Dan Griliopoulos, games journalist:
“There’s no inherent meaning in life, but that doesn’t mean that it’s meaningless. First off, you’re raised, deliberately or accidentally, with an array of beliefs, values and prejudices by family, school, and society, that mesh or clash with the things you biologically like – that is, nature and nurture shape your preferences. So there’s already things that you value, more get put on you fairly quickly, and you get to spend your life exploring their precedence, their acceptability to society and its laws, and whether you really like them or not.
So, what I’m saying is that value is inherent to us all, which provides a grounding to meaning. I’m not saying that such a meaning is justified, but if you’re smart, lucky and/or ruthless it might be internally coherent by the time you hit adulthood, which is more than most off-the-shelf meaning systems out there (whether that’s philosophies, health systems, or religions). Meaning is a human thing – to go looking for it in the alien, unconscious universe is nonsense on stilts.”
This interview was for an Edge Online piece, which was forgotten about many moons ago, in November 2013. It’s an interview with Bossa Studio’s founder Henrique Olifiers.
This interview was for an Edge Online piece, which was forgotten about many moons ago, in November 2013. It’s an interview with Bossa Studio’s founder Henrique Olifiers.
Can you quickly run me through the history of the game?
Surgeon Simulator came out of the Global Game Jam in early January 2013, where the given theme was ‘heartbeat’. The team decided to take it literally and, by embracing the blunt approach to the motif, humour became the focus of the game.
You went from a 48 hour game jam to one of the fastest ever greenlight campaigns to huge commercial success. Why did an incapability simulator take off so well?
It’s difficult to pin down a single factor to justify its success, we’ve spent quite some time looking back at Surgeon’s story trying to learn from it as much as we can. In the end, like everything that goes incredibly well (or horribly wrong), is usually a ‘perfect storm’ scenario where several factors work together amplifying each other.
One of the strongest aspects of the game is that it’s as fun to watch as it’s to play, failing in Surgeon (and you fail a lot in it) is as funny as it gets. This was crucial for the success it achieved on YouTube and Twitch, making the Let’s Play videos cool to watch no matter if you were into the game to begin with.
Surgeon Simulator also never took itself seriously. We have this saying ‘where one cannot make a fun game if he’s not having fun while making it’, and it turns out that Surgeon is the perfect example of this motto: the team had a blast making it, both during the jam and full production, this filtered down to the players, no questions asked!
And yours was amongst the first games we can say was mainly successful down to Youtube and Twitch, which is one posited future of all media. What do you think?
Absolutely spot on, Surgeon wouldn’t be anywhere without the YouTube community. First and foremost, it’s incredibly humbling and amazing to see how much love is out there for the game through YouTube, and to witness it becoming the theme for so many different videos, parodies, cartoons, songs and jokes. As a developer, one cannot ask for a bigger reward, it’s simply mind-blowing and the reason why we keep on doing what we do every day.
Then it went full circle with the team watching what was going on and feeding it back into the game. When we saw a video of someone doing a slam dunk with the brain in the transplant surgery, we updated the game with that as an achievement. When some fan-art of Surgeon and the ‘Meet the Medic’ video was made (an original inspiration for the game), we spoke to Valve to get the rights to TF2 and add that as a free DLC. We created an ARG with a whole new section of the game hidden behind a ludicrously difficult puzzle because people were looking for that sort of conspiracy theory to guess all sorts of things, from the launch of Half-Life 3 to Steam’s Summer Sale date. We learned how to be inspired by the players.
We became connected to the community like never before, and found out how brilliant it is to work this way. I really think this is the only way forward for the games industry, developers who don’t know how to engage with their players will find it increasingly difficult to make games that resonate, that become relevant. It’s no longer about playing alone in a dark room; games are now part of our culture, so it’s integral to have aspects build over the impetus of sharing your experiences with the wider world.
We’re already seeing copycats – Viscera Cleanup Detail being the notable one. Given the success of the game, is it something you hope to return to more?
Tricky question… We never bothered too much with copycats, as it’s not an easy task to copy a joke. I’m not even sure it’s possible. But while this somewhat insulates Surgeon from copies, it’s also its Achilles’s Heel: We’re wary of telling the same joke again or ruining it by going too far. You know, like the guy who repeats the end of the joke a couple of times thinking it makes it funnier? That.
We’ve set ourselves the challenge to try to make Surgeon work on tablets some time ago, and failed miserably a few times. Thirteen, to be exact, until we finally got the controls right. Now that we have the game running well on an iPad, we want to add new content and change the surgeries so they make the best use of the new control scheme we created and the portable nature of the platform. It’s also a matter of respect for the players, as we hope many of them will already own the game on Win, Mac or Linux – so the touch version of Surgeon Simulator should be something unique, worth on its own, to neatly sit side by side with the PC rather than a simple straight port.
Will there ever be a Surgeon Simulator 2014? Probably not… But I guess this is not the last time we’ll see Nigel Burke and his clumsy arm in action, as long as we can come up with something new, original and fun for him to star in.
