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Shadow of War dev says to be a better lead, ‘make yourself obsolete’

Matthew Allen loves shaders.

“I love putting on the headphones and writing shaders,” he told Gamasutra recently, while chatting at an Xbox press event. “It scratches the technical itch and the artistic itch, because I get to make things look shit-hot by writing code.”

But there’s a problem: Allen loves shaders a bit too much. He most recently served as the technical art director on Monolith Productions’ Middle-earth: Shadow of War, and in the early stages of the game’s development, Allen created a bit of a bottleneck for the team by allowing himself to become “the shader guy.” 

He loved writing shaders, but couldn’t devote enough time to both them and his other duties to keep up with the pace of production. To solve the problem, he removed the bottleneck: himself.

“I realized, you know what, this is cool, I do it well and it’s awesome, but…I need to find a better way,” he said. “So I ended up finding a super awesome woman, just out of college, and she wanted to write shaders, so she basically became our shader queen. She’s written almost all of the shaders in the game.”

This is a practical, timely example of how Allen solved a production problem, something he believes game devs should constantly be looking to do if they want to be good leads — even when it means making yourself obsolete.

‘Make it so you come into work every day and you don’t have anything to do’

Hiring someone new onto the team helped dislodge Allen as a bottleneck, since shaders were someone else’s full-time responsibility now. That also meant he suddenly had a bit more free time in his work day, and to fill that time he went looking for something to solve.

“I moved on and started looking at what our problems would be,” he said.”One of the big ones we ended up tackling was all the facial animations for all of our orcs, and the 40,000+ lines of dialog, and how we were gonna animate all that with all the actors.”

So Allen and other folks on the Shadow of War team spent about a year “completely redoing” the animations for the game’s monstrous maws, revamping how many bones were in each face and how they move in response to the data they’re fed. Looking back now, Allen isn’t sure it would have happened if he’d kept happily writing shaders.

“The best thing you can do, for yourself and for us, is to make yourself obsolete. Make it so you come into work every day and you don’t have anything to do.”

“If I hadn’t said ‘alright this thing that I’m doing, that I love doing…I should move on,’ if I hadn’t thought through that, then all of that updated face tech, that improved pipeline….well, it probably would have existed, but the system was already sort of long in the tooth, and by focusing on it, I think we got it to a lot better place than it would have been otherwise.”

Allen shared this specific example from Shadow of War‘s development to illustrate a piece of game dev career advice he wants other devs to think about: always look for new problems. Someone told him that once, when he was feeling stuck, and it’s stuck with him ever since.

“I once got really great advice from Samantha Ryan, who used to run WB [Games], and before that was Monolith’s studio head,” said Allen. “She was my manager, and she said the best thing you can do, for yourself and for us, is to make yourself obsolete. Make it so you come into work every day and you don’t have anything to do.”

There’s a lot to unpack there, this notion of going to work every day and looking for ways to make your job extinct. Allen acknowledged that it can feel counter-intuitive, but suggested devs who want to be good leads think of it less as eliminating their value and more as solving problems.

“It seems very counter-intuitive; I was like, are you just gonna fire me then?” Allen recalled, with a laugh.

“And she’s like ‘no, because there’s a certain personality type that will always look for the next problem. And if you’re too busy focusing on existing problems, you’re not doing the thing that’s best. The best thing for you to do, would be to look for the next problem. Because when you look for those problems, and solve those problems, we as a company are better, and you are more valuable. So really her whole point was, shift responsibility onto folks. Which seemed counter-intuitive and weird, but I don’t know, I loved it, and I’ve lived by that ever since.”

Of course, many devs will feel like they’re in a position where they can’t shift responsibilities onto others — if they’re working alone or in a small team, for example, or doing remote contract work.

Allen acknowledged this as well, noting that his experiences are most relevant to devs at large studios but can also serve as a general reminder to try and solve problems permanently whenever possible. If you can figure out a permanent solution to something you regularly spend time working on, you can move on to solve bigger and better problems.

“Always look for new problems. Look to solve new problems, look for people to help you solve them. Being stuck someplace is really about not pressing through, sometimes,” added Allen. “Our industry is unique in that, the whole point of the job is constantly solving problems…so every day you can sort of learn something new, solve a new problem.”

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This is the Police Gets Switch Retail and eShop Release Dates

THQ Nordic has been quite supportive of the Switch in its early days, opting to target the budget retail space with releases like Sine Mora EX. Next in line is This is the Policeconfirmed during the Summer, it now has firm release details.

