine, it didn’t quite have that ‘wow’ factor, despite all the new shaders, lighting and textures in there. Now though, there’s nothing of the original game left – we’ve rebuilt everything, and it all just looks totally different and so much better now. We’ve worked on levels where we’ve completed everything, and then decided it’s not good enough, so we scrap everything and start again. It can be quite tearful binning something that you’ve spent the past six months working on, but we’ve had to do it because we want the game to look and feel the best that it possibly can.”
“Basically, we started the whole game again, and reassessed everything,” Tim adds. “With the new lighting, everything has this new realistic look to it because of the new physically based shaders and stuff, it works really well. It feels a lot more in line with other games that are already out there, but it’s going to take more time yet. We’re getting to a point where in the next few days we’ll be at the Alpha stage, all the in-game systems and mechanics are present and working. We’ve still got to do a lot of work in terms of getting levels and memories working, and getting the actual gameplay of those levels up to scratch, but because all the base frameworks are in place that will be a lot easier now. Looking back, we’ve done the right thing moving to Unity 5 because we think that we’ve got a much better game now as a result.”
With a new programmer in place, and the migration from Unity 4 to 5 well underway, Desktop Daydreams’ next move was to seek out potential publishers. Tim and Darren reached out to Microsoft, specifically their ID@Xbox program, who were quick to help step in and support the game. “We thought about what we needed to do next and decided to approach Xbox One and the ID@Xbox team. Having been Greenlit on Steam gave us a bit of leverage, and Xbox shipped us through the ID@Xbox onboarding process really quickly. We’ve got the XDKs, they sent the kit out really fast. It was really surprising and nice because they wanted to see a bit of the game, some screenshots and what figures we’d got from Steam. They were really good and supportive – it was like wow, we’ve got some kit from Xbox, even though we haven’t really got anything solid to show yet! I think they just saw the idea, thought that it was good and decided to get us onboard.”
Understandably in light of the tumultuous events, the game’s release window has now been delayed to Spring 2016. “Originally, we were aiming to have the game out by Christmas of this year, but with all the setbacks with losing staff and upgrading to Unity 5, it’s pushed us over into next year. I think towards the first quarter of next year, around April-ish hopefully. It’s going to be another few months before we get to Beta, but once we’ve signed off on the Alpha and we’re happy with everything, the Beta will progress pretty quickly as it’ll just be a case of building levels, building the gameplay in those levels, getting the story working and then testing it all. Testing is a big phase though, so we’re thinking of trying a closed Beta. We would like to do an open Beta, but with the game being so story-focused, we don’t want the narrative to get out there and onto YouTube before the finished thing is actually out and ruin it for people. We might release some specific playthrough videos or small slices of trailer footage, but it’s tricky because of course we want people to play it, but we also don’t want to give away the story. When you’ve only really got two people working full-time on a game and you’re going for top quality on all parts of it, then it does take time. It’s all part of the cycle of development; it’s been hard work, but we’re getting there.”
“We’ve been working on this for so long, and we’ve had such a knockback with the changeover to Unity 5 – all those events have put us back at least six months or so at least – that we don’t want all the people who helped us get through Steam Greenlight to forget that we’re still bringing this game out,” Darren earnestly attests. “Hopefully the game will have matured a lot, and it’s now just about giving us the time to get the finished thing out. But hey, these things happen when you’re making your own game with basically just two people and no budget!”
Without a central office for the team to work out of, there’s also a pressing need to keep morale levels up amongst everyone on the team. As well as Tony, Tim and Darren also regularly collaborate with animator Andreea Lintaru, but due to both geographic and chronological concerns, it’s hard to find time when everybody is free to touch base. “I think for a team to successfully work virtually without an office, everyone needs to be self-disciplined and have that drive to get up and do what you need to do,” says Tim. “Otherwise, you’re going to lose motivation and it’s just not going to work. Thankfully though, the DIY attitude of indie development certainly seems to have focused the team’s ongoing efforts, and kept them a close-knit group. “We’ve been working on the game for over two years now. We’re such a small team for a project of this scope and we’ve got to do everything ourselves. It’s an exciting process, but in terms of finance we’re running on fumes really. It can be a strain at times, but that’s also part of the fun of it all; you can only rely on yourself to get everything done. Daz tackles the creative side of things and I do the design, Tony writes the code and Andy animates. It’s how it is, you’ve got to learn what you need to do and just get things done.”