How many platforms is the game on now?
The game is available for Windows, Mac and Linux, through Steam, GOG, Get Games, Mac AppStore and a few other platforms. It’s even being launched in Japan, with the help of ZOO, a local partner. Next stop is the iPad, early next year.
Are you still actively working on it?
Very much so, the touch version for the iPad has been keeping us busy!
Do you see SS2013 as a promotional tool for the other games you’re working on? Your games are all on different platforms, which must make it difficult.
I hope we’ll carry on the reputation from Surgeon Simulator along with every new game we make, and that on its own has a huge value. Trying to shoehorn some sort of cross-promotion on Surgeon would likely do it more harm than the good we would get on the other end.
We did a tiny cross-promotion by having a floppy disk on Surgeon that you could boot into the reception’s computer and see a scene from Deep Dungeons of Doom. But that’s as far as we could get without harming the game by having something out of context.
That said, we do indeed have a huge challenge ahead of us with our multiplatform approach. Surgeon Simulator was our last game born as a desktop-bound title; every other title we got in the works is cross-platform, meaning you can carry on playing it independently of which hardware you’ve got.
This is different from having GameA on PC and GameB on mobile, which was the case with Surgeon and Deep Dungeons of Doom. Instead, by having the same game on multiple platforms, playable across them all, should help boost awareness around it since players from all creeds will have a common talking point.
Time to Live is the perfect example: we want players to be able to multiplayer across all platforms out there, from Linux to iOS (notice the Linux here, we’re betting SteamOS will be the thing, and that it will be fast). This decision has a large impact on development, and a huge impact on how we communicate. But in the end, it may pay off big time: once you go multiplatform, you don’t go single!
I’ve seen Time To Live, Monstermind, Merlin – what can you tell us about these games? Is there anything else you’re working on?
While we’re extremely proud of Monstermind and Merlin, both being nominated for BAFTAs and the former winning best online game, they’re firmly in our past. We’ve moved away from social networks as platforms after having invested so much into them to the point of almost becoming our undoing. We saw a potential in these platforms that just wasn’t realised for many reasons, in the end they didn’t go in the direction we’ve wished they would.
Time to Live is our next game, again something that was born out of a game jam just like Surgeon, but an internal one. It’s a very unique concept in which it’s an arena game, but without weapons. You’re in a dystopian futuristic TV show bloodsport with 120 seconds to live before your head is blown off your shoulders, and have to steal time from the other contestants by luring them into traps. Only one player walks away alive from each arena, and go on to see another round in its career towards stardom.
Time to Live is the one game jam result we kept coming back to and playing over and over. It’s a fast-paced game that builds a character reputation on the long run, and it’s just great to play on both the desktop and the tablet.
Then there are a couple of other games we’re brewing, but it’s way too early to be sure they’ll become something real. The one thing we’ve been working on a lot is AI, we want to take artificial intelligence in games to a whole new level. If we succeed in doing that, the kinds of games we think would suddenly become possible to create is just mind-blowing.
Do you have a planned future for the studio or are you just trying to stay adaptable?
Adaptable is the keyword. If anyone tells you what’s going to happen with the games industry in six months time, you can be sure such person is either deluded or lying. As an industry, we’re going through a transformation period like nothing before, and it’s an incredibly exciting time for those willing to change overnight in order to make the best out of it.
As long as we can create games that are original, that do something special to the players, we’ll keep on doing it. We’ve found the hard way that planning to far along the line just set us up to failure in slow-motion.
What have you learned from the SS13 rollercoaster?
Probably a lot more than one single answer can contain, I’m afraid. But if there’s one thing to take away from Surgeon Simulator is that good ideas do come from anywhere, and how to embrace this inescapable truth as a studio ethos.
We no longer have formal brainstorming meetings to create game concepts that go on to pre-production, then production, and failed launch. No more. We game jam every single month, do snap brainstorms with the entire studio, and build a warchest of playable designs we visit when the time is right to start a new game project.
Our lawn is littered with cool ideas that played like a brick once jammed into prototypes, it’s gaming natural selection at its best. We’ve learned to let go of precious concepts and move on until we find something special, worth turning into a full game, rather than sticking to what plays great in our heads and underwhelm when made into something real.
We’ve learned to jam the hell out of it all. In a good way.
Maria named everything we owned. I’d have to see the objects again to recall their specific pet names, but the one that mattered to me was when she named my car Charlie.
I’d started learning to drive when I was 21 and looking for a job as a journalist. I thought it would give me an edge in job interviews (little realising that I’m just awkward and terrible in all sorts of interviews anyway). When I got a job as a journalist, I stopped the lessons. Which was all kinds of stupid. Continue reading “Charlie Was My Darling”
You were one of the early, shock Kickstarter successes. How much pressure are you feeling from that?