Confirming that it has an M rating from ESRB, it’s been announced that it’ll arrive on the eShop on 24th October and at retail on 5th December.

This is the Police is a strategy and adventure game set in the crime-ridden city of Freeburg. You assume the role of Police Chief Jack Boyd – voiced by Jon St. John (Duke Nukem) – and have to tackle a wide range of crimes, assigning officers to certain jobs and facing numerous moral dilemmas along the way. The ultimate aim is to raise $500,000 in 180 days, but you can choose to do that in any way you wish.

So, are you planning to pick this up?

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Blog: Open-world RPGs and the Hinterlands problem

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


This article contains minor spoilers for the first act of Divinity: Original Sin 2, including location and quest names.

As the market for modern role-playing games grows, developers are under increasing pressure to appeal to as many niches as possible. This is a problem endemic to mainstream game development – AAA development in particular – but Western RPGs are arguably the hardest hit by this. In this genre, attempting to accommodate every type of player results in a vast diversity of viable approaches to quests, story, and combat, but can give rise to disparate elements of the game and its narrative clashing with each other, resulting in a final product that feels vague, unfocused, and unguided. This pushes players into feeling bored or frustrated, which can quickly translate into disengagement and unfulfillment.

It’s In The Name

In Dragon Age: Inquisition, released 2014, a zone called the Hinterlands perfectly embodies this problem. It’s the first open-world area players visit, and it’s gigantic: larger than the entire playable areas of the first two Dragon Age games combined, according to the developers. It’s also densely packed with non-player characters, enemies, and quest content. In total, it contains more than fifty sidequests, which is a dizzying amount of content by any standard. This should be laudable, but in practice it’s a gigantic (and avoidable) misstep. When players were exposed to the zone, they got trapped in endless checklists and meaningless, irrelevant busywork that actively hindered story progression. Where BioWare tripped up in this situation was their failure to provide and, most importantly, maintain narrative and systemic motivation for players to continue out of the Hinterlands. There are a number of potential solutions to this: having sidequests require travel to other zones, for example, or designing some sort of in-game narrative event temporarily pushing players out of the Hinterlands to a scripted story segment (again, in another zone). A fundamental part of the Hinterlands Problem is that any momentum the story had before players entered the zone quickly dissipated. Something along the lines of these solutions would leave the Hinterlands and its fifty-four sidequests largely intact, but push players back into progressing through the game’s narrative.

Of course, Inquisition was hardly the first, or last, role-playing game to suffer from this – it’s just a highly visible example. Overly large amounts of quests and sidequests have historically been a selling point for RPGs, especially in BioWare’s earlier titles. However, that doesn’t necessarily mean that a large number of quests, or amount of narrative content in general, is the problem. The Hinterlands Problem is a complex beast, but a large contributor to it is the overall design itself being just a bit too shy to lend players a gentle nudge (or a firm shove) towards progressing through the game, narratively and systemically. It’s easy to understate the difficulty of doing this well: game designers constantly walk a tightrope, balancing the need to allow the player the illusion of organically advancing through the game with the need to make sure they’re actually advancing through the game and not wasting time rescuing lost cows. The solution isn’t just in removing the meaningless busywork or putting less context in: it’s a problem that has to be attacked from multiple angles, and it can require a multidisciplinary set of skills to fix.

Writing Narrative Cheques Your UI Can’t Cash

Divinity: Original Sin 2, an open-world RPG released this year, also suffers from the Hinterlands Problem. When the story and gameplay are heavily scripted (the narrative bottlenecks, so to speak) the game is lush, exciting, and does a splendid job of allowing the player to devise creative solutions to the narrative and combat-based puzzles that it provides. However, when the player is released into open maps such as Fort Joy and Reaper’s Coast, the narrative thread very quickly unspools into a tangle of half-finished quests and hinted-at storylines. Unlike in Dragon Age, though, most of these quests aren’t meaningless busywork. With few exceptions, they’re interesting, quirky, and humorous. Where many sidequests in Original Sin 2 do fail is in maintaining the game’s narrative cohesion, and this is a problem with potential solutions in tweaks of both its narrative design and its user interface.

