Thursday, July 13, 2017

Review: Levels+

At first glance, based on the limited description and screenshots, I wasn’t quite sure what Levels+ would be like. I’d somewhat assumed it’s a variant on the popular game Threes and the many variants that are like it out in the mobile space. To a degree that assumption is correct, but there’s another layer of strategy it adds to the mix that I haven’t seen before. Getting right to the point I will say that there’s more involved in Levels+ than there has been in most of the games of this type that I’ve played and so, in that regard, it is a pretty challenging and good time if this is the sort of experience you’re seeking for the Nintendo Switch. 

The hook in these types of games is that you’ll need to combine your like-numbered pieces to create a single piece of the next numbered rank up. With that in mind it becomes an exercise in carefully trying to control where your numbers are. Periodically you’ll then look to combine a series of pieces, buy yourself some room to work in, and roughly continue the cycle until you run out of moves. 

What Levels+ does, and I personally haven’t played a variant like this before, is add to the challenge by differentiating blue “attacker” pieces, yellow “points” pieces, and red “enemy” pieces. The blue tiles are able to both combine with other blues of the same number or overtake yellow or red pieces of the same or lower number. Yellow pieces can only be combined with other yellows in order to increase their value. Red pieces you can only remove through the use of a blue piece of a high enough level. The flow in how you choose to manage the order and execution of your moves will help determine your success. Your attacks and combinations will ultimately have less to do with “making a play” and more to do with how making that move at the right time will set up an opportunity for another piece. 

As I said this style of play, in general, is reminiscent of other games I’ve played but the twist with the colored pieces substantially alters how everything plays out and is refreshing! As you might expect there is quite a bit of strategy to the game, especially in regards to how you level up your yellow spaces. Rather than simply running them over because you can there is a strategic component to combining them first in that you’ll gain a higher score the higher the yellow tile value is when you finally take it with your blue tile. Of course the higher a level it is the higher the level your blue tile will also need to be so you’ll need to be cautious. In addition I’ve run into at least one hidden power-up that you can permanently unlock in the game once you’ve leveled a yellow piece up to 6 and consume it, so there’s an added incentive to try to get your level up for that purpose as well.

Getting past the core game there’s not too much more to discuss since there’s really not much else to offer. There is only the one game mode, though in theory you could play it endlessly and try to top your highest score. It can be played either with the controller or with the touchscreen though I will note the pace you can play in touchscreen can’t get too quick or you can either have issues executing moves or sometimes you’ll get a move you didn’t intend for. This only happened periodically and I had a hard time telling if the issue was just me not being precise with my fingers or the game having an issue but it is worth noting. I found controller play to be perfectly workable and fast so I generally stuck with that style. About the only other complaint would be that the loop on the music track is very short so over time I may recommend simply turning it off if it gets grating, I don’t believe there was an option to control the volume.

With all of that in mind Levels+ does a better job than I would have expected and provides for an engaging experience. If you’re looking for a light puzzling experience you can just pick up and play semi-thoughtfully for a while it’s probably better than any other game of its kind that I’ve played on other devices, though I just may not have seen this variant before. With its relatively inexpensive price the question ultimately becomes whether this is the kind of game you’re looking for. If it is, and you understand that the goal isn’t to “win” but to challenge yourself to continue to try to up your score, I’d say this is a worthy purchase.

Score: 6

  • Among games of its kind this is probably the most strategic that I’ve played
  • The inclusion of an permanently-unlocked power-up based on meeting a challenging objective was a nice touch and a game-changer for future scores
  • Great for picking up and putting down randomly as you have “filler time”

  • Ugh, the music loop is so short and gets grating
  • Some hiccups in control with the touchscreen periodically that I couldn’t nail down a cause for
  • There are no variations or multiple modes, what you see is all you get

Wednesday, July 12, 2017

Review: Shephy

When I first saw Shephy listed in the eShop I’ll admit my reaction was quite dismissive. A card game on the Switch is one thing but then with cute little sheep? Really? After playing it for quite a few hours and in different modes I can say that, yes, there is something worthwhile here for the right crowd. While Shephy can’t break away from the fundamentals of what it is that isn’t to say that people looking for some light strategic card play on the go or while doing something else won’t find consistent enjoyment from it.