Paul: Personally, it’s a feeling of considerable obligation. There’s always the awareness that people have already paid you, that they’ve invested up front, and now it’s your job to justify that financial faith they’ve put in you. And you’re reminded of that quite starkly whenever you meet someone who happens to mention they’re a backer. It reminds you that the money is very real, the people are very real and that you’re being counted on to do the project justice.
Simon: Prior to the alpha release, it was a source of intense anxiety for me. I had no idea what sort of reaction the game would get and had an awful lot of people waiting to download.
Once we started releasing alpha’s, the pressure has dropped off significantly. Having tried out builds and seen the prototype of my vision they seem really happy to sit back and allow me to engage my creativity. It’s fantastic to have that level of trust put in our vision.
Maia was pitched as Dungeon Keeper in Space. Has it changed through development?
Simon: The foundation of game has been set in stone in my head for quite a while and few of the core features have changed since the Kickstarter. Having to describe the game in detail over the course of the crowdfunding allowed me to clarify and lock down down my ideas.
A lot of the smaller components have been tweaked for usability reasons, and a lot of extra detail has been designed into the game’s simulations as I’ve iterated them and brought them to life. Due to this, things have been slower to develop than I’d of liked, but the end product is turning into something far more rounded and detailed than my initial plan had foreseen.
You’ve never hidden your contempt for some old-school game developers. What is it about the old AAA developers that riles you so?
Paul: I’m interested to see what Simon says here. Personally, one of my favourite things about indie development is how relatively transparent it is and how the usual membrane of PR is absent. People are able to be much more frank about what they think, about what their jobs involve, about how they’re doing. That benefits all of us, whether developers or journalists or audiences, because with transparency comes truth.
Simon: Hard to nail it down really. I guess at a fundamental level it’s their loss of imagination. Chasing after mythical mass audiences at the behest of publishers has really killed the wonder that brought a lot of people to this medium.
Stemming from this I am really frustrated at how they run their businesses and treat their staff. The concept of crunch flies in the face of a hundred years of research into workforce productivity, common sense, and frankly, quite a few laws.
Maia seems to have attracted a truly international audience (and it was certainly weird being asked, deep in rural Croatia, ‘do you know Simon Roth?’) What does that mean for development, as an indie? Are you trying to support other languages?
Simon: The wide audience is very cool. Having twelve thousand people testing and picking at the game is far less of a weight on development as I had expected and provides me with some serious QA grunt.
One of the interesting effects on development was receiving instant feedback from gamers who usually struggle to get their voices heard. I’ve had detailed advice and critique from colour blind users and even talked to a couple synaesthetics who reviewed the game on how it tasted!
Language support is something I am building in from the core so we can translate all the text quickly and easily. I’ve left the formats open, so anyone can do their own version of the game. This will let us crowd source the bulk of the work and then have it proof-read and cleaned up professionally. I can see some interesting challenges in moving some of our dryer British humour into other languages.
Paul: I know that Simon’s dropped in a character set to support Norwegian characters and we hope to include room for other language versions of all of the text I’m writing. I won’t be doing that myself, mind, but the simplicity of the game’s XML files means anyone could add a translation, probably for any language (with a Latin script) they wanted.
Paul, can you reveal anything about the story you’re working on? How are you differentiating it from the usual SF games tosh, which would be flattered to be called pulp fiction?
Paul: The basic framework of the story was already in Simon’s head before I joined. We’re keeping some of the details secret, but we’ve already revealed that the ultimate goal of Maia’s first colonists, those you’re controlling, is to build a space elevator. This towering structure sits on the equator, reaches up through the atmosphere into space and works far, far more efficiently for transporting materials to and from the surface than any number of space flights and landings. Really, the priority of Maia’s pioneers is nothing more glamorous than extraterrestrial infrastructure, paving the way for more and bigger projects. It’s just a job.
Hopefully, we’ll get a sense of this through the game’s writing, which I’m trying to make dry, droll and occasionally irreverent, a lot like many of us are when we find ourselves in day-to-day drudgery. This is a reality where contracts are awarded to the lowest bidder, where space travel is slow and boring, where corners get cut and where tired people are sometimes negligent. Also, the people sent to other planets are practical, they aren’t poets who have romantic notions about what they’re doing.
The idea is that it won’t be high drama and it will also be somewhat underwritten. Too many games have too much story. They’re too concerned with writing lots of plot and then serving up lots of plot and then pointing at that plot to make sure you’ve seen it. We should be showing rather than telling. That goes for directing players, too. Simon very much likes the idea that we don’t have a patronising tutorial where we tell players they have to feed and hydrate colonists, just that we have the simplest, most succinct reminder of how long a person survives without food, without water or without oxygen. Who honestly needs a game to say “Don’t forget that people need food?”
How many people are working on the project? Where are they distributed?
Simon: The team is fluid and can be five people one day and twelve the next, depending on what our current focus is. I’m keen not to enter people into exclusive and controlling contracts, allowing people can work on their own projects or even for other companies. It keeps everyone on their toes creatively and stops me having to worry about things becoming stale or stagnant – like a lot of full-time AAA work can become.