When we look at Original Sin 2, we see a flawed gem: a sequel that had to live up to a hugely well-received predecessor, while introducing new mechanics and ambitiously pushing the envelope of how game systems and narrative interact. The downfall of the game is in its ambition: while the line-to-line quality, and the quests themselves (viewed individually) are stellar, the narrative cohesion falls apart when the player finds themselves pursuing any more than a few of the dozens of elaborate, impressive sidequests. It’s not a given that the average player can keep track of all these narrative threads, and a major contributor to Original Sin 2’s lack of guidance and cohesion is the game’s quest log (or Journal, as it’s referred to ingame). In a title that executes well on almost everything it tries, the Journal stands out as a piece of the user experience that disincentivizes its own use and largely fails to guide the player through the narrative as a whole. Progression-related quests are given no special markers, and there’s no way to “bookmark” a quest, so players must constantly bounce back in and out of the menu system to keep track of what they’re meant to be doing. Not only does this break the game flow, it contributes to the failure of the Journal at the one thing it’s there for: guiding the player through the process of completing quests. Divinity: Original Sin 2’s version of the Hinterlands Problem is one where an overabundance of narrative threads and an undercooked UI element crash into each other to cause a muddled, unfocused open world experience, and the game is the lesser for it.

Snip Your Threads Judiciously

The Hinterlands Problem can be summed up as being a situation where too much optional content and a failure to provide a clear forward path for the player causes frustration, boredom, and a decrease in narrative cohesion. No game designer designs systems with these outcomes in mind: rather, the Hinterlands Problem is a common and natural byproduct of good-intentioned, if myopic, design. It’s the result of a failure to keep the bigger picture in mind, and, again, nobody does this on purpose. It just happens. To mitigate the chances of this happening, narrative designers and game designers must continually interrogate the means through which players will consume and advance through content; they must have open dialogue with systems and UI designers; and above all, they must play through and review each other’s content. Too much work in studios of all sizes takes place in isolation, and that status quo is the perfect breeding ground for problems like this.

 

Damon Reece is a narrative designer from Adelaide, Australia, passionate about open-world and modular storytelling. Damon prefers gender-neutral pronouns (they/them), and hates talking about themself in the third person. You can follow them on Twitter, or look at their portfolio if you’re having trouble figuring out whether to take them seriously.

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Virtual reality outfit Bigscreen raises $11M to expand social app

Virtual reality studio Bigscreen has secured $11 million in Series A financing to make new hires and accelerate the development of its social platform. 

The round was led by venture capital outfit True Venture, and takes the company’s total funding for the year to $14 million. 

For those unfamiliar with the company, Bigscreen is the developer behind the aptly named Bigscreen social virtual desktop app for Vive and Oculus Rift. 

The free app (currently in beta) lets users hang out in virtual theatres and other digital spaces where they can do things like play games, work, and watch movies together. Bigscreen hopes the latest cash injection will help it cope with the app’s rapid expansion. 

“Over the past year, Bigscreen has grown significantly to more than a quarter million users. In just the past few months our core metrics grew over 300 percent,” reads the Bigscreen blog.

“Our power users spend 20 to 30 hours using Bigscreen every week, and many users have spent more than 1,000 hours in Bigscreen.

“Based on usage and user reviews, Bigscreen is now one of the most popular VR apps in the world. We now need to grow the team in order to improve the product and expand the Bigscreen platform to more VR and AR devices.”

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Get the Official Free Download of Super Mario Odyssey’s Jump Up, Super Star!

Super Mario Odyssey was a hit at E3 this year, but a surprising part of the show was the popularity of the game’s song, ‘Jump Up, Super Star!’. Its chirpy lyrics and Big Band stylings took off, and before long the track had been ripped and lovingly shared online.

Now, following the release of an awesome musical video, Nintendo has made the shortened version of the song available as a free download. All you need to do is head to supermario.nintendo.com, click on the ‘download for free’ area and your computer will automatically grab the mp4 file.

It’s a nice touch, for sure, though beware YouTubers; we bet Nintendo will still copyright strike the heck out of you if you use it in a monetised video…

Nintendo’s certainly touched on a smart piece of marketing; the song has almost taken on a life of its own and does absolutely no harm to the game’s hype.

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Choose How You Game with Four New Xbox One S Bundles

This fall, we’ve got something for everyone so you can choose how you game on Xbox One. We’re continuing to deliver the best value in games and entertainment with Xbox One S and today we’re announcing four new 500GB Xbox One S bundles: the Xbox One S Minecraft Complete Adventure Bundle, Xbox One S Rocket League Blast-Off Bundle, Xbox One S Starter Bundle and the Xbox One S Ultimate Halo Bundle.

