EGX 2015 – PlayStation VR, Kitchen Demo

PlayStation VR
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The Morning after the Fright Before

Picture the scene. You groggily come to, bleary-eyed, and find yourself in a dark, grimy kitchen. You try to get up and move, only to discover that your hands and legs are bound with rope to the chair you’re slumped in. The unblinking glassy eye of a camcorder stares back at you from atop a creaking tripod, recording your every wince and struggle against your restraints. A dishevelled man in a dirty suit lies sprawled out across the greasy tiles, and you can’t tell if he’s unconscious, dead or somewhere in-between the two sorry states. A typical morning after the night before in Huddersfield, you might say.

But no, this isn’t the morning after a particularly sordid night of bacchanal northern excess, or the opening to a new SAW film, but rather the opening to Kitchen, Capcom’s virtual reality horror demo for Sony’s PlayStation VR. While in Birmingham for EGX 2015, I got the chance to try out this sleek blue-tinged helmet to see what Sony is bringing to the virtual reality table…and find out what horrors were waiting for me in Capcom’s scary scullery.

Though I’m still yet to be truly swayed about VR gaming in general, from my hands-on with Kitchen I can safely say that there are some very cool things to be excited about if you’re even just the slightest bit interested in the marriage of horror and virtual reality. Particularly so if, like me, you’re also a cheery masochist who happens to enjoy having virtual sharp pointy objects thrust close to your virtual eyeballs from time to time, Dead Space style. Oh yes.

Before we get to the juicy bits though (quite literally in this instance) it’s time for a quick recap on Sony’s VR device itself. Initially revealed to the world at the 2014 Game Developers Conference as Project Morpheus (named after the Grecian God of dreams, and sadly not Lawrence Fishburne’s pill-popping pugilist), PlayStation VR is an in-development virtual reality visor designed for use in conjunction with the PS4 and due out in the first half of 2016. With a 1920×1080 display capable of running at speeds of 120fps, it’s a beefy piece of kit, and one that many of Sony’s first and second party studios are busy creating games and experiences for. There’s already a fair few decently fleshed out VR demos that are currently available to play on the device, many of which have been doing the rounds at previous events such as E3 and Gamescom. Sony followed suit with EGX in the UK, and so the usual suspects such as The London Heist and Battlezone were among the titles available for people to try out over the course of the event.

Sadly, due to the way the public appointments were scheduled, you couldn’t actually choose which demo you’d like to try in your PlayStation VR demo slot. Instead, it was simply down to the potluck of getting whatever demo just so happened to be free at the moment you strolled up for your allotted time. Luckily for me however, finding out that I’d be sampling Kitchen was pretty much the ideal personal scenario; after hearing Lucy O’Brien positively detailing her experience with the demo on the IGN AU Pubcast, I was keen to strap on a mental apron of bravery and check out this kinky kitchenette simulator for myself.

There’s an Onryo in My Kitchen, What am I Gonna Do?

Kitchen

Okay, so here’s how things played out. After an extensive wait in a Sony holding pen (seriously), I’m eventually collected, stripped, sheared, hosed down and deloused (not seriously) before finally being seated for my demo session. As my demo assistant carefully adjusted the PSVR unit for my noggin, I was pleasantly surprised to find that the PSVR headset is way less bulky and heavy than I expected. Although the only other hands-on experience I’ve had with VR tech was with the Oculus Rift earlier in the year at March’s Rezzed event, I can’t exactly remember an awful lot of how the Rift physically felt on my head, but that’s most likely because I was having a lot of fun running for my virtual life in the fantastic Monstrum at the time, but I digress. Having said that, the PSVR felt both lighter and comfier than the Rift from what I can remember. Of particular note is the fact that Sony’s headset has an adjustable slider to set the position of the internal cushioning around your nose and eyes, which is great if you’ve got a bit of a wonky ol’ konk like mine.

With eyes, ears and proboscis all sealed in my virtual sarcophagus of headset and headphones, it’s finally time for the fun to begin. A brief title screen appears, which is quickly replaced with the decrepit kitchen of my first paragraph. I’m told to hold my hands out, and shortly after I feel the warm clammy contours of a DualShock 4 placed in my palms – nice. I’m then instructed to keep hold of the controller with my hands loosely held together in my lap (to simulate being kinkily tied up), and to gesture forwards with it to begin the demo. I thrust my hands forward, clattering the camera tripod to the floor, and an unfortunate set of events are slowly set in motion.

So yeah, you’re sat in this grungy kitchen (think something along the aesthetic lines of The Evil Within‘s environments and you’re on the right track), and for a while, nothing happens – which is good, as this gives you ample time to have a good look around. Looking down at my virtual body, I see that yes, my hands (and also presumably my virtual feet) are trussed up, hence my current immobility.

However, unlike my virtual body, my physical one is under no such restrictions, so I can actually turn round in my seat and get a 360-degree view of the room. It’s hard to overstate just how impressive this basic motion is, even though it’s an extremely basic tenet of pretty much any VR experience, but it really is quite something. Even though it is sort of immersion breaking in this instance – surely if these bonds are loose enough for me to fully rotate around in my chair, I could wriggle out of them in no time right?

Another small point on the visuals was that while the overall fluidity of motion of PlayStation VR was very slick, the picture quality of the display did seem a tad grainy and fuzzier than what I had previously experienced in Oculus. This may well have just been a visual filter added for a gritty horror aesthetic in just the Kitchen demo itself, but it was hard to say for sure.

Anyway, I’m just nit picking here – time to go back to the demo. Eventually, the man on the floor slowly starts to get to his feet, looking dazed, confused and, perhaps most importantly, not hostile. In fact, he looks scared. No idea why though, as nothing has clearly gone wrong already, and surely nothing could continue to go wrong in a kitchen in such fine upkeep as this. Nonetheless, he picks up a rusty knife off the floor and gestures for me to hold out my hands – AKA the controller – that he can cut my bonds. Gulp.

As someone who gets a bit queasy thinking about things like wrists being in close proximity to rusty knives, this next section is a tad uncomfortable to say the least. Holding up the DualShock 4 doesn’t really feel like holding one’s bound hands together at all, yet somehow the sensation of holding the controller out in front of you whilst your eyes are simultaneously seeing your virtual hands held aloft in the visor is surprisingly immersive.

This immersion becomes even more effective when this dude starts hacking away at the messy tangle of rope lashed between your wrists. Seeing the blunt knife slip and slide through the thick ropey cords in quick jerky motions suddenly makes what you’re seeing feel all the more tangible and distressing. It’s easily one of the more uncomfortable bits of the demo, and it still makes me feel a bit queasy just thinking about it now as I write this. To make matters worse, with no warning at all, suddenly a ghostly Onryo woman raises up out of the floor behind your rescuer and shanks him up pretty badly before cutting off his head. Brilliant. Just brilliant.

From here on out, the final minutes of the demo involve this Hisako lookalike fiendishly toying with you in a number of dastardly ways, the most memorable of which happens in another uncomfortable section where this ghastly ghoul slowly points the business end of the knife closer and closer towards your eye. Even though it’s an ancient 3D film cliché at this point, it’s still effective and really unsettling to see something come within inches of your face. There’s a few more moments of her scuttling around the room while you rapidly try to locate her position, but eventually, a cold grey hand covers your eyes from behind, and it’s game over man. Game over.

Ghosts Versus Cockneys

VR Dude

The PlayStation VR unit in use by a bearded Zelda-loving chap (AKA not me), wielding a pair of PlayStation Move controllers, probably for The London Heist. Cockney rhyming slang not included.

So, what did I think to PlayStation VR and Kitchen? Overall, they’re both pretty neat. The PlayStation VR unit itself is an impressive (and surprisingly comfortable) piece of tech, and though it’s just a basic demo at this point, Kitchen certainly does make a compelling case for full-on VR horror experiences very nicely indeed. But…

Okay, so I’ve got a couple of issues here. First, there’s the classic problem of VR motion sickness. Just like with the Oculus, PlayStation VR it’s a device that seems to quite frequently make a significant number of its users feel sick, including yours truly. I started to feel pretty queasy only a few moments into the Kitchen experience – definitely from motion sickness I might add, and not the grimy aesthetic of the demo – and I continued to feel pretty grim for some time afterwards. Although Sony claim that the fast refresh rate (120Hz) of the PlayStation VR greatly reduces motion sickness in comparison to other VR headsets, I personally didn’t feel any noticeable difference on a user level and quickly found my stomach roiling with waves of nausea in no time at all. But hey, this technical wizardry is beyond my tiny little pea brain, and I’m sure this is the sort of the thing that will eventually be solved given the inevitable march of progress, technology and time.

Secondly on a software level, although Kitchen was a lot of daft fun, it wasn’t really what I’d consider an interactive experience by any stretch of the imagination. The only sort of interaction the game required of me as a player was to roughly gesture forwards with the controller on two occasions – that’s it. It’s immersive and visually impressive certainly, but Kitchen is basically just a short VR horror film. Not exactly the killer app you’re looking for in a new piece of gaming-specific hardware, right?

