We iterated on a bunch of stuff, we settled on that sort of gloopy, and round blobby. We did go through a lot of iterations, like looking at styles…you know, Gorillaz, the band? Really edgey, angular stuff like that. We wanted to look like a skate cartoon-like you’re almost watching an animated show about skateboarding. We went through a bunch of different obstacles. If we want there to be a character, like a talking fish inside a big rectangle of glass we can do that-because when I go out, no one can say that can’t exist, right? And that freedom is really nice, it gives us like a lot of space. We want the world to have more character, we want there to be people you meet, we want it to be a fun place to be.Īnd creating your own world for the game to take place in with its own population and its own lore, and its own locations, gives us lots of freedom to be creative. Developing that game was fun because it’s got this weirdness to it. We’re making up this real world, we have weird characters and whatever it was fun. John Ribbins: So, obviously, Not a Hero is pixel art, but Not a Hero is a lot of fun because it was silly.
You’ve really found a unique voice with the look. We wanted to go: It’s neat, Dark Souls on a skateboard, right? Which was a positive and people were like, “yes, punish me.” I think now people are like, “I got a lot of going on, I just want to play something.” We probably need to make a little more accessible for a lot of people, right? And so, then I was like, “can we do it justice? Can we do a bigger, better, shiny thing that we always wanted to do? Can we make it more accessible and more fun for more people?” I think those were the two main starting points.ĬGMagazine: I noticed the visual style has changed a lot this instalment. We made the first two games in an era when really hard games were cool.
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And then we had a break, and we were like, “what do we want to do next?” I think we’d come full circle from being like, “we’re done with skateboarding,” to being like, “you know what? All the things we’ve learned in the five years since we last did OlliOlli, we can probably make the one back when we had that first opportunity, right? So being able to go like, “man, it could be 3d, it could be more open, we could have like, customization we could have like, multiple branching paths, and quests.” And we can probably do that now, and-fingers crossed-not mess it up.Īnd also, it’s a chance to finish some unfinished business. So we gained some experience and we’ve done a bunch of other games in the interim. And then honestly, we took a break for a long time, we deployed it to a bunch of other platforms. The first few games were growing as a studio, we were trying to build stuff that we know we could finish, that we know is within our technical expertise and scope.
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So we had to code everything from scratch. So, when we started doing OlliOlli one on the Vita, you couldn’t build for Vita on Unity. “When we started doing OlliOlli one on the Vita, you couldn’t build for Vita on Unity.”
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But honestly, when we showed the original prototype to Sony, and they were like, “you want to put this on the Vita?” And we were like, “yeah, that’d be great! We should go and buy a Vita, because we’ve never even played one.” It took us three months to draw one pixel to the top left-hand corner of the screen, just to figure out like how to render stuff. So that was…we don’t like client work and stuff like that.
John Ribbins: We started on Vita so, there was a technical limitation to what we could do, right? And, we were six people in an office in Deptford, and we’d never made a commercial game before. CGMagazine: Why the choice to move from a mobile gaming-or a really accessible handheld type experience-into something that is much more fleshed out and more realized?
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