Xbox One S has a library of over 1,300 games and over 200 exclusives, including blockbusters like Minecraft, iconic franchises like Halo, and the latest exclusives like Forza Motorsport 7 that you can only play on Xbox One. With Backward Compatibility, Xbox One is the only console where you can play games from the past, present and future. Access all your favorite entertainment through apps like YouTube, Netflix and more and play with friends near and far with Xbox Live.

With Xbox One S, you’ll also enjoy the highest-quality 4K entertainment, including built-in 4K Ultra HD Blu-ray and 4K video streaming. Whether you’re playing games, watching your favorite shows or streaming gameplay, Xbox One S delivers brilliant graphics with HDR technology, premium audio and fast, reliable online gaming with friends.

With so many exciting new options, it’ll be impossible to choose only one.

Xbox One S Minecraft Complete Adventure Bundle

Xbox One S Minecraft Complete Adventure Bundle

Own the Xbox One S Minecraft Complete Adventure Bundle (500GB) for $279 USD / £229 GBP / €279 EUR and be part of a worldwide phenomenon. This bundle is available at local retailers in select markets including Microsoft Store and includes:

  • Xbox One S with 500GB hard drive
  • Xbox Wireless Controller
  • Full-game download code of Minecraft – Now you can build, dig, and craft together with friends across Xbox One, mobile, VR and Windows 10 with the Better Together update
  • Full add-on download code of the Minecraft Explorer’s pack – The Explorer’s pack features the Chinese Mythology Mashup, Natural Texture Pack, Biome Settlers Skin Pack, Battle and Beasts Skin Pack and Campfire Tales Skin Pack. The Explorer’s Pack will also be available as a standalone retail offering which includes the base game and DLC (valued at $29.99) starting Nov. 7.
  • Full-game download code of Minecraft: Story Mode Season 1 – The Complete Adventure (Episodes 1-8) – Experience this episodic point-and-click adventure game.
  • Xbox Live Gold – Enjoy 3 months of Xbox Live Gold to join the online Minecraft community and build, dig and craft together with friends.
  • Xbox Game Pass – Get instant access to over 100 great games with 1 month of Xbox Game Pass.

Xbox One S Rocket League Blast-Off Bundle

Xbox One S Rocket League Blast-Off Bundle

Still wondering what soccer would be like with rocket-equipped cars? Wonder no more and get in on the action with one of the most popular multiplayer games around. The winner of numerous awards, get ready to score amazing aerial goals with the Xbox One S Rocket League Blast-Off Bundle (500GB) for £229 GBP / €279 EUR. This bundle is available at local retailers in select markets including Microsoft Store and includes:

  • Xbox One S with 500GB hard drive
  • Xbox Wireless Controller
  • Full-game download code of Rocket League – Choose from a variety of high-flying vehicles equipped with huge rocket boosters to score amazing aerial goals and pull off incredible, game-changing saves, take on the single-player challenge in Season Mode or join in 8-player online competition and 4-player split-screen action.
  • Xbox Live Gold – Enjoy a 3-month subscription of Xbox Live Gold to play your favorite games online with friends and get free games each month plus deep Xbox Store discounts on games, add-ons and more.
  • Xbox Game Pass – Get instant access out of the box to over 100 great games with 1 month of Xbox Game Pass.

Xbox One S Starter Bundle

Xbox One S Starter Bundle

Own the Xbox One S Starter Bundle (500GB) for $279 USD / £229 GBP / €279 EUR and dive into the very best of Xbox One. This bundle is available at local retailers in select markets including Microsoft Store and includes:

  • Xbox One S with 500GB hard drive
  • Xbox Wireless Controller
  • Xbox Live Gold – Play with and against friends and family on the most advanced multiplayer network with 3 months of Xbox Live Gold, plus receive exclusive membership perks like free games each month and deep discounts in the Microsoft Store
  • Xbox Game Pass – Get instant access to over 100 great games carefully curated for high quality and fun gameplay with 3 months of Xbox Game Pass. Games are added every month so there’s always something new to play including fan favorites such as Halo 5: Guardians, DiRT Rally and LEGO Batman.