Geographically, we are mostly in the UK, but the Team is multinational. Interestingly, we also have a solid gender balance in the team, something that I eagerly point out to certain AAA developers who claim that women are unrepresented in industry. From my standpoint I haven’t seen much a differentiation between numbers of quality male and female candidates ( There are more unskilled male applications, but when you whittle them down it’s far more even). I think larger studios are perhaps misreading their own PR and HR problems as a gender skills gap.
You’ve made very early alphas of your game available to backers. Do you think this ‘endless beta’ model is the best way for developers to go?
Simon: I think for some games, especially ambitious indie projects, it will become the de-facto method of development. Obviously your design and processes need to gel with it, but the benefits are huge. In my case, without it Maia, in its current form, just couldn’t happen.
Paul: Sometimes. It’s a strange thing for me to see games grow like this, but once you have a core that people can play with, you can keep building around that to add new elements. The big question is how soon you release that core. Too early, and you give people too little to play around with.
Naturally, this doesn’t work for every sort of game. It’s ideal for games that are different every time you play. It worked for the first incarnation of the roguelike platformer Spelunky, or for Minecraft, but it’d hardly suit a point and click adventure or a plot-driven RPG. Something linear like that doesn’t invite replaying with new elements added in.
Simon: With the game drawing inspirations from Dungeon Keeper I wanted to have a few direct references. Chickens were the natural choice, as they could fulfil the role of livestock in the early game. They have an AI that acts purely on base impulses, without any forethought or risk assessment, which leads to some amusing emergent behaviours and will hopefully provide an interesting contrast to the more complex higher-order intelligences of the other lifeforms.
Adding the pets of our Kickstarter backers to the game has been really fun, and allowed us to focus on them as solid characters in the game-world. Cats and dogs have had a symbiotic relationship with humans since the dawn of mankind in the palaeolithic and will likely continue to evolve along side us well into our futures. Having them fulfil rolls in future space colonies is pretty much inevitable.
It’s also important to note that more dogs have been into space than British people!
Paul: There are cats, too. In bee costumes. Admit it, it’s what you’d send to another planet.
When do you envisage the project being done?
Simon: The 1.0 release is sitting in early 2014. I’m not entirely sure when we will be able to nail that down, however we have some key milestones coming up this year, such as the Steam release and the addition of the alien food chain. The game in my head in massive, yet the design is complete, and I am quick to stamp out feature creep. Whether I will ever be happy enough with it to call it “done” is an interesting question…
Not to mention, I’d love to pick up the final stretch goal from the Kickstarter and produce different planet types as free expansions next year.
And, then, what next?
Simon: I have a lot of embryonic games in my head, on paper and even a few prototypes kicking about my hardisks. Firstly there’s a technoir adventure game I’ve been wanting to make for a while, a primordial life simulator, and a first person survival RPG set in the Maia time line.
Any merchandise? T-shirts, thumbdrives, board games…?
Simon: At some point I may put some together (beyond the posters, wristbands, and other stuff produced for the Kickstarter). Currently it’s too much of a distraction, doing physical manufacturing in an ethical manner really eats up time and money.
A board game would be fantastic, mind you. I’m sure Paul could flex his muscles on that one. I’ve also been thinking about getting some Maia mission branded survival tools; dehydrated foods, flint-steel fire starters and even military dog tags.
Once the game is demanding less of my time, I’d like to put together an anthology of short science fiction stories from different writers, exploring aspects the world we are creating. The game has sparked the imagination of a lot of excellent writers and I’d love to see their take on it.
I’m also working with Nick, our composer, to release an album of the game’s 70’s inspired synth-heavy soundtrack. We’ve had a lot of interest from composers in doing a compilation of music inspired by the game for B-side for it.
What sort of situations will players end up in the game? Can you walk me through an example scenario?
Simon: The game, due to its various interconnected simulations will yield all sorts of unforeseeable scenarios for the player to deal with. Here’s one based off our food-chain simulation:
A player focussing on rapid expansion of their base has large power needs and decides to build a large wind farm on the surface of the world. To do so she defoliates an area and sets up heavy defenses. Clearing a large area of grass and plant life unbalances the food chain, killing off the native herbivores through starvation and the odd 7.62mm round to the head.
This causes the larger carnivores, usually reliant on the herbivores to plug the new gap in their diet with the player’s colonists. Through trial and error, they eventually learn their way around the players turret systems and start intruding into the colony looking for tasty morsels.
The creatures tear through the airlock seals, rapidly depressurising the hastily designed base, the lights drop, alarms sound and the colonists start to asphyxiate. By the time the creatures find the colonists, the poor souls have slipped into unconsciousness and in their helplessness, are eaten alive.
