IGF (Independent Games Festival) aims to encourage innovation in the development of games and get to know the independent gaming developers who are advancing. This year, the game developer sat with the final candidates for Nuovo and Grand Grand Prize candidates before GDC to explore topics, design decisions and tools behind each input. The game developer and GDC are brotherhood organizations under information.
devout It allows you to explore the streets of Kito, Ecuador as an eight -year -old child, fell into football fever, kick the ball throughout the city and use it to interact with the places and the people you meet.
The game developer sat with Julián Cordero, the main developer of the Multi-AGF Award, to talk about creating a game that focuses on things that happen about sport instead of focusing on sports only, and the interesting ways they did all over the world through experience all over the world.
Who are you, and what is your role in development devout?
I am Julián Cordero, a major developer and designer from devout. The remainder of the team is Sebastián Valbuena, which is art and music, Gabe Cuzillo that helps in production, and Ian Berman who design sound.
What is your background in making games?
I studied the game design at NYU GameCentter, and a set of games returned as a student, and devout It was actually my Cabstone project 6 years ago. We were lucky enough to receive support from various sources to develop it throughout these years.
How did you reach a concept for devout?
Football culture in Ecuador is huge and I was working to play a lot of it, but when I moved to New York City, I stopped playing and engaging with her as much. When I realized this, I started thinking about the role played by football in my life and decided to make a game to explore this idea. I have always played the game FIFABut the football that you play there did not represent the type of football in which it has already originated in neighborhoods and gardens – not in big stadiums against millions of people. I found that everything that happens about sport is just like the same sport, so we started making a game that focused on it.
What development tools are used to build your game?
Unit, FMOD, Scanvingrse and Polycam for 3D scanning, mixer, Ableton, and Photoshop.
What ideas have gone to create a world that would provide a lot of fun, secret stories and harm to the eight -year -old to enter?
The game was set at a very certain time in the history of modern Ecuador. In 2001, the country has just gone through a major economic crisis and it was very easy for everyone to hold the national football team for hope because they were about to qualify for the World Cup for the first time ever. This is one of my first memories, but it is very blurry and is rebuilt from the stories that I heard. So when designing the world, we decided to integrate many views of this photography through the presence of friends and family sending all the dialogue in the game. We reached some basic scenarios and asked people to pretend that they were in 2001 so that they could bring any memories of their recording sessions. The results were always surprising and their merging into the game became an interesting challenge.
Not to write any of the dialogue that allowed me to be a spectator at these moments, so it was very fun to pretend that he was eight years old and reached ways to be hurt about it. For example, the couple who had a picnic for the anniversary of the park was a beautiful conversation from a real couple who brought things from their actual relationship to registration. Will it be great for him to be eight years old and use orange juice as a targeted practice? The battle that followed it may be after a hint of its real relationship as well.
Kicking football is very satisfactory (and not only because you paved it on someone). What ideas have gone to make football to kick/dodging mechanics are fun and attractive on their own? To make them enjoyable in the perspective of the first person?
I remember some of the balls that I played with as a child and how I got to know them deeply. Football that has been beaten has many stories that you tell; It is a simple, but versatile object. When thinking about how to photograph this, our instinct was an attempt to make it look very physical. We tried to avoid using magic forces to keep the ball in front of you and instead we embrace the unexpected nature of it. The ball bounces around your feet. You don’t have full control of it, but you can guide it to the place you want. The first person’s perspective allows the player to have a direct contact and make sure that the ball is always in front. And when the ball is in the foreground, the background talks and Salasis can slowly leak.
devout It uses an amazing combination of realistic realistic images (derived from photographs) and animation. What appealed to you about this visual mixture? How do these views work with your vision of this exploration of Ecuador in 2001?
Sebastian was playing with this type of aesthetic for a few years before approaching him to be part of the game. I was very inspired by each other 2D animationBut he never worked in a 3D, so it was difficult to introduce his style in an exploration game from the first person. However, when we started experimenting with art, we quickly realized that the mixture of the face -with black and white face elements with a loud background created a clear visual language that was intuitive for the player. We have adhered to this contrast and gave us a lot of freedom to play with every style.
What attracted you to work with photographs while creating the world? What is the impact of this on the game and how will the player test his vision of Ecuador in this time period?
Similar to how we wanted the “source” of dialogue from the real world through the presence of friends and family, we wanted the “source” of the environment from the real world. The design of the map is not a actual place in QUITO, but we come with assets from the real world to try to establish the game in a specific environment. It was logical to use photographs and 3D scanning because the textures have a lot of the already integrated character, giving the environment a very raw feeling.
Games tend to try to avoid filming the real world, perhaps because it is completely difficult to create a fictional world as much as it is building in the realistic city. But we have many ways to capture the world today, and I think the games are the ideal ship that you collect together.
You are also working with the sound to give the player a real sense of the place while exploring devout. Why was it important to take the world’s voices alongside photographs?
I think that the more specific photography of the place, the more closely it can be even for people who have never gone to this place. This is especially true for sound, because some sounds can lead to feelings of nostalgia without fully understanding them. I live in New York City now, but hearing certain birds from the chop that Ian brings me back to being a child in Kito. That is why we really wanted the game to look like Quito, Ian recorded an incredible job and mixed it together.