It was during my high school years that I decided on a career in computer science. Games such as Chrono Trigger and Final Fantasy 6 sparked my desire to tell a story in game form. While I enjoy games like anyone else, it was always the narrative that kept me going. I grew up in the 90s along with the rise of the Nintendo console. I was an avid reader and wanted to tell my own stories. Mark: 'Ever since I was a kid I have had an interest in computer software and creating things. How did you get involved in making games? Soon, we will be joined by a dedicated composer, but we don't want to make any announcements there until it is finalised!' Mark Harbaugh is focused on the programming structures and gameplay scripting, as well as some of the gameplay design.ĭennis Varvaro is focused on art production and foley sound, gameplay mechanics and level design, and community interaction. That concept of combat always fascinated me, and it seems like it hasn't been revisited much in other titles, so it became the most direct influence for how we approached our own design!' There is very little safe space for the player to occupy, and they are constantly making discrete choices about how to maneuver to the safe pockets on the screen, or which of their items to use to manage the enemies of the room. In particular, I was always a fan of the sort of the “clockwork” combat of the original Legend of Zelda in that game, almost everything moves by 4-way cardinal directions, and the enemies all follow predictable patterns. Play will revolve around intense combat sequences, and puzzles involving sequential thinking and item-use. Gameplay will feature real-time exploration and combat. The gameplay itself will be familiar to many users! We chose the classic archetype of an episodic quest divided between a series of “dungeon” encounters embedded in an overworld. The story deals with themes of community and social acceptance, as well as the relationship between society and technology. She finds herself in a new place, in a new set of circumstances, and she takes up the burdens of a group of people living there, in hope of regaining something she had lost. 'This question sort of breaks down into a story angle, and a gameplay angle. We don't want to go too far in depth story-wise (part of the joy of the game is discovering it yourself in real time!), but we will say that our Heroine is something of a tragic figure, and the player will learn that her actions reflect a deep desperation. The gameplay and art style draws heavily from the classic topdown adventures and Rpgs: Legend of zelda, startropics 1 & 2 link to the past links awakening secret of mana chrono trigger.' While Mark had envisioned the project as originally only being a 3-month prototype, it sort of snowballed into being the fully-fledged game we are now targeting. We discussed it and decided that it would be more time-conscious to produce a sprite-based game in the 16x16 tile resolution, with the 2.5D concept being a project for later. I had also had plans for one day working on a topdown adventure- the logic being, it was a format where the assets could be quickly created, thus allowing a much larger proportion of the development time to focus on gameplay design. ' The Hazelnut Bastille project resulted from our long term, independent plans being combined into one production concept: Mark's idea was to create a prototype of a topdown adventure in a 2.5D art style- it would feature 3D models, but with an orthographic top-down camera.
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