Paul: Maia is being colonised partly because it’s similar enough to earth that colonists can make use of its natural resources to complement what they’ve arrived with, since there’s only so much you can cart twelve light years. Mining and excavation will provide many of the same metals and materials you’d find in the earth’s crust, while it’s also possible to use solar stills, wind turbines and solar panels to gather energy or clean water. We have a very humid hydroponics bay where vegetables can be grown and regrown but, who knows, maybe some of Maia’s own life might be edible? Eating cats surely has to be a last, resort, right?
That said, the surface of the planet is largely inhospitable. Everything’s happening underground because that’s out of the wind, solar flares and meteorite impacts.
I haven’t seen a game from you since 2011. My entire family (from 2-60) love your games. We all ask: when are you making a new one?
(That’s a pretty good age range!) I’m hard at work, as we speak, on an interactive Alphabet. With any luck, I’ll be finished early-to-mid next year.
Is there anything that would encourage you to focus on games more?
The encouragement of a decent income, from whatever you do, is hard to overrate. But mostly, I’m just encouraged if I have a good idea, or a bad idea that I’m excited about.
You make objects that feel more like toy boxes than games, but still have the sense of achievement and progress that games have. Why?
Toy-like, because I’m partial to pointless, playful, and hopefully-beautiful trifles. Game-like, because a game provides a structure — a backbone — and gives the user a means of navigating through the experience. I think of puzzles as kinda like speed-bumps, designed to slow you down and make you participate with the environment.
But of course, not everything needs to be a game. Sometimes I’ll have the germ of something, that I know I like, but I don’t really know what it IS yet. So I have to step back and let it breathe a bit. It’s a mysterious process. I have things I started years ago that I still haven’t figured out what to do with.
How did you start on this?
I think it’s just my own personal inclination. I’m not terribly interested in puzzles per se, but I enjoy the way a system can evoke a sense of a larger reality. As a user, being invited to interact with that reality can be, in some cases, a fairly magical experience.
Vector Park is just you, isn’t it?
Apart from games, what are you working on now?
I took some breaks this year to work on some installation projects: one is a set of animated wallpapers for a restaurant in Brooklyn (Dassara), and the other is a collaboration with the illustrator Malika Favre — an interactive projection for a hotel in Amsterdam.
What’s a day in your life like?
Coding, doodling, staring at the ceiling. Occasional naps.
You’re obviously still enjoying games, as your twitter feed shows. What’s caught your eye over the last year?
If I make a list, I’ll leave something out and feel terrible later. How about instead, what am I looking forward to? Off the top of my head: Gorogoa, Kachina, Hohokum. (Maybe I just like weird names?)
How was working on the IT Crowd material?
Fascinating, but difficult. I love the show; it’s hilarious. So it’s pretty much the coolest freelance job I could ask for. It was something of a challenge to satisfy both myself and Graham, the show’s creator, but he’s a brilliant guy, and the end result was better for it.
Did that get you any more attention?
Certainly, and that’s a nice bonus, but it didn’t change anything for me fundamentally. I took it on because it was a fun, paying gig.
Though your games are much admired, you seem to be on the edge of the games scene – this is the first time that Edge has written about you since Acrobots. Why is that?
Well, I can’t read the mind of the Edge’s editors, but I think it’s probably just because my stuff is on a slightly unusual wavelength, and not everyone is going to dig that. And that’s okay! Expecting everyone, or even most people, to love what you do is pretty unrealistic. If a thousand people in the world are receptive to my work, that still seems like quite a lot.
Does that give you a different perspective on games?
Probably! But from my point of view, I’m basically doing the same thing I was doing since before Windosill, before Feed the Head, back when I wasn’t even really aware of an indie game scene. So, it’s kinda like living in the wilderness for years, and one day discovering an entire town has sprung up nearby. It’s great to have some neighbors, maybe you even make some friends, but at the end of the day you’re still growing your own food.
(Not that I have any idea how to grow food.)
“I have personally nothing against 40 years old guys being chronically stuck in their teenage mind-set, however I am really annoyed by the stagnancy of an entertainment medium that cannot be anymore appealing to people who now have different interests. I am not saying we should quit zombie games or Lord of the Rings altogether, I am just saying we should have other valid options too.” Massimo Guarani, Ovosonico.
I’m going to be putting up a bunch of this year’s developer interviews this week. This one is an interview with Massimo Guarani of Ovosonico, I converted into an article for edge-online.com. It’s about the disturbing Vita game, Murasaki Baby.
I’m a sucker for a good story – what’s the tale in Murasaki Baby? And the tale behind it?
The tale in Murasaki Baby is as simple as the premise of a little baby lost in a surreal and grotesque universe, and desperately searching for her mommy. I like to tell stories through gameplay, images and direct emotions, not necessarily through words.
That is why you really have to play the game to live the experience and naturally unfold the story and its meaning. Murasaki Baby has been designed around the concept of silent storytelling. The player himself will be able to fill the gaps and understand who, what and why without having to resort to a scripted, spoon-fed cut-scenes, dialogues or texts. In fact, the game doesn’t even feature a single text character and has no user interface at all. For me the key to success has always been to keep the systems simple and to rely on players’ imagination. And imagination is what makes us human.