With the main pieces of Desktop Daydreams’ story over the last year in place, our conversation moves onto more specific details about the state of The Corridor itself. As a story-heavy singleplayer horror game with a mixture of linear and non-linear parts, I’m keen to hear how they still plan to get these potentially conflicting narrative elements working together cohesively. “We want it to be different to your typical linear video game story even though you’ll play it linearly with junction points where you’ll be able to choose your path,” Tim tells me.
“We had an idea first that when the player moves through these memory booths, you’d end up in a completely random level, but we decided that to get it right it just wouldn’t be a practical thing for a team of our size to do. So instead we decided to come up with a set amount of levels and really, really polish them.”
Interestingly, Tim explains how they have looked to real world brain psychology for inspiration when designing the structure of these in-game memories. “How would you access the memories in somebody else’s mind? Would you randomly access these memories, or would they come to you in some sort of structure? Could you travel back through that mind again and go to a different memory? Thinking in terms of the science behind real life memory engrams, we don’t really know how they work or how they are stored in the brain, so we built that idea into the in-game science and lore of The Corridor. The game might give you two hatches to go through, each taking you different ways – so that concept plays into how this virtual mental corridor is structured. We came up with the idea to have these branching points where you have to make a choice, and then once you’ve played through a memory, you’ll go back to the main path.”
“As you choose your own path through the game, you might do or see something in a memory that might influence how you perceive the story, and your decision process might be completely different if you went another way. You are going into these different memories at various branching points, and although it might feel disjointed along the way, when you get to the end you’ll be able to look back and piece it all together.”
While we’re on the topic of jumping into people’s minds and rooting through their memories and whatnot, I ask how the process of integrating Oculus Rift support is going. Unfortunately, although the whole premise of The Corridor makes it an ideal fit for VR, sadly it sounds like things are still at an early stage here. “We haven’t got any of the Oculus kits at the moment,” admits Tim, “but we’ve also not really been at the stage where we felt like we needed one just yet. It’s still something we really want to do though, because I think it adds to that feeling of immersion we want. We’ve been building the levels with a 60fps target in mind, so things have already been optimised a lot for VR. It’s a time consuming process, but we’re getting there.”
Aside from the general narrative concerns, another big challenge for the two developers is designing a horror game around the personal and mutable tastes of its players. “We’re trying to scare people – that’s our main aim really, but it’s such a subjective thing. What do you do exactly?” Darren muses.
“Creating a universal fear is a very hard thing to achieve,” adds Tim. “We’ve done a lot of research into different types of horror, and ultimately fear is a relative thing to each person. People take their own personal fears and experiences into the games they play. Jumpscares are probably going to be a scary factor for some people, but we don’t want to overuse them as a mechanic.”
“A lot of games rely purely on jumpscares, but I find that once I’ve had one or two thrown at me then I just quickly get used to them,” interjects Darren. “It’s about keeping that fear in the player throughout the game. We’re almost trying to get people frightened of themselves. They might walk into a room and see something and make a decision based on what they’ve seen. Later on, it might turn out that they made completely the wrong decision, and we might try to make that realisation a bit upsetting. We want people to be aware of what they’re doing within the game’s environments all the time. Getting that idea to work within a horror framework is quite hard.”