Perhaps if I’d got to try out Sony London’s The London Heist for example, my opinions here might be slightly different. In that game, I’d have needed to duck and crouch on the spot in reality in order to pop in and out of virtual cover in the game, and use PlayStation Move controllers to point and shoot weapons at incoming enemies. That’s while I’m also Benny Hill slapping burly Statham-like skinheads on their shiny domes, slurping down great salty bowlfuls of jellied eels and yelling “Cor blimey mate, get down them apples ‘n’ pears, faaaaaaaaaaaaaaaaaaaaaaaaaaaaackin’ ‘ell!” between each briny mouthful of moray. Typical video game stuff, in other words.

Yeah, I know, it’s pretty standard faire to want to shoot endless hordes of goons in a video game, but at least The London Heist‘s gameplay actually requires a significant level of interaction from me as a player, as opposed having me sit still as a passive observer like in Kitchen. A VR experience like that with a few basic mechanics and gameplay elements in play might have sold me on the use of PlayStation VR as a serious gaming platform, and not just a fancy supplementary VR cinema contraption. The small vignette demos and experiences on the PlayStation VR right now are very cool and exciting, but personally I need to see something more involved, more interesting and way more interactive to seriously consider buying a finished retail unit in the future (I’m looking at you, No Man’s Sky).

Speaking of which, there’s the cost issue. PlayStation VR is certainly a flash and exciting device for the PlayStation 4, and going forward we’re probably going to see Sony put a much greater emphasis on its VR headset as a premium way of enjoying its burgeoning catalogue of games. But damn, what a premium it’s going to be. The latest news on the pricing is that PlayStation VR will retail at somewhere around the $300-$400 mark, after Andrew House (President of Sony Computer Entertainment International) suggested to the press that the headset would have a price point comparative to the cost of a new next-gen console, and would be marketed as such. That’s one hell of a lot of money to spend on what’s essentially still just a console accessory, no matter how revolutionary it may be.

Obviously, developing this VR stuff is expensive – I’m an idiot (that’s a given) but I do understand that developing tech like this costs a lot of money. Hell, you could even say that the headset being priced at the equivalent of a new console is actually cheap considering how advanced this VR visor actually is. But the fact remains that $300-$400 for a secondary PS4 device is still a hefty price tag for the average consumer, no matter which way you cut it.

However, even with all those whiney concerns of mine, there’s still an awful lot to be excited about with PlayStation VR and the whole VR industry in general. If you’ve read this far (you poor misguided sod), you’ll have no doubt realised by this point that one of the inherent problems with trying to explain all this VR stuff lexically is that it’s a massive injustice to the whole concept. Particularly when it’s an idiot like me who’s the one typing all these lexemes out for you to read. VR is an experience which you really have to see for yourself in order to grasp it’s full potential – you have to get your head inside a VR unit and nearly have your eyes poked out by a knife-wielding wraith to see why it’s such an exciting concept. It’s way more fun than it actually sounds, trust me.

While I personally think a great game will draw in and immerse a player in its world regardless of whether they’re experiencing it with a VR headset on their cranium or not, I’m sure that one day VR will probably be the way most people experience and play video games. It’s a cool and exciting future, definitely, but I think for most of us, that future is still a way off from being a practical and affordable reality any time soon. In the meantime, I’m happy to be stabbed by ghosts and shot at by Cockneys in the place where I’ve always enjoyed those activities – on the TV. Now where did I put those jellied eels…

Tim Newsome-Ward & Darren Flowers Interview (Desktop Daydreams)

The Corridor
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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.

Pig Head

“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.”

Spider Man

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.”

Angel Statue

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.

Jaime Cross Interview – Team Junkfish (Monstrum)

Brute Attack
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If for some tragic reason you’ve been locked in Davy Jones’ sub-aquatic locker for the past two years, then you might not be aware of Monstrum, the brilliant and brutally addictive horror game from Dundee-based Team Junkfish. Let me fill you in on the details while you splutter up all of that rancid seawater.

In development since 2013 and approved for Steam Greenlight program in March 2014, Monstrum has proven popular with horror fans since the game left Early Access in May of this year. The game is essentially a massive nautical nightmare; you find yourself trapped on a decrepit 1970s cargo ship, with the rest of the crew nowhere to be found. Well, sort of – it depends on what exactly you classify as ‘the crew’. Unfortunately, it soon transpires that you’re actually stuck on board with a monster who is only too happy to make your acquaintance…before it mercilessly crushes/eats/twists your head off, naturally.

Your goal then is pretty simple; repair one of the three escape vessels by collecting the necessary tools and get the hell out of dodge. So far, so Slender, you might say – but wait, there’s a twist. What sets Monstrum apart from the majority of its creepy collectathon rivals is the fact that it’s a roguelike with extensive procedurally-generated systems in place. Every time you fire the game up, you have no idea what the interior structure of the ship will be, no idea where the specific items you need are located and, perhaps most importantly of all, no idea which of three different monsters is currently hunting you. With no one layout to memorise or a single strategy to master, the pressure can quickly ratchet up to ridiculously high levels as you desperately try to make your daring escape. In the words of Scooby Doo‘s Shaggy, “Zoinks Scoob!”

Monstrum is a harsh, demanding but incredibly rewarding game of hide and seek on the high seas, and one that’s had me gripped (like a monster slowly crushing the life out of a frightened, isolated sailor perhaps) since release. Keen to learn more about the game and its dastardly delightful design, I reached out to Jaime Cross, Team Junkfish’s Director and Audio Designer to talk about monsters, audio design and the exciting multicultural future of the horror genre.

How did Team Junkfish originally form as a studio, and what’s the story behind the cool name?

Team Junkfish came together in 2011 at Abertay University. In the third year we had to do a big group project – they have a lot of big briefs from Microsoft, Sony, Disney etc., but students also have the opportunity to form their own team and present their own idea. They can pitch it to the lecturers and if it’s good they’re given the go-ahead. Back then, there were currently nine members of what would become Team Junkfish, and they wanted to do this big idea but they were told they were probably not going to be able to do it unless they got a sound guy. So they pitched for a sound person in front of the entire year, and I just said “I’ll do it, aye!” and that was kind of it. There’s been ten of us ever since, and it’s coming up on four years now in total that we’ve been working together. It’s scary when you think about games companies and the way they can come and go, but yeah we’ve been doing this for four years and we officially became a company two years ago now. The Team Junkfish name came from when we did our first big prototype, and it was basically a giant flying mechanical whale, and we just went “Yeah, let’s call it Junkfish!”

Your previous projects FooFoo and DinerSaur were aimed more at children and younger audiences. What prompted the shift to darker, more adult material, or was it just a natural evolution of the team’s creative urges?

Originally the FooFoo game was part of the Samsung Student Developer Challenge, so we put it together mainly for that competition. We did quite well – we got a lot of press out of it, which was very cool. DinerSaur was made for the Dare to be Digital competition a couple of years ago, it was a cool augmented reality arcade shooter. The game itself was technically made just by six members of the team (then known as Prehistoric Spatula) over a period of nine weeks. That included three programmers, two of the artists and me doing the audio. We had thousands of people come by and play it, and after that we sort of decided “So what do we actually want to do now?” Everybody pitched in with ideas, and the one that we thought seemed the most interesting and doable was Monstrum. It was more of a diplomatic way of moving forward rather than an impulsive choice of “Let’s just do horror games”.

Where did the original idea for Monstrum come from, and what were the main influences throughout the game’s development?

The original pitch was basically what would happen if you mixed The Binding of Isaac with Amnesia: The Dark Descent. We ran with that concept for a roguelike horror game, something that would be replayable over and over and where you’d never get the same jumpscare twice or anything like that. That was the main emphasis that we were working on – to make a really replayable horror game.

What was the reason for situating Monstrum in the 1970s? What is it about that time period and aesthetic that was crucial to the look and feel of the game?

With regard to the game’s setting, the designer decided that with landlocked locations – such as the usual horror game tropes of hospitals and asylums – not only are these environments overused, but theoretically you could also just break a window, escape and you off they go. However, if you’re stuck on an abandoned ship out at sea then you have to escape in a more specific way, because otherwise you’re probably just not going to meet a great fate otherwise! (Laughs) As far as the ’70s aesthetic went, it was down to a mixture of things. In the original concept for the game, the player was supposed to be exploring an old ship but one that’s set in the current time period. It’s since shifted from that obviously, but generally we just thought that it was an interesting aesthetic that hasn’t really been done all that much. We thought it would be something that would make the game stand out that little bit more.

Hunter StairsYou’ve previously described the Monstrum experience as ‘Alien on a boat’ but interestingly you suggest that the player’s experience is more closely aligned with the character of Captain Dallas rather than Ripley. Can you elaborate a bit more about this distinction?