Xbox One S Ultimate Halo Bundle

Xbox One S Ultimate Halo Bundle

Own the Xbox One S Ultimate Halo Bundle (500GB) for $279 USD and live the legend of the Master Chief on Xbox One S. This bundle is available exclusively at Walmart in the U.S. and includes:

  • Xbox One S with 500GB hard drive
  • Xbox Wireless Controller
  • Full-game download codes of Halo 5: Guardians and Halo: The Master Chief Collection, which collectively offer fans the chance to experience the Master Chief’s epic journey over five Halo games
  • Xbox Game Pass – Get instant access to over 100 great games carefully curated for high quality and fun gameplay with 1 month of Xbox Game Pass
  • 14-day Xbox Live Gold trial – Play games with friends near or far on Xbox Live with a 14-day trial
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Rock ‘N Racing Off Road DX Will Be Crashing Onto Nintendo Switch

EnjoyUp Games has announced that Rock ‘N Racing Off Road DX, a game that was previously released on Wii U as well as other platforms, is on its way to Nintendo Switch.

The game features a variety of tracks, an arcade mode, time trials, and multiplayer action to get stuck into as well as a rock ‘n’ roll soundtrack for accompaniment. The game initially released without its ‘DX’ tagline, offering a not too dissimilar experience; the newer DX version added some extra tracks but didn’t really improve on the gameplay itself. We didn’t have a great experience with the game on Wii U so we’re hoping for a pleasant surprise when it launches on the new console.

You can check out some screens of the game below.

Have you played the game before? Are you happy to see it make its way to the Switch? Let us know in the comments.

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Feature: Keeping Our Eyes Wide Open for Dimension Drive on Nintendo Switch

The Switch eShop’s library of upcoming games continues to grow, but one game due relatively soon that needs to stay on the radar is Dimension Drive. Confirmed earlier in the year and currently in the final steps to securing a full release date, it’s a shoot ’em up that aims to add its own spin to the genre.

Developed by 2Awesome Studio, it’s the work of two engineers that once worked at the European Space Agency. A chance meeting and a shared love of gaming brought David Jimenez and Alejandro Santiago together, and now a couple of years have gone into the creation of Dimension Drive. From a troll scuppering a Kickstarter campaign to a rebirth and success, the route to release (on PC and Switch initially) has been intriguing.

We recently gave this a try on PC and it’s certainly shaping up well. Quite handsome visually, its mechanic of switching between two sides of the screen is smartly implemented and demands that players focus on the task at hand. Utilising both sides of the screen feels tough initially, but starts to become natural after a short amount of time; it helps that the game is enjoyable and encourages persistence.

We posed some questions to the studio’s David Jimenez to learn more about this intriguing upcoming release.

First of all, can you introduce yourselves and tell us a little about 2Awesome Studio?

2Awesome Studio is composed of 2 people, myself (David Jimenez) being the game designer of the team and my colleague Alejandro Santiago, the game developer. We are both originally from Barcelona and we went to The Netherlands to work as engineers at the European Space Agency (ESA). There’s where we actually met and started sharing the passion for games and game development until we decided to setup a studio and start working on our first commercial game (Dimension Drive). I guess being engineers in the space industry highly inspired us to work on sci-fi space games.

How did the idea for Dimension Drive come together, and what sort of games inspired the initial concept?

Dimension Drive started like all good stories – with pizza and beers! Alejandro and I were playing old shoot ’em up games and at some point that night we decided to make one ourselves. We realized that current screens with their wide format left a ton of empty space for a vertical shoot’em up. At one point we saw a video of a superplay of a shoot ’em up with one player playing it in two player mode and controlling both ships. So, we said, let’s do that. Let’s put two games on the screen and have one player play both at the same time. The first prototype was unplayable, it’s too difficult to control two things at once for a regular person. So after several iterations the switching mechanic came about and that opened up lots of new possibilities for the game design.

Not everyone may realise, but Dimension Drive started off with funding via a successful Kickstarter campaign. Can you tell us a little more about that?

During the second half of 2014 we did the first prototype of Dimension Drive. Gameplay was good, it felt right. We knew we had something new in our hands with this dual battlefield mechanic. We went to some showcase events in The Netherlands and people had a blast with it but the art and production values of the game were not matching the gameplay. As said, we are both engineers, Alejandro has been coding games for many years and I have plenty of experience but when it comes to art we are unable to even draw a stickman. So, we decided to assemble a team of talented freelance artists and work together in making Dimension Drive a highly polished game. This time around not only in gameplay but also in visuals and audio. Obviously, we needed to pay the team and that’s what we did the Kickstarter campaign for.