“That’s why a lot of horror games don’t work, because they probably don’t have that level of fear to them.” Tim reasons. “It’s all about getting that uneasy feeling of being somewhere you don’t ever really feel comfortable. Some horror games are largely about the combat and the blood etc., but for us I think the important word isn’t so much horror, but fear. One of our main points of reference which we always go back to is Silent Hill. That first game had that feeling of constant dread, you never really knew what was coming, you never felt safe at any time – that’s the atmosphere we’re aiming for. It’s not necessarily about being anxious of dying, but rather capturing that feeling of tension and discomfort and sustaining it throughout an entire game.”
Darren suggests that a crucial factor in effectively creating and sustaining anxiety in the player is the aesthetic design of the world. “A lot of that goes back to the environment design. For example, one of my favourite bits from the first Resident Evil is the part where you move the bookcase in the Dormitory and go down into this flooded chamber just before you reach Neptune’s Aqua Ring. The creepy music playing in the room before you get to the flooded lab was so effective and it just sent shivers up and down my spine. It’s about creating that sense of fear and eeriness and having it pervade throughout the game continuously; We’re trying to create similar moments and memories in The Corridor that will hopefully stick with players for a similarly long time.”
“I think above all, you’ve got to capture that feeling of the unknown, so we want the environments to be as diverse as possible. They might throw unexpected things your way, so it’s not just about what you’re seeing and what you feel, but also questioning the nature of the spaces that you’re in as well. Am I actually in this environment or is it something else? One minute you might be outside, one minute you might be in something very cartoony, but they’ve all got that element of horror running through them, that similar atmosphere of fear that we’re after. Silent Hill did it with the radio static; if you were near to a creature you’d get the static crackling through on the portable radio. You might not even be able to see what you were close to, but it still sent that shiver down your spine.”
Silent Hill has not only inspired the team artistically, but also in regard to what elements aren’t necessary for The Corridor – such as a combat system.
“The only thing I didn’t really gel with in the game was the combat. You’d find a creature and have to batter it to death with a dodgy stick! It just felt like it was taking something away from the mood for me,” Darren reasons.
“That’s one of the reasons we didn’t want to put combat in The Corridor,” Tim affirms. “A full combat is not in the game because we’re trying to keep things true to the story of the game. The player’s character is attached to a machine that connects them to another person’s mind, and you’re entering their thoughts and walking through a virtually constructed representation of their memories to see what they’ve done and to find evidence of a potential crime. Would you really be there to fight things? Would you be there to shoot and kill? Your character is more of an observer, but would you still have to defend yourself from this other mind? We’ve gone through all these questions so many times! Thinking along those lines, we’ve come up with a scenario where you might come across a gun or weapon, but it might not be necessarily for shooting something or someone. If you fire off the gun, then you might actually just ruin the puzzle it was the solution to.”
Having said that, the team has experimented with the idea of a combat system to see how it could function. “We’ve temporarily got guns in the current game at the minute actually,” Tim reveals. “You can run round and shoot at stuff as part of a test mode we’ve built, and it is quite cool to have those weapons in there to see what combat in the game would be like. But we’ve got to be realistic and remember that to build an entire combat system with such a small team and to suitably balance the levels to accommodate combat would be a real strain on our already limited resources. It’s also a question of whether the game actually needs all this stuff?”
Darren jumps in right away to answer. “I don’t think it does. I remember playing Doom 3 for the first time and I was petrified. There was a time where I walked through a dark room and I could hear something breathing next to me, and when I got a tiny bit of light in there I could just see this bloke stood next to me! He didn’t do anything, but still, that moment was very creepy! The moment the combat started though I just lost interest in the game as it was not really what I wanted anymore. I really liked that emphasis on the fear element, I liked the uncomfortable feeling that you got from the characters and the environment.”
I get a particularly insightful look into Tim and Darren’s different design philosophies when the topic of Konami’s cancelled P.T. comes up in our chat. Specifically, it’s talk of P.T.‘s metagame puzzles which sparks up an ongoing debate the two developers are still currently working through for their own game about how much help should be offered to the player in a game via the user interface. Darren wants to create a totally immersive experience in The Corridor, one that doesn’t overtly direct or influence the player by highlighting items or displaying textual hints whatsoever.