It was one of those weird things where we thought yeah, ‘Alien on a boat’, that’s a really great way to describe the game. Then Alien: Isolation got announced and we were just like “Fuck!” It kind of put a bit of a dampener on us all; we thought we were screwed. This new game is coming out, it’s going to look amazing – we’re done. However we gradually started to pick ourselves up after that and reminded ourselves that actually no, Monstrum is probably going to be quite different from Isolation – we’re aiming at different markets, let’s just keep going. We were at EGX Rezzed in 2014 and Creative Assembly were also there with a big Alien: Isolation booth set up with VR headsets, so we got a good chance to compare the two games there. That was quite reaffirming, as it showed us that they were different enough.

The focal point of the Ripley/Dallas character comparison was based around that sense of impending doom that surrounds your character in Monstrum. Namely that Ripley survives her alien encounter and makes it through the film as a survivor, whereas Dallas doesn’t! We wanted to apply those feelings to the players; that you’re not Ripley, that you’re probably not going to make it out of this. You’re just going to have to get out of there as best you can and try. I think that was the basis for comparing the two characters.

I understand that you prototyped Monstrum as a board game first before moving ahead with the bulk of production. How was that as a testing experience, and did it highlight any issues about the game that you hadn’t previously considered up to that point?

It was very, very loosely tied into the game and really strange, but it did give us a feel for how the real game would eventually play out. Essentially it was a singleplayer board game where you had to move through the randomly placed corridor pieces and rooms to find the random items potentially hidden in them. We had all these different systems going on, but some of them didn’t carry across all that well because they were based on dice rolls and stuff like that, but in terms of generally planning out whether all this would work as an actual game, it really helped us look at different issues we might not have properly considered before. How should things be placed? What speed should this monster travel at? How easily should it be able to find you, or chase after you? Little concerns like that eventually become much bigger things once you actually start to develop the game and are really important, so having that sort of stuff trickle down into the final thing was pretty useful. It’s stuff that we’re doing again now as we’re prototyping new ideas – paper prototypes are still very important.

Did you ever have any ideas about including randomised sea conditions in with all the other procedurally-generated elements of the game, or would that have been just a technical nightmare or simply not fun for the player?

Yes we did speak about having different environmental conditions as part of the experience. Things such as large-scale environmental fires – you can manually set small fires in the game with the fuel cans, but we wondered what if they could break out around the ship itself? Or what if you had some decks which were flooded and now underwater? We even talked about small things such as whether to have the ship rock back and forth, but ultimately it was one of those things where in the end we decided that it would be a nice idea, but it really wasn’t that important and far too much work for the little return it might give. They were all good ideas, but ones we couldn’t really make viable. Also, on the topic of having choppier seas, because we started Oculus Rift integration very early on, that was one of the big things that made us think having a rocking ship wouldn’t work well and potentially might just make people feel even more sick! (Laughs)

Notes

Speaking of Oculus, how is the VR integration coming along? With the game already out at this point, how do you plan on making VR functionality feel like an integral part of the experience rather than just a bolted-on extra?

We’ve been working on the VR integration right from the beginning of the project, developing for Oculus Rift alongside the game since we started in September 2013. It’s not like we finished the game and just decided to stick the Oculus stuff on it and then start again from scratch. So in that sense it’s been really good, we’ve been aware of any issues that we need to address, and we’ve been going back to fix them as we’ve been moving along.

Our programmer Stephanie has been getting all the VR stuff sorted; there’s a lot of weird things that you might not consider when designing for VR, such as user interfaces and post-processing effects. Elements like that don’t really work the same way in the Oculus because of the stereoscopic screen. Getting that sort of stuff working has been quite difficult, so she’s done a lot of iteration on the UI systems and solved some weird clipping and animation issues. It’s all these little weird problems that you might not consider all that much until you run into a wall and you can suddenly see through the entire ship – that is a bit of a problem!

The concepts of player agency and responsibility are particularly well implemented in Monstrum – how did you manage to balance the game’s difficulty so that it works well for both brand new players as well as expert ones?

A lot of this stuff came about from simply doing lots of playtests to see if people wanted another shot – yes or no? If players came from a background of having already played roguelikes such as The Binding of Isaac and knowing how those sort of games work, then they could quickly adapt, learn and experiment through dying. The main issue came from people coming in from the opposite end of things who hadn’t played a roguelike before. They would go “What do I do? I don’t know what to do with this thing! Nothing is telling me anything!” We didn’t want things to be hand-holdy; Monstrum is very much a difficult game, and we say up front that it is hard and you will die quite a lot. So we iterated quite a lot on the initial tutorial room which basically just says “Here’s some stuff, this is what you use it for, press these buttons for interactions”, but beyond that you’re on your own. You have to explore, you have to check your journal to see “How do I solve this situation? Ah, I need to need to find X, Y and Z to escape – okay, got it.” The main thing that we were looking to build into the game was that as long as the player learns something from each death, it doesn’t feel like a complete failure on their part. It’s stuff like that where if you’re new to the game and run into a new monster, you don’t know what it’s going to do so it’s about picking up on its behaviours. On your next run, if you get the same monster again, you’ll then have a better idea of how to deal with it. Picking up important information like that is very cool, and interesting to see how different people do it.

Hunter Attack

Have you been surprised by the ways in which players go about tackling the various monsters and escape routes? Have there ever been instances where you’ve seen players do something totally unexpected?

Yeah, there’s been quite a lot of those instances just because of the way the game is built. The procedural generation is one thing, but the monsters are all AI-driven, so there’s no real pre-set things or scripted things that happen as a result. There have been a few instances where I’ve seen players carefully following a plan, and then suddenly BANG! A door suddenly just flies through the corridor and you see them freak out! This also goes on in the Team Junkfish office itself, especially with the Oculus Rift testing. You just see people go jumping right out of their chairs! It happens at trade shows as well, so it’s been fun to see how people take to that and all the different instances that can happen. I don’t think I’ve seen anybody have the same exact runthrough, which has been our main thing, our overall objective. It’s a very emergent experience; we hear people telling their own stories about how they would be trying to find a particular item, and then out of nowhere this intense chain of other events kick off. I think that’s an interesting thing in games in general. Being able to give people that opportunity to have their own version of the same game is pretty cool.

Brute Grab

The way you have designed the monsters according to various forms of fear is a really interesting concept; the animalistic rage of The Brute, the claustrophobic paranoia of The Hunter and the cruel psychological mirth of The Fiend all come across really effectively in their designs. Can you talk about the inspirations behind each monster and what went into designing their unique AI behaviours?

In terms of the monster designs, we’ve always had those three basic archetypes in mind. The Brute is big and chunky, triggering your primal fear response when it’s chasing after you. Then you’ve got The Hunter which is the thing lurking in the dark making creepy noises, and then The Fiend which is the sadistic psychological one. Even when we didn’t know exactly what the monsters were going to look like originally, we’ve always had these design concepts in mind; we basically thought about what each one’s going to do, and then expanded out from that. The Brute was the first one we built because technically he’s the simplest. We built a lot of the backend AI work around him, and then adapted it for the other monsters to make sure that it worked for each of their unique behaviours. It was interesting to see it change up, especially when it came to stuff like The Hunter, because he’s completely different from the other two monsters in that he’s not really available on the ship and instead he pops out at you from the vents. It was interesting to get those systems all working together, especially from the audio perspective, to make sure that they all tied into the ship and the environmental sounds. You might hear a rumble and be able to identify it as the monster, or you might not and think “Oh no what was that? What do I do now?”

The Fiend

On that topic of encountering a new monster, you ingeniously put The Fiend into the game disguised as part of a routine lighting update. I’m guessing you must have heard some crazy horror stories of people encountering it for the first time?

We snuck it in just to basically beta-test it and see what we thought. Then we saw people on forums just going “Why are the lights going weird? What the hell is this thing?” and all that sort of stuff. We saw videos where people were just freaking about this strange new thing that had just killed them, and calling us sneaky bastards – we were just like “Yes, yes we are!” So yeah, it was pretty cool and it gave us a decent opportunity in Early Access to see how people took to it and tighten it up a bit more before release.

The in-game notes dotted around the ship allude to a spawning ground from which the monsters were presumably collected – is there a possibility that we’ll get to see this area in a future game?

We’ve talked about future stuff, and even if we’re not necessarily doing a direct sequel, it’s something that we’d like to keep continuity wise. It’ll be interesting to go back to it in a future game, even if it’s not the next one. We’ve created this little world, now how can we expand on it? We’ll see.

Sparky

Any chance we’ll get to go up against the original test monster Sparky?

I’m not sure! It’ll be interesting to see if we can polish and change him up a bit more, and see what else he can bring to the table. I’ll mention that to the team – “Hey we’ve got a half-finished monster here!” (Laughs)

You’ve been using Ableton as your primary digital audio workstation throughout the project. What is it about that program in particular that appeals to you over Cubase/Logic/Pro Tools etc. and what VSTs and plugins do you tend to favour when working?