Modelling a child in a game is tough – especially given the violence associated with most modern games. Is it possible to avoid violence in a game intended for popular, rather than critical, consumption or is it just too strong an emotive tool?
This is like asking if it’s possible to avoid love stories in movies. Yes, it’s possible indeed, although love stories undoubtedly sell. The problem is, while in movies we have all sort of genres and subjects being touched and dealt with in different ways for different audiences, games are still pretty much conceived and enjoyed within a very narrow set of options.
It reminds me very much of Hollywood in the fifties. I think we are now starting that slow process of legitimisation of video games, where independent creators are playing a key role in dealing with different subjects and trying different art styles and vocabularies. It just takes time, but I am sure we will get there eventually. After all history repeats: just think about what Spielberg/Lucas did in the seventies turning down the majors and going “independent”.
Your art style is impressive in the way that it looks not just hand-drawn, but also hand-animated. How did you pull it off?
Animations are the most powerful tool we have to define Baby’s personality. A great amount of time and effort was spent in trying to get the style right, and eventually we came up with the conclusion that we needed to deliver quick, responsive, snappy animations in order to bring Baby to life.
This approach is naturally inspired by the style and dynamics of Japanese animation, and in particular we carefully observed and studied the character of Mei in Miyazaki’s “My Neighbour Totoro”. Mei is still probably the greatest example of hand-drawn animation of a child in the history of animation.
Why the Japanese-esque name?
The word “Murasaki” in Japanese means “purple”. You could translate the game title into “The Purple Girl”. I just wanted to communicate this simple notion in a form that just sounded beautiful and unique. I reckon that, having lived in Japan for a long time, it might just sound natural for me to mix Japanese and English words, however I purposely chose to keep the word “Purple” in Japanese because it just sounds great and weird at the same time.
How do you layer complexity into the game, whilst increasing the difficulty fairly?
Complexity is achieved through the evolving relationship between the player and the Baby within the game universe. Baby’s character and initiative changes over the course of the journey depending on how the player interacts with her and what kind of situations she will be facing. While puzzle elements will also become more challenging and organically complex, I think the emotional bond and emotional response of both Baby and the player is what will eventually define complexity.
Was the game conceived with the Vita in mind? Do you see it working on other platforms? Will people’s screens get very worn out in just one spot? 😉
I never conceive games with a specific platform in mind. Actually, when I explore new ideas and possibilities, I don’t want to be constrained to any specific technology. I am all about the content first, and then once I am really convinced about an idea, choosing the right platform for it becomes a natural consequence.
As a concept, Murasaki Baby was simply destined to be a PS Vita exclusive. The organic use of the front and back touch, of the gyroscope and even of the analogue sticks, made it the perfect game for a console that pretty much needed something fresh, new and unique. After all I strongly believe that technology is a tool we must use to express ourselves, and not the starting point and/or the final goal. PS Vita was simply the best tool we had in our hands to make Murasaki Baby come to life.
The only other pure escort games I can think of is ICO. Where else did you draw inspiration from?
I normally draw inspiration from my everyday life. I am a very contemplative person and I like to observe things and people. One day I was traveling on a train and I saw this little girl holding a balloon in her hand. Her mother was holding her other hand. The image was just incredibly beautiful, and I immediately translated this emotion into a very high level game system where you would hold the hand of a child through a touchscreen. For me, inspiration comes from raw emotion and their personal interpretation. I normally don’t look at other games to find inspiration, as I know I would end up repeating the same things someone else did.
Another huge source of inspiration for me is music. Music is pure emotion and can trigger in me very clear visions. I could never come up with a new concept without having clear in my mind its soundtrack style. Most often than not, and that’s the case even with Murasaki Baby, music is what helps me visualising the game universe in my mind.
Where did your studio name, Ovosonico, come from?
As a name, Ovosonico comes from a nightmare I had some time ago, where I found myself in front of a giant white egg screaming loud with the voice of a Theremin. I woke up in sweat, but I thought that image was really cool. As a studio, Ovosonico comes from our fierce desire to say something new and personal, as opposed to the mainstream industry’s tendency to flatten everything to the lowest common denominator.
Where are you based?
Our studio is located in a eighteenth-century villa situated by the shores of lake Varese, in Northern Italy, about fifty kilometres north of Milan.
In one article you said that you don’t want to be like David Cage – but in another that you would like to see people understand what he’s talking about rather than just abuse him – what do you mean by that? What is it that’s interesting that he’s saying?
I have much respect for David, and I do share his opinions regarding the expansion of our medium. We had the chance to have a chat at Gamescom and, regardless of whether or not someone liked Heavy Rain’s approach to gameplay, I really support his efforts and vision because I’ve felt it really comes from genuine motivation. This is also my very personal mindset, and that’s why I don’t want to be considered as his disciple, but rather as another guy who shares the same motivation.