“I like that feeling of total immersion where there’s just the barest minimum of UI elements present to guide the player. I like to know what I’m doing in a game without being explicitly told what I’m supposed to be doing. For example, if you see an item such as a book, if it’s part of the game you might be able to interact with it, if it’s not, you can’t. I don’t like it when you walk into a room and you’ve got two or three objects that you’re obviously supposed to interact with and they’re all shining brightly. Personally, I’d rather have those items not so directly indicated to the player,” he says.
On the other hand, Tim would prefer the UI to subtly call out important items and offer additional information to the player when necessary. “It’s about finding that balance. A lot of games will highlight important items in the game world, and we’re trying to work out what the best method is of calling out important items to the player. Do you highlight or put a glow around an item, do you change the cursor to a hand icon when it’s hovering over it? Do you put important items in more light, do you design that room in such a way that the items stand out? Do you make them aesthetically pleasing, or do you put a little red carpet running right up to each thing? There are good examples of this in games like Bioshock, where important primary narrative items had that golden glow to them, where secondary pickups like ammo and audio diaries had more of a subtle silvery shimmer. If you’re going for a totally immersive experience though, where the idea is to put the player into the game as if they were actually there, then you don’t want to have those sort of effects present. It’s a hard thing to get right!”
Darren suggests that a careful ‘less is more’ approach to the level and item design is vital for such a stripped down UI to work. “Basically it means that you’ve got to put less clutter in a room. If you put too many things in one area and people are searching absolutely everywhere, they will likely get bored, so the trick is to put less items into the environments but make them more meaningful and clear.
It’s fascinating to see how the two guys go back and forth on this tricky issue. Ultimately, they tell me that they’ve decided to go with a traditional UI and hint system, and give the players who want a hands-off experience the option to turn all UI hints off. “In The Corridor, we’re going to put the option in of being able to turn off visual hints in the user interface, so if you want you can play through without any overt visual feedback to guide you through the game,” elaborates Tim. “It’s been a point of contention, but some players will want that sort of fully immersive experience, while others will want more direction.”
“At the same time, we don’t want people to get totally stuck, to the point where it becomes frustrating. If the player has been working around for five hours and just can’t find the solution to a puzzle then you can just turn the hints back on again. I remember playing games like the original Tomb Raider, where I’d be looking for a missing cog puzzle piece for about four or five days! By that point I just didn’t want to play anymore, but then once I finally found the missing cog it was simply the best thing ever!” he laughs.
As we finish our coffees and our conversation draws to a close, Darren speaks about reconciling the contradictory schools of thought around what constitutes good indie game design. “I was reading something the other day on Facebook from Ga-Ma-Yo where one lad was giving some advice, which was basically when you make a game you need to make it for yourself. Then somebody else said no, that’s totally wrong, you need to make it for everybody! I think we’ve done a bit of both; we’ve made a game that we’d like to play but we’ve also tried to do a game that other people would really want to play as well.
Tim echoes his sentiment. “We have to be realistic. It’s bad to say it, but we’re running a business, we’re trying to make a living doing this, and you’ve got to consider the market. You’ve got to make something people want to play, something that people will want to pay money for. When you’re an indie developer, you’ve got to do something a little bit different to put yourself out there, and people will pay for quality. The good thing is that now we’ve got all the core mechanics working, it’s more a case of just building assets now and getting them all working correctly. The end product will hopefully be something that gamers will absolutely love to play.”
“At the end of the day,” Darren laughs “we wouldn’t be here if we didn’t love gaming. It’d be great to get a game out there that we were involved in that people enjoy. But loads and loads of money would also be alright as well, I’ve got a wife and two small children to feed!”
Here’s hoping 2016 goes plain sailing for Desktop Daydreams. You can follow Tim and Darren’s progress over @desktopdaydream on Twitter, and keep an eye glued to their website and Steam Greenlight page for the latest updates.