Ableton was one of the things that I was taught when I was at college alongside Pro Tools. I was mainly using Pro Tools going into university but it just kept crashing too much, so I decided “No, go away I’m using Ableton!” That was basically it, there was no big overarching decision to it and since then I’ve been using Ableton for the past four years nearly exclusively. As far as VSTs and everything goes, for a lot of the sound design in both the music and the game itself, I basically used a lot of Ableton stock stuff. Their granular delay is really cool – I’ve used it quite a lot on various different things, and it’s just a really weird sounding delay which stretches the sounds out – it’s weird to describe without letting you hear it, but it was one of the ones I’d always go back to. It was just basically a lot of the standard Ableton tools that I used, nothing super fancy or expensive. I’ve got some Waves stuff that I’m sometimes using in newer projects, but when it comes to stuff like EQs or compressors, I’m still find myself going back to Ableton because I know their tools so well. I know exactly how they affect sounds so I can get them to work really quickly. I suppose that’s me being lazy and not learning new tools to a degree, but it’s also down to familiarity of speed. There’s a trade-off there I guess.

The game’s soundtrack is an interesting blend of atonal textures layered with creatively melodic noises and effects. How did you approach the composition process for Monstrum?

A lot of the music wasn’t necessarily instrumentation as much, but rather a lot of sound design and manipulating samples. All the monster themes were built around that idea.

For example, with The Brute’s theme, I really wanted to focus on it being driving and pulsing because he’s this big physical thing charging after you. That’s a lot of percussive elements with a strong drumming pulse going on, which also ties into the creature’s fire elements too. There’s actually an engine loop playing on the track which I basically warped out of time, then pitch stretched it in Ableton to make it into a constant triplet rhythm. So you’ve got these two pulsing rhythms running through the track which give it this chaotic chase feeling. Then there’s other sounds like steam screeches and stuff like that going off in the background which are basically samples where I was pitch shifting them to have them sound melodically in tune.

Another VST I made use of was Camel Audio’s Alchemy. That one was really cool, but unfortunately it doesn’t really exist anymore. It allowed you to sweep through various presets, and it had the two XY pads which are similar to Ableton as well so it meant you could do really quick automations and stuff like that. It was very handy, especially for The Hunter’s themes where I used it quite a lot.

For The Fiend’s themes I ended up using one of the Max for Live plugins called Granulator. It’s an interesting granular synth that reads little bits of a WAV file which you can then stretch out and control how many times they’re repeated. Once I’d composed the Wander theme I simply dragged it into that synth to use it as an instrument. I ended up using the Wander and Chase theme as three separate instances, so that was interesting.

You’ve mentioned before that Silent Hill‘s composer Akira Yamaoka was a big inspiration for the soundtrack. What is it about Yamaoka’s music and compositional style that appeals to you?

There are a few different things which come to mind. Looking just at his music on its own, it’s the way he uses sound and samples to create that signature feeling of his. Like with the original Silent Hill soundtrack, it’s dark, gritty and very industrialised, whereas the later ones sort of become slightly more melodic. You can sort of see a different musical feel in the other games from that point on, but he still keeps that familiar really oppressive feeling across the whole series. When you’re hearing his music in the context of the game, it just works so well with all the stuff that’s going on. One of my favourite Silent Hill moments is the final Pyramid Head encounter from Silent Hill 2. There’s those big screeches and crunching sounds playing which mirror the movements of his knife and helmet, but then you’ve got this eerie choir coming in behind all that which gives the scene this sort of otherworldly, god-like feeling. It’s moments like that where he uses those sounds and contrasts really well together which I find pretty cool.

When designing the diegetic sound effects, did the procedurally-generated room reverb systems make your mixing process easier or more complicated?

It was a mixture of both really. Some things we made quite dry, such as footsteps, but because of the way our system worked, in some cases we had to pre-bake the reverb onto specific effects. The reverb in the game engine is mainly for spatialisation – making an effect sound like it’s actually in that area and space you’re currently in. There were some sounds which didn’t play well with our in-game reverb system, such as the environmental rumbles I mentioned earlier for example, so in those cases we had to pre-bake all of the reverbs onto those sounds and give them all different distances and drop-offs and things like that. Sometimes you just have to do one or the other really! (Laughs)

I particularly enjoy the small changes you make to the music as the game progresses, such as the way the main Wandering Alone on a Ship at Night theme will irrevocably change once you’ve encountered the monster for the first time.

It’s one of those things where I didn’t think it felt right for the music to sound the same after the player experiences the monster for the first time in a game. The way you’re now perceiving the game world is different, and so the music should reflect that change. It was one of those things where musically you’re almost starting from a blank slate, but then after the first monster encounter it should change and morph into something else. You know what you’re up against now, and you want to carry that feeling across in the music even when it’s not there onscreen. That’s what I wanted to accomplish with changing up the wandering themes.

You wrote a really interesting blog post which explores the fallacy of the ‘game audio as 50% of the experience’ adage. Why do you think that audio design is overlooked in a lot of games design, and what can be done to better integrate the process with the other design disciplines?

I have this personal philosophy about world building when it comes to games. I think everybody should work together to make a cohesive role as opposed to everybody doing their own little thing separately and hoping it’ll all come together and work somehow. In other words, there needs to be plenty of back and forth on everything – conversations like “What’s the monster design in terms of the art team’s perspective? What does it do design-wise?” I see what I can take from those discussions and make music from them basically. Rob Bridgett talks a lot about this design approach in his book, Game Audio Culture, which is definitely worth reading. He writes about this sort of stuff and how we should improve game audio workflow, and just game workflow in general. It’s a really interesting concept and I really hope it carries forward.

It’s one of those things where people will have a lot of appreciation and nostalgia for things like game music, but they might not necessarily understand how it actually works in the context of a game. A lot of the time, other members of the team might just say we need a sound effect for a specific thing, but it’s very much a black box situation. They’ll tell the audio designer what they need, but not talk about what they’re doing, and the audio designer will just make the effect and say “Here you go, does it work?” Again, communication is the big issue, and it’s essential in order to have programmers, artists and designers understand audio designers workflows and vice versa. It’s about seeing how you can come in from the audio side of things and how you can influence your fellow designers, how they can influence you, and making sure that when you’re trying to explain stuff to them, they’ll actually understand what you’re saying and not get confused with really weird technical jargon. I think that’s where a lot of the issues lie. With artists and programmers and designers, they have this shared lexicon where they can probably speak to each other roughly but they might not know the technical nuances of everything. However if I started speaking about things like parametric EQs, they’d all just be like “What is that? What does muddy mean? I have no idea what you’ve said…but okay!” (Laughs)

Yeah I suppose it’s hard to express some of those sonic qualities accurately from a linguistic perspective. It’s similar to trying to describe the minutiae of a particular part of the colour spectrum to another person; what might appear as a bright red to my eyes might look more like a reddy-brown to yours.

Yeah, it’s all about understanding the implementation process. When it comes to getting the right ‘feel’, a lot of people will say they really want an element to feel a certain way, but getting it to that point is not necessarily down to just making the right sound effect. You can make the effect so that it sounds good on its own, but when played in the game, it might jar with everything else that’s going on. Things are getting a bit easier with middleware programs like FMOD and Wwise, which are opening things up a bit more. We actually didn’t end up using anything like that in Monstrum for the final game, but we did use it for prototyping early ideas, which made it a lot easier for me to explain the various systems to programmers. I just had to set up all the logic and explain that this is how it works; these are all the music things, if you trigger this element, then this will happen. Even using it for non-traditional methods like that, it’s still really handy, and learning those tools is really useful for anybody who wants to do game audio and game music.

How do you see the future of Monstrum going forward? You’ve successfully released the game through Steam Greenlight and it’s now out there in players’ hands – do you consider the game to be a completed project now that you’ve left Steam Early Access, or as more of a platform you can go back and add new content to over time?

Well we did say we’d get the Oculus stuff out, so once that releases then the game’s technically ‘finished’, but it’s one of those things that’s never really finished as such. There’s lots of stuff we’d like to add in, or maybe even things we could go back to and patch up, but it’s just a case of having limited time and resources to actually do these things. That’s the unfortunate reality of the situation which has kept us from just going “Yeah let’s keep working on this and adding loads of extra monsters” and stuff like that. It’s a shame really, but we’ve got other projects that we’re trying to do as well, and I suppose we have to make sure that we can keep roofs over our heads!

As far as future plans go, I’m not entirely sure right now. We’d like to add more stuff, even if it’s just smaller things, but we’re just sort of seeing how things pan out. We’ve got a few bits and pieces of work that we’re doing just now to keep us ticking over while we’re sorting out new prototypes and all that sort of stuff. We’ll see how it goes, but we’d like to anyway.

Any thoughts about porting Monstrum to PS4 and Xbox One?

We’d really like to, but it’s another question of resources, and figuring out all the necessary backend stuff. If we speak to somebody at Microsoft for example, it’s working out whether they actually want the game on their platform and all those sorts of other hurdles. Hopefully though – it’s one of those things where if we got the greenlight to do it we probably would, but getting there is still quite a lot of work. Maybe!