How vital was the hook of managing two screens, do you think, to the Kickstarter success?

The switching between two screens mechanic and the story and characters were the biggest hooks of the Kickstarter. Actually, we did 2 Kickstarter campaigns in a row. The first one ended quite tragically as you may remember it even made the news. A troll falsely pledged 7000€ to our campaign and that money was removed at the last moment by the Kickstarter integrity team as the payment was fraudulent. The timing meant that we went from being funded to being unfunded with no possibility to fix just 30 minutes before the end.

This story got big thanks to the gaming community getting outraged at the situation. Kickstarter staff got in contact with us and helped us pick up the pieces and put a second campaign up right away. High profile developers like Rami Ismail, Mike Bithell, Brian Fargo, Rhianna Pratchett and others gave us their help promoting the second campaign and even becoming backers themselves. The second Kickstarter campaign was an instant success and we got funded with more than we could have made in the first round. In the end the trolling hugely backfired as instead of sinking the game it achieved exactly the opposite. Since then we have felt a huge debt to the whole gaming community and industry for saving Dimension Drive. We took the commitment to make the best game we could possibly do.

Tell us about that swapping mechanic. For starters, did it make the development of stages that big trickier, as you need to design levels to suit the mechanic?

Dimension Drive’s core gameplay is the switching mechanic. You have 2 levels side by side and you must actively switch from one to the other to progress and in general stay alive. Regarding development it means double the work as each mission in the game is composed of two traditional levels. As you correctly say the two levels are designed together to function as a whole. It’s not only the levels that are designed around the switching concept, every element in the game has been designed to maximize and enhance the switching gameplay. Enemy patterns and boss fights for example are created so that switching strategically is the optimal way to defeat them. You can of course brute force your way and take damage on one side in the lower difficulty settings but at higher settings proper and fast switching is a must.

The ship has limited energy to manage on both sides; can you explain how that’ll dictate gameplay?

As explained the level design and the enemies itself already force you to switch sides. However, we wanted to reward players that excel at this. All good shoot ’em ups have this layer system where you could just play or play for score. In Dimension Drive if you want to play for score, you need to switch a lot, destroy as much as you can on both sides, avoid taking any damage and control your energy meters for each side. Each side has its own energy bar that represents your ammo. If you stay too long firing in one single side you run out of energy and your only option is to switch to the other side to recharge. Whenever you reach one of these situations of low energy, the game will warn you and reset your score multiplier. If you switch frequently your energy on both sides will be balanced and your score can be maximized. Besides this, enemies drop energy crystals you can collect adding a third layer to further increase your score. This is a lot to take in for a new player but the game does not require you to do so if you don’t want to. Only if you want to play for score you need to manage all this.

Do you expect players to find swapping tricky initially, or is it your experience in testing that they adjust quite quickly?

We initially thought people will have a hard time coping with two screens. But after showcasing at many events and lots of play testing we can happily say this is not the case. The human brain is quite amazing, and people adapt to the dual gameplay quite quickly. Before they know it they are switching sides as if they were playing a single screen game. It’s important to note that while we have two levels we only have one ship so at one given moment you only need to keep track of one side (while watching through the rear-view mirror as we say the other one). We’ve also designed the difficulty curve in a way that first levels do not really force you to switch that much or do it so without many dangers. That way you can switch more carefree until you are used to it. Later levels of the game obviously require you to master the mechanic.

When we tried the PC build we found ourselves focused more on the left screen; do you find that players typically favour one side over the other?

Yes. What we have noticed is that a player will favour the screen they use the very first time. Normally the game has you starting on the left side, but if you play in co-op that may not be the case. It’s a curious thing. However, as people get more into the game this starts to wear off and people play both sides almost equally.

Beyond the swapping mechanic, what other features are you most pleased with in Dimension Drive? Power-ups, enemy designs and so on?

As the game progresses you unlock new abilities. The switching mechanic is only the first one. After you complete each World a new ability is unlocked. These abilities make Dimension Drive a unique take in the classical shoot ’em up formula. The second ability is the Inverse Drive that allows you to slow the scroll speed and turn your ship around to fire backwards. Naturally, World 2 levels have enemies and other items that make use of this ability. Finally, for World 3 we have the Drift Drive, this allows you to perform a short horizontal dash on the side you are currently on. While dashing you can cross through walls, or even enemies (actually dashing through enemies will instakill them). Be careful though, you don’t want to end a dash crashing into a rock.