You’ve also stated that you want developers to move out of their teenage stage, their circle of games, and to break up the private club. Do you feel the industry is totally closed-minded? What is it about this stagnancy of creators and creations that annoys you?
The industry has been indeed incredibly closed-minded until this new “golden age” where we’re seeing mainstream AAA creators going indie and dealing with innovative content and new subjects. I believe this should not come as a surprise. After all, until now our industry was mainly a teenage-male driven business, talking and catering to teenage-males technology nerds whose culture started with Star Wars and ended with Lords of the Rings. I’ve been one of those too, so I know what I am talking about. Thing is, we normally grow up, get older and more mature, and as such, our tastes and necessities change. I have personally nothing against 40 years old guys being chronically stuck in their teenage mind-set, however I am really annoyed by the stagnancy of an entertainment medium that cannot be anymore appealing to people who now have different interests. I am not saying we should quit zombie games or Lord of the Rings altogether, I am just saying we should have other valid options too.
Movies can do that, why can’t I have different games dealing with different subjects? This should be an interesting challenge, not an heresy, especially considering how powerful can be our medium. I am breaking up the private club here, but I do understand this is the very first time we’re witnessing a generational change not just in the audience, but within the games industry itself. This is the first time in the history of video games that we have 50 years old creators and 45 years old players sharing the same entertainment space with a new generation of 20 years old players.
Do you think it’s brave to predict the future of this rapidly-changing industry?
There’s nothing brave in predicting the future. We should just work hard and follow our ideals and dreams. That’s how you build the future. And that’s a lot braver and riskier than just predicting it.
This is an interview with the anonymous modder Vorians, who’s worked on the Unique Landscapes and Better Cities mods for The Elder Scrolls IV Oblivion. I was interviewing him to talk about Skyrim for this piece on What Modder’s Want for Gamespy, but he didn’t reply in time, so I’ve posted it here.
A lot of modders asked for a new region generator tool – what is this?
Not something I know too much about, but I’ll try to describe what this is. Modders can create content outside the intended playable borders of Oblivion, and also create entirely new worldspaces (a worldspace is an exterior location, such as Cyrodiil or one of the cities in Oblivion). Worldspaces are made up of land height, which can be auto-generated using existing tools, and regions which contain certain types of plants, rocks, creatures etc. A region generator tool would automatically add plants, rocks, creatures across a designated region of the land, saving modders a great deal of time as otherwise everything would need to be hand-placed. Once the region has been generated with generic content, the modders can then add the more unique details such as settlements, cave entries, ruins.
What are OBSE and Wryre Bash? Why are they useful?
OBSE is the Oblivion Script Extender. It was created and is still being improved upon by modders, and adds hundreds of new scripting abilities for mods to use, allowing things to be done in mods which would never have been possible with just the scripting from the original game. Really this isn’t something one can hope to be provided by the game developers, as they could never anticipate every possible scripting command modders may want – but the more there is available from the beginning, the less need there would be for a Skyrim Script Extender (SKSE I guess would be its name).
Wrye Bash is mainly for gamers rather than modders, it allows control of the order mods are read by the game (since mod content can overlap, the last-loaded mod wins and overwrites any previously loaded mod trying to edit the same things). Wrye Bash allows the player to choose which mod will overwrite others. Wrye Bash also includes the ability to control how mods get installed, by creating BAIN packages from the downloaded mods. I’ve never really used BAIN installations myself, so can’t describe its benefits, but the Wrye Bash thread here on the Beth forums ought to provide some details. The biggest benefit from Wrye Bash is the “bash patch”, which each player generates for their own game. It takes conflicting edits (where more than one mod edits the same thing, only the last-loaded mod’s edits appear in-game normally), and combines them so that you can benefit from the changes made by both mods (see my comment on the “rule of one” lower down).
What does it mean to say that content in Oblivion was hard-coded?
There’s a lot in Oblivion which a modder simply cannot edit; the developers did not design it to be editable. Magic effects are hard-coded if I remember correctly, new ones cannot be created so modders are limited to using only those which came with the game. There’s other content which is also hard-coded. OBSE scripting provides some means to work around hard-coding, but it would be much better if there simply wasn’t any hard-coded content (or at least as little as possible) to increase what modders can do.
A lot of complaints were about bugs – are they really still not fixed?
Oblivion’s Construction Set is full of bugs which were never fixed. ShadeMe is working on and has released the CSE, Construction Set Extender, which fixes various bugs and adds enhancements to the CS. Sure would be nice if modders like ShadeMe didn’t have to fix the bugs, they ought to be fixed by the developers!
Arthmoor wanted “the creation kit to be on par with the CS extender.” What does he mean?
The Creation Kit will be Skyrim’s official modding tool created and released by the developers. CS stands for Construction Set, which is the official modding tool created and released by the developers for Oblivion (and Morrowind before it). Construction Set Extender is ShadeMe’s update to the CS, fixing bugs and adding new functionality. Arthmoor would like Skyrim’s Creation Kit to have more features and abilities than the Construction Set had.