Nightmare BonnieWith the rise of streaming platforms such as Twitch and YouTube, do you see traditional horror games becoming something of a rarity in the future? In other words, do you see traditional solo horror experiences giving way to more community-based spectator sport experiences?

I’m not too sure. An interesting game to watch out for, especially in that regard, would be SOMA. I’m hoping it does really well and it does still prove a point that you can make these horror games that are primarily singleplayer experiences that you’ll want to really immerse yourself in and go through by yourself. At the same time though, I don’t think group/spectator-orientated horror games are necessarily bad. Things like Five Nights at Freddy’s have done really well, and every time I’ve seen [creator] Scott Cawthon speak about the games he’s basically said look, this is my work – if my games don’t appeal to you, they will to someone else. A lot of people complain about the rate at which he’s producing his games, but from a game developer perspective I think it’s really clever, because he’s got all this extra stuff that he adds in with each new game. It’s not just another churned out sequel with the same content, there’s more things going on in each new one; he might need to develop extra systems and stuff like that, but a lot of the same signature backbone is there every time. In that respect, I think he’s done really, really well off the back of it, and the way he’s kept the continuity across all four games is impressive as well. Reading all he’s posted about the series, he comes across as very humbled by it all and grateful for his fans – a genuinely nice guy. People are obviously engaging with that series and really enjoying his games, so there’s room enough for all types of horror games to co-exist. So Five Nights at Freddy’s might be a great horror game for one audience, whereas Silent Hill, Amnesia, or say something like Clock Tower might be more to the tastes of another. They’re all different horror games but they’re all horror games in their own right.

I suppose they aren’t mutually exclusive categories are they really – like you say, horror is now such a broad genre that there’s now games available for pretty much every particular niche.

I think the more interesting thing to look at is the different types of horror that will come in to the genre from other cultures. Japanese horror games are obviously quite big and they’re based on their own culture’s thoughts and considerations of what horror is, and the same goes for their films too. When films like Ring and Ju-on get remade as for American audiences, they didn’t really have the same sense of horror to them. They still work as basic horror films, but not in the same way; there’s this feeling that some crucial part was lost along the way. It might just be people insisting the Japanese versions are better because they were the originals, but other people might say that there’s slight translation issues and influences that aren’t as apparent culturally to western horror audiences as they would be to Japanese ones. That’s why those films might be way much more terrifying for Japanese audiences than western ones. In that respect, I’m sure there are horror things things we have in British culture which aren’t necessarily applicable to America or anywhere else in the world.

Dreadout

Seeing new horror games exploring different cultures of horror will be really interesting, especially with the advent of major game engines like Unity now going for free. This democratisation of game engines allows smaller teams or even individuals to make their own games – Digital Happiness, the Indonesian developers who made DreadOut are a good example, and seeing titles like that coming out of countries you might not expect is very exciting. There might already be a really thriving scene there, I’m not entirely sure, but it’s going to be really cool to see all these different aspects of horror, or even brand new genres coming out of these different cultural elements. A lot of people moan that this means we’re just going to get a load of random people flooding Steam trying to sell a load of random crap. While it’s kind of true on one hand, on the other it enables people who might never have had the opportunity to make their own games now have the means to get stuck in. Instead of just rushing something half-baked out, they could take years working on their magnum opus before finally releasing it; it might be this really good game. Look at people like Tom Happ with Axiom Verge for example. He was doing everything himself on that game, and when it came out people just thought it was absolutely amazing. People always seem to look at the negatives rather than the positives when it comes to things like an abundance of Unity games appearing. We used Unity for Monstrum, and other companies much bigger than us have also used Unity to great effect, it’s a powerful engine. Lots of people don’t seem to consider that however, instead just writing off anything on the engine as just another random Unity game. It’s a shame. I guess it’s one of those things – if you don’t like these games, then don’t play them – but people like complaining I guess!

What’s next for Team Junkfish then? Any plans to revisit Into the Sky perhaps?

Right now, we’re prototyping two different projects. One of them is completely different to Monstrum, while the other one has a couple of similarities, but is still quite a bit different. I’m not entirely sure which one we’ll be pushing ahead with, but hopefully we’ll have that sorted out in the next month or two. Into the Sky would be interesting to go back to, but it’s one of those things where we’d have to start from scratch again and look at the core idea and ask ourselves can we rebuild it. If these prototypes pan out then we’ll hopefully announce something next year. One of them is very similar to Monstrum, so hopefully we can capitalise on our success as well as learn from our mistakes.

Hunter Sub Escape

Are you looking at going through the Steam Greenlight process again for these projects, or have you considered crowdfunding it through Kickstarter etc.?

Greenlight is a weird thing, in that Valve have been saying for a long time that they’re planning to get rid of it, so we’re not really sure what the deal with that would be. It might be a case of having to go through the Greenlight process with new projects anyway, or it might already be gone by that point – we just don’t know. It’s the same with Kickstarter – we don’t know if we need to do a Kickstarter, and if we did that then there’s so much planning that needs to go into that. Now that’s a scary thought! (Laughs)

Fiend Attack

Monstrum is out now for PC, Mac and Linux.

Beyond Flesh and Blood Developer Interview – Phillip Muwanga & Lee Blacklock

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There were lots of cool indie games on display at this year’s EGX Rezzed, and among the titles I was keen to try out and play was the latest playable demo of Beyond Flesh and Blood, by Mancunian studio Pixelbomb Games.

If you missed my impressions on the demo, here’s a quick rundown on Beyond. The game is a third-person mech shooter set in a post-apocalyptic Manchester in the year 2281. When a meteor containing some nasty extra-terrestrial creepy crawlies hits the planet, you’re sent in as a mech pilot to retake key strategic Earth cities (AKA Manchester) and get them back under control from gun-slinging bandits and bitey alien lifeforms. From what I’ve played and seen of the game so far, it’s shaping up to be a cool shooter that brings some interesting new tweaks to the mechanical mayhem of the mech genre.

I had the chance to chat with the two project leads, Coder Phillip Muwanga and Game Designer Lee Blacklock and talk about Manchester, mechs, meatsplosions and more.

Tom: What was the original inspiration for Beyond Flesh and Blood, and what inspired you to make a mech shooter specifically?

Lee: We’ve got a big love of anime and mechs, and being a dev company in Manchester, we wanted to set the game in a post-apocalyptic version of our city. We thought that a combination of these two things would be quite a playful scenario.

Phil: The basic thing is we love mechs, we love science fiction, we love action games, so we are finally able to make the game that we want to make.

Mech games in the past such as Steel Battalion and Titanfall have traditionally favoured a first-person camera view to get that cockpit experience. What was the decision behind deciding to go with a third-person camera?

Lee: Interestingly, when people ask us what the genre of the game is, we say that it’s a third-person action shooter, which is different from your typical mech shooter. It’s a third-person game, you just happen to be controlling mechs. We absolutely love robots and all forms of them, from the Japanese ones to the big stomping western mechs, so things like Steel Battalion were a big influence.

Phil: It pains me that I never got to play Steel Battalion on the big forty-button controller. I like the idea of a game where when you die, if you don’t press the eject button, you lose your save file. That’s a wonderful thing!

Townhall Concept

The game is set in Manchester, and the maps feature prominent Mancunian landmarks in their design – did you run into any issues with getting permission to use their likenesses in-game, and what other locations are you planning to get into the final game?

Phil: The main thing is that you’re fine to use the exteriors, but if you want to use the interiors then that’s when you need to get permission. But, of course, you can make a building that’s inspired by something, and that’s okay. For example, we’ve replicated my favourite bar in The Triangle – mainly because I want to fight in front of a bar that I drink in! (Laughs) There are a few other areas that we’re not talking about, but the main focal points are Deansgate, The Triangle and in front of the Hilton. We’ve purposely stayed away from having the Man United or City stadium because if you pick a side then we’ll alienate half the audience!

Lee: I think for us is the fact that the game is concentrated in the city centre as well, so to go to another location would mean jumping out of the city and we really want to focus on that sort of overgrown future version of Manchester.

Phil: The political answer is we have members of our team who support Man U and members who support Man City.

BF+B Play Expo Stand

You demoed the game last year at the Manchester Play Expo – how was that experience, and do you have any plans to take Beyond to any other shows or Expos after Rezzed?

Phil: Yes, that was a wonderful Expo. It was nice to do an Expo in our home town with a game that’s based in Manchester – we got a lot of positive feedback. There are a few big shows that we’d like to take it to, but we are mainly focused on just finishing the final thing now. What will be quite nice is that once we’re closer to release we’ll have a more stable build, so we won’t have to spend quite so much time getting a build ready to tour at Expos. It is important to get the game out and to talk to members of the press so that people can hear about it.

The game is designed as a singleplayer experience with a solo campaign, but have you got any plans to implement any online multiplayer features into the horde mode maps at a later date?