These new mechanics that take what people think about shoot ’em ups and throws away the conventions is what we are proudest of. Our idea was to make a game that was an ode to the 80-90s arcade shoot’em up while bringing a new elements to the table.

Narrative seems to be quite important, too. Can you tell us about the story and how it’s told through the game?

When we decided to make the game bigger and go to Kickstarter we decided we needed a hero and a setting. That’s how the story came to be. We are very much sci-fi nerds and we wanted to create this space opera universe where several races are battling these so-called Dimensional Wars. The story narrates the fight of Jackelyne against the Ashajuls. The Ashajuls are a multidimensional race that are conquering one dimension of the multiverse at a time. The problem with this is that as there are infinite dimensions is a neverending war. Jackelyne must put a stop to this madness using The Manticore, the only ship (besides the Ashajul fleet) that can teleport through space and dimensions. This video explains it better than I do

Will the Switch version have any unique features?

The Switch version has feature parity with the Steam version. Obviously it’s the only version of the game you can play on the go and this is a big plus for us. Also the fact that you can play co-op with a single Switch and only 2 Joy-Cons is great. We remapped the controls so that the 4 inputs used in the game (Fire, Switch, Reverse and Dash) are in the face buttons. This makes it perfectly playable with a single Joy-Con per player. We have obviously added support for rumble and the Nintendo Switch Pro controller as well.

Do you think the shoot ’em up genre is on the rise at the moment? If so, why do you think that is?

I see a trend in developers bringing more shoot ’em ups to the market. I’m not totally sure of the reasons behind it. Of course, re-releases are kind of obvious from a business point of view. Publishers that have a catalog of shoot ’em ups release them again for new platforms to try to reach new audiences. The Switch being the newest console is a perfect example of this. We have seen several re-releases of old shoot ’em ups for it. We also think shoot ’em ups and arcade games in general are very well suited for the Switch, in the sense that replay times are short enough for bite sized plays on the go.

Finally, do you have a big pitch for our readers in order to get them excited for Dimension Drive?

Go get it once it is out; you will like it and we’ll be able to feed the aliens we keep in the basement! On a serious note, Dimension Drive is a new take on the shoot ’em up genre, it combines everything you loved from the classics with radically new ideas that will make you question what you think about these games. Also, Dimension Drive has already won several awards. At Gamescom it recently won the 1st prize of the Big Indie Pitch and last year it won the Momocon Indie Game Award. So, I guess we are making a game with some quality!


We’d like to thank David Jimenez for his time. Dimension Drive is due out on the Switch eShop soon.

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Japan’s Upcoming Splatfest Pits Agility Against Endurance

After Europe’s interesting Splatfest theme last weekend we learnt that North America would be receiving a much more fitting Halloween-inspired contest at the end of this week. Now it’s Japan’s turn to show off its theme for the occasion – Agility vs Endurance. 

The Japanese Twitter account for Splatoon 2 announced the festival.

It would appear that players are being asked to decide which of two options suits them best – whether or not this is supposed to be based on their play-style or general life habits is a mystery. The account also shared a rather wonderful illustration to support the Splatfest which you can view at the top of this article; the fact that the European edition didn’t get the same artistic love is perhaps for the best this time around.

What are your opinions on the recent Splatfest themes? Would you have preferred a different option for your region? Let us know in the comments.

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The Latest Zelda: Breath of the Wild Free Gift Actually Has a Fun Tip

The Legend of Zelda: Breath of the Wild has all sorts of quirky and fun things to do, with obvious examples like shield surfing, propelling mine carts with bombs and more. One of the quirkier little tricks is easily forgotten, though, and the latest ‘Tips from the Wild’ news post on Switch provides a handy pointer and gift.

It focuses on the fact that having a Rock Octorok (found in the Death Mountain region) suck up a rusty weapon will turn it into a shiny new bit of kit. Launching the game from the news post grants you a Rusty Broadsword with 6 power with which to try it out, and you can redeem the gift as often as you like.

This writer had actually forgotten this feature of the game, so we’ll file this as one of the ‘better’ Tips from the Wild posts. What other little tips would make for a good free gift in the game?