Why are the current land-editing tools so bad?
Land editing could certainly be improved. It’s difficult to adjust the land height accurately, what tends to happen is a much larger area of land gets affected than you want, even with the radius (area to be affected) at its smallest setting. Also, after making adjustments to make the land height in one place exactly as you want tends to leave the area around that place a little messy, needing smoothing over. But trying to smooth that area over tends to undo your changes in the place you had just finished adjusting. And then changing the textures on the land (so that it looks like grass, or sand, or rocky, or snow, or mud, or road etc.) there’s a limit on how many textures can be in each quarter of a cell (and a bug in the CS means that it displays one less than the actual limit, so it doesn’t look right even though it is right).
Wrinklyninja wanted a change to the rule of one. What is that?
The “rule of one” is what someone once made up to summarise how when more than one ESP edits the same record from the game, only the last-loaded ESP’s edits will appear in-game: just that one. For example, an NPC is one record – this record stores the information about the NPC’s face, hair, eyes, race, gender, class, all stats, their name, everything they carry/wear, what factions they’re in, what spells they can cast, what AI packages they can use… and more. All in one single record, so if one mod edits an NPC’s inventory, while another mod edits that same NPC’s list of AI packages, only the last-loaded mod’s edits will appear in-game.
Wrye Bash actually is a great help here, as it can take the changes made by both those two mods and combine them so that both the inventory edits and the list of AI packages can appear in-game, but it would be so much better if the game were capable of combining these edits from multiple mods together itself. It would also be good if Skyrim split some of the records which contain a large amount of related information into separate records (which would help reduce the chance of two mods overlapping in this way).
Bg2408 complained about the dialogue system. What problems are there?
In the Construction Set for Oblivion, it is not easy to trace the lines of dialogue for a single conversation, due to the layout. Having the dialogue display in branching trees so you can see how each line links to the next line(s) would make it easier to ensure that when you create dialogue, it makes sense and all the connections are correctly placed (otherwise lines get missed in-game and the conversations don’t make sense!).
Silent dialogue… in Oblivion, all dialogue from the original game is voice-acted, so every line of dialogue has a matching MP3 file for the voice. Mods which add dialogue typically are not voice-acted, so the dialogue is silent in-game. However the game still expects an MP3 file for every line of dialogue, the time required to play the MP3 file determines the time the text remains visible on-screen before moving onto the next line of dialogue. With no MP3 file, the dialogue then zips along too fast to read, so modders are forced to provide silent MP3 files just to slow the text down. So the desire here is for Skyrim to keep unvoiced dialogue text on-screen for a reasonable length of time, either by not timing based on the length of an MP3 file, or else by being able to generate silent MP3 files itself (presently modders have to use TES4Gecko to generate silent MP3 files for their dialogue, though a modder named Elys did release the Universal Silent Voice mod for gamers to install, which requires OBSE, and enables any dialogue lacking a silent MP3 file to keep the text on-screen for a reasonable length of time).
Ethatron asked for a script debugger.
Speaks for itself really. When writing scripts for Skyrim, sure would be nice if the Creation Kit could test a new script and show the results without having to save & compile the script, save the mod, launch the game, get to the point in the game where your script would run, see its results, then quit the game and return to the Creation Kit again to continue modding.
Marshmallow asked for a much better collision system – is it particularly crap now?
Yes, it is. The collision system is highly inaccurate, especially when it comes to furniture (shelves, tables, desks), and havoked objects touching that furniture (havok is the physics in the game, controls what happens when a moveable object is pushed/pulled/thrown/shot/hit/knocked over). Objects placed on tables/shelves such as books, plates, fruit, tend not to actually be touching the table/shelves, they tend to float just above it. When such objects actually are touching the table/shelves, simply nudging any one object tends to cause that object and several others close-by to rise up slightly above the table/shelf surface. And when there is a bookshelf with several books on it, the collision for the books is larger than it should be, so nudging a book can often cause the entire shelf of books to suddenly push against each other so that they move up and away from the books beside them – often resulting in some books shooting off the shelf and flying across the room.
To continue, collision is not always quite right for static objects when the player tries to walk over/around them, sometimes the collision sticks out too far or it dips in, so the player can partially walk into an object. Shooting arrows through supposed gaps in a mesh doesn’t work as the mesh collision doesn’t account for the gap (e.g. bars for a prison gate), and when shooting past something such as a tree, it’s not unusual for your arrow to hit the tree even though the arrow didn’t actually touch it. And similar issues like that.
Someone asked for multicore support as well.
Multi-core support is very simple: Oblivion was released at a time when multi-core CPUs were fairly new on the market, and the developers did not take the time to ensure the game made proper use of them – typically Oblivion will only use a single core from a multi-core processor, thus wasting a lot of potential processing power. I think it extremely unlikely that Skyrim will also fail to benefit from multi-core processors.