Phil: The gameplay that we’re showing here is from our wave-based mode – this is an added extra that comes with the game, the singleplayer story is the primary focus. We’re not showing much of that because we don’t want to spoil the story. Let’s just say that it does take place in these areas here, and that it involves mechs and people being torn to pieces.

Within the world that we’ve made, there are various factions and it would be wonderful to do a multiplayer shooter where they fight against each other. We’re talking and thinking about that, but at the moment we are focusing on making the best singleplayer experience that we can. The campaign is our focus. What we didn’t want to do was to tack on a multiplayer component just to have a tick on the back of the box. If we were to do multiplayer, we would want to be properly focused on that.

Lee: When we’ve been developing in the studio, we’ve actually switched the player camera around and switched to the other AI classes that we’ve got so we can run around as them. It’s not going to happen for the game, but it’s just what we’ve been doing in-house just to have a play around, so like Phil said that’s given us the multiplayer ideas, and we’d love to do a lot more in the world of Beyond Flesh and Blood.

Dropship

I appreciate that you don’t want to say too much about the story, but what challenges did you have in writing a story around what’s essentially a faceless robot character?

Phil: The interesting thing is that you can’t die in this game. You’re in a space station in orbit, so if you’re suit is killed then they just send in another suit from orbit. It is not a big deal for them (The United Global Remnant, the in-game faction you play for). We try to tie this mechanic into the gameplay of the world – these soldiers on the ground, because they can die, they will comment on the fact that you’re not really there or that it all feels like a game to you. These are some of the areas that we wanted to explore in this.

Lee: We’ve not really had difficulties, but it’s more about the amount of choices we’ve got – we’ve got to keep narrowing it down. Like Phil said, there’s lots of themes we’d like to explore but it’s a case of just how many of these we can effectively explore in the timeframe.

Phil: The hardest bit that we’ve had is trying to squeeze all of our ideas into this game. It is a combat-focused game, so we want the gameplay mechanics to tell most of the story, rather than have a lot of expensive cutscenes and FMVs. Those two fields do not have to be mutually exclusive; we do have a story that we want to tell, but we are focused on making a fun, enjoyable gameplay experience. At the end of the day, we are a small indie studio – we’re not a big triple-A studio who can afford to hire all the animators it takes to do your cutscenes.

Mark 1

When I played the previous demo myself I used mouse and keyboard controls. I’m normally a player who favours using a controller, but I have to say I thought that the way you’ve designed the keyboard controls was spot-on. You really get a feel of each mech’s weight and momentum, especially the Mark 1.

Lee: That’s definitely something that we want you to feel as you go through the different mechs – we will have four mechs, so as you go through each one that feeling will feel different, but we still want it to feel very meaty. Like you were saying, in the Mark 1 you can really stomp around with it. The mouse and keyboard controls still need work though at the minute, they are still in development so that they can be even better.

So there’s four mechs in total?

Phil: You start off with the Mark 1 – he’s basically a walking JCB; he’s a slow engineering mech and can’t dodge so far. He can use his size to tear people to pieces and to pick up large objects and to interact with the world in a very physical way. As you move up through the marks they become smaller but more agile, but they lose the physical powers that the Mark 1 has.

Next is the Mark 2 – he’s the baby brother of the Mark 1. He isn’t quite as strong, but he’s faster and a more agile engineering mech overall. He’s still not purpose-built for combat, but he does have a welding laser which is really effective. The special thing about this mech though is that he’s got awesome extendable arms; if you think of the Mark 1 as the JCB, then the Mark 2 is like the forklift version if you will. Obviously it’s still very powerful – he can use his arms to extend himself up in the air and slam down on enemies. We’ve used his arms in a number of the sync kills which are unlocked through story means.

Eventually, you get to 4th mark, the Prototype Suit.

Mech Landing

Is that different from the Prototype Suit featured in the demo then?

Phil: Yes – I know the terms are the same, but the Prototype Suit that you’re seeing here is the prototype that we internally made as our test, and not the finished thing.

Lee: We made this in-house prototype so that we could get a sense of its scale and movement speed, and how that will differ in comparison to a larger mech.

Phil: The actual Prototype Suit in the final game is an advanced suit which has all sorts of interesting tweaks to it. It’ll be able to do all sorts of wonderful things.

Unlike a lot of other third-person shooters, you’ve got these big open environments in Beyond which aren’t littered with a load of conveniently-placed thigh-high walls to hide behind for cover, plus you can actually improvise and arrange your own cover using the items in the environment.

Phil: One of the choices that we made was that the player cannot take cover in our game. The AI can, but you instead have to rely on the suit’s powers and abilities, and the fact that you can slow down time and dodge. I love Gears of War, but I don’t want to make another game where you hide behind a chest-high wall, wait for yourself to auto-heal and then you come back. It’s why, from a gameplay point of view, you don’t recharge your health; the only way to get your health back in Beyond Flesh and Blood is to kill your enemies, so you can’t hide. If you want to stay alive, you’ve got to get into the fray and get into the fight.

I like the game’s tower mechanic – it’s a cool way of reining in the player’s power and reach without it feeling overtly restricting.

Phil: The main reason why we have them is that in the singleplayer campaign, we don’t like it when the player encounters an invisible wall, so the towers are our way of leashing the player to where we want them to be.

Lee: The story element of it is that the pilot controlling the mech is on the edge of Earth’s atmosphere, controlling his mech with his mind – he constantly needs connection to that mech through the towers, so when you die, that connection is severed. Another mech gets sent in and your mind reconnects to the replacement.

In one of your previous interviews you mention that you specifically didn’t want the game to be too hand-holding when it came to difficulty. Is that a personal reaction against the design of modern shooters, or rather a case of giving the game some of that old-school shooter difficulty?

Phil: I’m an old-school gamer – I like games that are hard, that you actually have to think about them and learn the gameplay mechanics. One of the things that I don’t like is when people take a dislike to a certain game because it doesn’t feel like a game that they already know. If you don’t like a shooter because it doesn’t play like Call of Duty, then fair enough that’s your personal choice, but perhaps you should try and learn that game’s own gameplay mechanics. The configuration of the pad doesn’t have to be locked, I’d much rather a game dev did different things with it.

As for the holding hands bit, I like hard games. It pains me that nowadays quite a few games just give you this sort of rollercoaster ride. We want our players to really have to think about the game and understand the mechanics to be able to progress.

Speaking of old-school, Beyond has some crazy levels of gore going on – is that also a throwback to older shooters like Unreal Tournament and Quake and things like that where gore was a big part of the shooter zeitgeist of the time?

Phil: We are late ’90s gamers. I like games with gore in them. The big thing that I always say is that we’re not making a torture-porn game – it is over-the-top action movie gore, where you shoot someone and they explode into gibs. The violence is easier to palate the more extreme it is, as it takes on a cartoon-esque vibe.

Lee: Phil is also working on a new dismemberment system, and new sync kills – the melee kill animations that the mechs perform they tear people apart. We’re still working on them, but we’ve managed to get a lot of the new animations in. These are going to be a lot more detailed – we’ll be releasing some more footage sometime soon.

Phil: With the Unreal 3 build there was only so much that we could do. Now, I can tear any limb off any person and punch holes in people – basically all the things that my sick mind wanted to be able to do to people in games! (Laughs)

Printworks

How was the transition going from the Unreal 3 engine to Unreal 4? I’m guessing that it wasn’t just a simple ‘right-click – save as’ process?

Phil: No – I’ve not had much sleep over the past two months and the whole team has been working incredibly hard to port all of the assets over. It’s worthwhile, but it’s not a simple job; we’ve had to rebuild the game from the ground up.

Lee: I think Epic have done some things to help this process, like there are exporters for things like content, but it’s still a big job to move the code base over for our AI, the shaders, the dismemberment system and a lot of the assets.

Phil: It’ll be worthwhile, but I’ll be glad when it’s done because we have a nice stable build here, we need to get our Unreal 4 build to feel as polished as our Unreal 3 build does.

Lee: We’ve definitely got both feet in Unreal 4 now, but it’s just a case of continuing on with that process.

I’ve read that you’d also made changes to the enemy AI since the previous demo – how exactly have you changed those systems?

Phil: They are smarter, we’ve used everything that we’d learned in the Unreal 3 build to make the Unreal 4 AI a hell of a lot better. They have squad-based AI now, so they know where you are in relation to the rest of their teammates and will try to flank you. The AI is an important part of the experience – we don’t just want them to blindly fire at you. We want them to apply pressure.

Lee: Even in the AI themselves, we’ve got separate classes of AI that will respond to you slightly differently as part of their own AI class but will operate together as one when part of a squad.

On a related note, can we expect to see any more extra-terrestrial enemy types in the final game i.e. ranged variants?

Phil: We aren’t talking about that faction yet, but let’s just say that we have a crack team of artists who are making some interesting content. (Laughs) We do have to keep some things back for the singleplayer.

The game is coming to the Xbox One and PS4 after the PC release – do you have any plans to use the unique hardware and features of those consoles? Any plans to use the DualShock 4’s touchpad or the Xbox One’s Kinect?

Lee: With the Kinect personally, aside from what we’re doing with our game, I was really excited when it came bundled with Xbox One. Now that it’s an optional extra, you can never be sure that every user has a Kinect, so we’re not 100% certain about those elements.

Phil: Unfortunately because the marketplace has now been split with the Xbox One, you need to cater for people who don’t have one.

Anything in mind for the PS4 touchpad?

Phil: It would be nice, but just as long as it doesn’t influence the core gameplay too much.

Any plans or thoughts on integrating VR or Oculus Rift support into the game in the future?

Phil: We’re aiming to get the game to run at a stable 60 frames-per-second, but to integrate VR we would have to half that, and do it all in 3D. It’s something we’re not heavily focused on – we’re focused on making this the best singleplayer experience that we can, but just for my own personal pride I would like to see it working on Oculus.

Lee: I’ve played other games on VR and I think it’s an excellent experience so I hope that it definitely does take off. It’s interesting now that Valve is releasing its own VR headset (the HTC Vive) now.

Phil: It does feel like this is now an actual thing; VR is happening, and the future is all about these new headsets.

It’s funny how VR is still a concept that’s in vogue today after it turned out to be nothing more than a kind of a gimmicky fad back in the ’80s with things like the Nintendo Virtual Boy. In such a short period of time it’s come back and it’s now a very real possibility and practically an inevitable thing at this point.

Phil: I think it was at EGX last year that I played Elite: Dangerous on the Oculus, and that was a mind-blowing experience. If that is just the baseline of it, then the future is going to be bright.

Lee: Yeah, and that was on unreleased hardware as well, so hopefully it’ll just keep getting better and better.

Main Title

Anything else that you’d like to say about the game that we didn’t get chance to cover? When can players expect to get their hands on the final version of the game – Summer 2015 right?

Phil: Yeah that’s correct, we have a free demo of the game that players can download from our website (www.beyondfleshandbloodgame.com) so if you’re interested then you should get it downloaded.

Lee: Also, for anyone who’s interested in the game to keep an eye on our content releases, as we’ll be releasing more things to do with Unreal Engine 4.

EGX Rezzed 2015 – Highlights and Photos

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Taxi Entrance

Ying and yang. Fire and ice. Cheese and crackers…actually, no scrap that last one, they do go really well together. Why am I doing such a bad job of spouting off random pairs of antonyms I hear you ask? Well, that’s because I’m trying to think of a clever segue into my next paragraph about comparing…alright, look, so it didn’t work okay? Trust me, just keep going, it’ll all make sense in a few seconds or so.

In contrast to the standard EGX events which are traditionally more of a showcase for the latest big blockbuster triple-A games from big developers and publishers, EGX Rezzed puts indie developers and their quirky projects in the spotlight for a change.

So, last week, I hopped on a train and made my way down to London’s Tobacco Docks; presumably whilst an Indiana Jones style travel montage showed my progress south via a descending red line on a faded map of the UK. I was there for the Thursday and Friday sessions to mingle with game developers and game fans alike. The sun was shining, developers were smiling and…nope, still no decent third triplication point. So, without further ado, here’s my thoughts on a few games that caught my eye from the many excellent games on offer at this year’s Rezzed collection.

Bloodborne

Bloodborne

Okay, let’s start off my indie highlights of Rezzed with a big game that isn’t considered an indie game at all by pretty much any stretch of the imagination – Bloodborne. Great thinking I hear you say – you’ve fucked up the entire point of this article in only the first proper paragraph. But it was there in the Sony section and I thought, hey, why not? Got a problem with that? No, I didn’t think so.

For someone who didn’t really get all the Dark Souls hype, I have to say that Bloodborne looks pretty damn cool. I didn’t really give Dark Souls on the Xbox 360 the time and patience it deserved; even though I loved the heavy mood and mystery that permeated my brief adventure from prison cell to giant taxi- crow-thing, I never really found the will or self-discipline to keep going.

Having said that, I actually enjoyed my brief time in Bloodborne a great deal more than I was expecting to, which was a nice surprise. Perhaps it’s just something as basic as the dark gothic aesthetic of the game appealing to me more than the knights, dragons and trolls of From Software’s previous franchise, but it worked.

Being terrible at Dark Souls, I decided not to mess around with the unknown and opted to play as the standard class of character, who comes complete with a hideous scythe/giant barber’s razor blade in one hand a and a nifty blunderbuss musket/shotgun in the other. Of course, the way you build out your character’s weapons and equipment will impact on how they move and play, so it looks as though there’s perhaps a fair bit of variety in this game when it comes to player choice.

Though you’re dropped straight into this nightmare world with no introduction in this demo, the atmosphere still feels dark and heavy right from the off, and you feel suitably creeped out. It all looks great too, with atmospheric lighting and great attention to the audio – overall there seems to be a much greater emphasis on horror in Bloodborne in comparison to Dark Souls, which definitely appeals to folks like me.

In the scant few hours that I have spent in Dark Souls, that game felt more like a gloomy medieval mystery than anything particularly bone-chilling, but from what little I got to experience of Bloodborne at Rezzed, there certainly could be some nasty scares to accompany you on your swashbuckling way. One particular moment was hearing what could only have been a massive bird (perhaps the giant Dark Souls crow/taxi/thing maybe?) shriek incredibly loudly into the night as I was halfway up a tall ladder. Needless to say, I got back down onto terra firma as fast as possible.

Bloodborne Monitors

There’s this horrifying Wicker Man feeling you’ll get when playing that pervades pretty much every moment. Alone and isolated, and with apparently the entire population of this town against you, it feels pretty intimidating to say the least. Seeing a long line of the wretched townsfolk marching through the streets in an ominous and slow procession before branching off to gather around a huge burning effigy (presumably containing lots of cattle and a screaming policeman) felt chilling to the core. The game manages to evoke a similar feeling to the one you get when playing the monster in the early stages of Evolve; everyone’s out to get me, I need to fucking run!

The enemy AI is just as smart and cunning as you might expect from a From Software game. Walking up behind a hulking monstrosity lurking round the back of a dark crumbling building, I promptly slashed away at the portly fellow, only to have him whirl round on me in a blur of speed and slash me with some giant axe-thingy. Battered and wounded, I retreated back a few metres to get some space and neck a health potion all the while desperately trying to remember what little information I could recall from my brief time playing Dark Souls.

Aha! I’ll get the brute to make a lunge for me, then dodge and get in some cheeky swipes with my giant retractable barber’s razor weapon-thingy whilst he’s recovering. Thus, I started to dodge back and forth in what I hoped was a patronising and annoying manner. To my horror, the giant toad like man-demon proceeded to leap forward into the air at me at such a speed that I could only watch in horror as he slammed down on my cloaked crusader, taking a great deal of my health away in the process. Ouch.

Retreating from this battle I’d surely lose, I scuttled back along the dark sidestreets in an effort to desperately survive for a bit longer. However, by this point, I knew that with my lack of skill my time would be rapidly drawing to a close any minute now anyway. Emerging into a large open street flanked by abandoned horse carriages, I tried to sneak along behind a gaggle of the mouldy townsfolk. Boom! A bleeding shoulder full of buckshot from an enemy’s rifle quickly let me know that I’d been spotted and that I needed to move. Fast.

Despite scuttling out of the range of the gunner, and managing to fell a few of my scarecrow-like assailants, I was inevitably cut down by the grimy hordes in next to no time. However, this time I finished with a big smile on my face.

One aspect to the combat that I’ve heard echoed by a lot of other critics is that the action and combat in Bloodborne feels considerably faster and less clunky and cumbersome than Dark Souls. I certainly found this to be the case myself from playing the demo; moves didn’t feel like they took an eternity to execute, and your character feels altogether more manoeuvrable, which personally definitely felt way better to me.

When I did attack when I should have blocked/dodged or vice versa, it didn’t feel like the end of the world and I could quickly right myself and keep going. Obviously, you can’t afford to make many mistakes at all, but the way the combat has been tweaked definitely felt much more palatable to me. It just feels a lot more exciting and way less gruelling than I expected things to be, which is surely only a good thing.

Salt; A Social Story

Right, so now let’s actually knuckle down and talk about indie games. Salt; A Social Story, by Holly Pickering of Indieful Entertainment, is one of the first I tried upon getting to Rezzed.

It’s a clever and interesting critique of social media and the way that it negatively influences a great deal of our interactions with others. Described by Holly as a “stalking simulator mixed with a choose your own adventure game”, you play as a woman following the messy break-up with her boyfriend, who’s subsequently wiped and reset her contact list of friends on her social networking site of choice, Mugshot.

The game plays out in the Mugshot interface, which looks like a chunky Windows 3.1 pixelated predecessor to Twitter/Facebook. The aim of the game is to restore your account by slowly adding back your previous friends one by one – you can only add one new friend per in-game day, and once you’ve reached a total of thirty friends, Mugshot will fully restore your account back to how it was before the break-up. The more friends you add, the wider the pool of potential friends and other social connections will become, giving you plenty of new connections to choosse from as the game progresses.

As the player, you can’t interact with these friends or actively participate in the networking, but rather you voyeuristically watch the interactions between your character and her growing network of contacts. It’s a fascinating playing experience, not to mention one that gets uncomfortably creepy at times; as you explore your character’s old social life through her and her friend’s social media posts, and reconnect with them one at a time, you start to get more and more of an insight into which friends she most values, which she doesn’t have much to do with, and just how this sprawling network of friends, work colleagues and near-acquaintances all fit together.

The conceit that you can only add one new friend per day means that you don’t feel overwhelmed by too many new characters too soon, giving you a chance to fully read up on their posting habits and attitudes over the course of the game.

Another interesting aspect of the game’s design is that there’s more than thirty friends that you can add to your friends list, meaning that you can’t get the full story and atmosphere on your first playthrough, giving you a cool incentive to go back and rediscover the connections and story details you might have missed the first time.

What’s really awesome is that in between each day, the game displays ominous short messages on the nature of social media, and prompt you to consider just exactly how we’re using the internet to communicate with each other. In particular, it makes you question just how ‘social’ social media really is. Having this quiet but powerful dissenting voice of critique in amongst all the vain nonsense and digital conversations of the characters is really effective.

It’s a really cool juxtaposition. As you get more and more involved in these character’s lives, stalking and probing deeper into their intricate connections with each passing day, getting these stark reminders about just how vain and and pathetic a lot of these interactions really are. It makes you question just what you’re doing snooping around in these characters lives and why exactly you’re enjoying cyber-stalking them?

As a result, there’s this strong sense of loathing that comes over you whilst playing – a feeling directed at these vacuous airhead characters who prattle on about their apparently awesome lives, and also at yourself for recognising your own personal desperate and pathetic social media habits in and amongst these fictional characters.

I played through the first eight or so days as I didn’t want to hog the booth for too long, but I can’t wait to play the full thing and carry on stalki-I mean observing. Just observing. Not that I do that normally of course…ahem. Let’s move on.

Monstrum

Monstrum

Okay, so this is a big one. Playing Monstrum at Rezzed was the first time that I finally managed to don the fabled Oculus Rift headset. Unfortunately though, whilst the game itself was good, my virgin-run with the Rift really didn’t work for me. Within only a few minutes, I started to feel very queasy, very fast – and that was before I fell prey to an impromptu mauling from my shrieking slimy alien pursuer.

Don’t get me wrong though, the Rift was certainly immersive up to a point, even when playing in a noisy, packed room swarming with excited gamers milling about all around me. It’s a clichéd turn of phrase I know, but it really is an incredibly cool experience to feel like you’re actually in the game world yourself. This of course is particularly helpful when playing a horror game where immersion is an essential pre-requisite to setting up any decent sense of tension and fear.

An incredibly basic thing that took me a long while to unlearn while playing was that when you’ve got a VR headset on, the right analog stick on your controller becomes redundant. In fact, I even asked the devs helping me with the Rift if they could invert the sticks for me, before I was politely reminded that it didn’t even matter – d’oh! Once you do get used to it though, it gradually starts to feel more natural to turn your head to look around you.

It makes me think that if this current bunch of VR headsets takes off whether we will just dispense with the right analog stick on our future console/PC controllers. The space could instead be given to more buttons or touch pads, or who knows whatever other new-fangled gadgets and gizmos we’ll be slapping into our controllers in the future.

Unfortunately though, as cool and immersive as playing with the Oculus Rift was, it was probably just way too much for my simple brain (and stomach) to handle. After years of ribbing non-gaming friends and family members when they got nauseous after only a few minutes of playing split-screen shooters of the past such as Timesplitters 2 and Goldeneye 007, I felt that perhaps I’d finally been given my karmic just desserts with the Rift.

Maybe I’d just overhyped the moment too much in my mind, but it certainly felt a bit underwhelming having to fight the feeling of motion sickness on my initial Rift experience; I didn’t quite have that glorious moment of digital euphoria that I’ve heard so many other people harp on about when they describe the potential of this exciting wave of VR tech.

Monstrum Booth

However, that’s just my thoughts on the Oculus Rift itself. Thankfully, Monstrum itself didn’t disappoint. Having seen YouTube’s Markiplier shout his way through the game online, I was definitely interesting in giving Team Junkfish’s randomly generated monster maze a go myself.

Monstrum places you in the unfortunate shoes of a poor soul who’s trapped aboard a 1970s derelict tanker ship way out at sea. Like many horror games, your goal is simple – you just need to survive and escape. However, Monstrum is interesting in that it offers various possible escape routes for you to consider – do you try and patch up the escape raft, re-jig the helicopter or slink away on the sub?

Every playthrough, all the items you need are all jumbled up around the various rooms and cargo holds of the ship, meaning that you’re not sure exactly where the components you need are located.

On top of that, there’s also a randomly generated monster pursuing you through the bowels of the dark ship. There’s currently two creatures in the early access demo at the moment; a giant red molten rock man, and a slithery see-through creature (the one that eventually ate me) with a yet to be revealed third critter to come in the future. Each creature brings its own different mechanics into play, so you have to learn how they operate and how to throw them off your scent as you scramble around the ship.

If you’re a fan of escape-based horror games such as Slender or Vanish then I definitely recommend giving Monstrum a go. It’s perhaps not the most unique experience in horror gaming, but the game’s randomly generated elements and monsters mean that it has some interesting and unpredictable tricks up its slimy sleeves.

Her Story

Her Story

Her Story is the new game from Sam Barlow – one of the designers of Silent Hill: Shattered Memories and Silent Hill: Origins – and while there’s no bubble head nurses or other such fog-shrouded nasties in sight in his latest game, there’s certainly a similar sense of the mystery, intrigue and introspection that the Silent Hill series is known for.

It’s an interesting mystery/puzzle game which places you in the shoes of a police officer in the ’90s who’s investigating evidence and video files from a woman who’s husband has gone missing.

The game plays a simulated PC desktop experience (meta); you’re an investigator who’s using the police database to retrieve appropriate video files to the case by using specific search terms.

Wait, how is that interesting then I hear you ask? Well, the compromise with this database is that it can only list the first five video clips results for any search term, meaning that you need to vary up your linguistic choices and delve more into the nitty gritty specifics of the case if you want to make progress and access new clips.

What’s particularly interesting is the idea that the whole game is pretty much an open ended non-linear experience. According to what you search for and the order in which you come across the video files, there’s a plethora of different ways that you could theoretically proceed through your investigation, and in what order you view the clips.

Her Story Monitor

While trying to solve the case is the main overhead objective if you will, what really came across to me was the way the game makes you empathise with the eponymous woman (played by Viva Seifert) of the title. While I didn’t get to spend as much time playing the game as I’d have liked, the range of emotions you see her go through as she’s relating evidence and, from the angle the trailer takes, denying that she’s killed her husband looks to be really intriguing.

All the while, the cold interrogation room she’s siting in, the grainy fidelity of the video files, and the moody ambient soundtrack that underscores your keystrokes and mouse clicks all contribute to this tense and mysterious mood the game manages to evoke so well. Definitely another fascinating title to keep your eye on.

So, those were just a few of the games I got to play and see at Rezzed this past weekend; stay tuned for an upcoming interview with the developers of Beyond Flesh and Blood, and in the meantime, here’s some of the other groovy games that were on display – prepare to feast your eyes on my mediocre camera work! Mwa ha ha ha ha ha!

EGX London 2014 – Photos Galore

Gallery

EGX 2014 - Earl's Court

EGX 2014 kicked off at London’s Earls Court this week on the 25th September, so yours truly hopped on a train down to the Big Smoke to get hands on with some of the upcoming games I’m most looking forward to playing in the near future…and to buy as much Bowser related merchandise I could possibly carry (don’t ask).

EGX, formerly known as Eurogamer Expo, is a four day extravaganza of gaming goodness; jam-packed with exciting new games to try, cool cosplayers strolling around and heaps and heaps of gaming merch to buy…such as Bowser t-shirts, just saying.

I wanted to play everything, but there just wasn’t enough time – I was incredibly tempted to try and hide somewhere in the massive building and evade overnight capture in order to stick around for another day or two, but alas, I decided against this course of action. Next time though…

I’ll write up a separate piece later with my personal impressions of the games I did get chance to play – Halo: The Master Chief CollectionAlien Isolation, Dying Light and The Evil Within – but for the time being I thought I’d share some of the pictures I snapped whilst wandering around…erm, I mean steadily queuing inside Earls Court in a state of happily maniacal excitement.

EGX ran from the 25th-28th September this year, and I highly recommend getting down to see everything going on at future EGX events yourself if you get the chance. So, without further ado, click on the thumbnails to feast your eyes on these juicy .jpg nuggets!