Based on an actual strategic card game variant of Solitaire the goal in Shephy is to effectively use your cards to multiply the single sheep you start with into a flock of 1000 (note, as a single card) before you’ve exhausted the deck of cards 3 times. To do this you’ll need to make careful use of the array of choices you have, both helpful and destructive, trying to keep yourself from losing your whole flock or simply running out of cards before you meet your goal. The gameplay is structured, smart, and pretty engaging. The question that arises will be whether you can get sufficient mileage out of it.

That is where the variety of available alternative modes come into play and they do a pretty solid job of ensuring you won’t just drop the game out of boredom once you’ve beaten the “basic mode” a few times. These alternative modes will shift the contents of the deck in various ways as well as introduce new rules that govern how you’re allowed to play or your objectives. While the core gameplay remains the same the removal of cards that will help you avoid the use of other ones that will do damage really shakes things up and will require careful planning and execution to minimize the losses you’ll be now forced to take. It keeps things lively if you enjoy the core game but also does nothing to elevate it if card games aren’t your thing.

The final thing worth noting with these additional rule modes is the “Post Loves” mode which essentially tells a story in a few chapters. The catch is that despite the very cute appearance of the game overall (though some cards like “Plague” do show dead sheep certainly) the tone and some of the art to the story is decidedly grim and a tad bizarre. I suppose some people might not appreciate its inclusion but oddly enough I find it to be a bit comically strange so I’m compelled to try to beat the rule sets at each of the few stages just to see what shows up next.

At the end of the day, though I’ve managed to inventory the variety of ways the game can play out in order to point to the effort that has gone into it, this is just a pretty simple card game you could buy physically. Granted, in this form it may be cheaper or more convenient but what will likely first guide your purchase will be your desire to have a game like this on your Switch specifically and not in some other form. I’ll give credit where it is due, this does not feel in any way like a low-effort shovelware conversion, someone took the time to do some work on the game and make the most of the situation. All the same, it is all a relatively simple experience and if you’re not looking for a strategic solo card game nothing in the package will likely win you over. That said, I can genuinely say it is the best game of its kind that I’ve played on the Switch, noting for the moment there doesn’t happen to be any competition.

Score: 6

  • The additional modes and rule sets help keep it from all being one-dimensional
  • At the core the strategic card game is well-planned and executed
  • For people with a bit of a twisted streak the “story mode” is a bit of a hoot

  • In the end it is a card game in portable form, nothing more and nothing less
  • While I was able to figure out a few nuances of the game rules within a round or two the tutorial seemed to only get my understanding to 85%
  • If you somehow didn’t like the core card game mechanics they’re inescapable, everything is a variation on that foundation

Review: Death Squared

There are games that come along every once in awhile that shake their respective genres up a bit, that put a little something into them that you haven’t seen before to make things fresh. Death Squared, though many of its mechanics are a bit familiar in some way, absolutely swings for the fences, looking to change peoples’ expectations for puzzle games. The best news is that, at least in my opinion, they’ve made something special and memorable.

The closest relative to Death Squared would be the very cute and entertaining Snipperclips that launched with the Switch. It had a pretty unique hook with a team-oriented dynamic and required collaboration between 2 or 4 people to get through the various challenges it presented. Death Squared is both far more versatile, allowing you to easily (in terms of control mechanics, not necessarily in terms of challenge) play through the 80-level Story mode alone or with a friend. By extension you’re also able to play through the 40-level Party mode either with 2 players performing double duty or with 4. Whichever way you choose to play there are challenges to consider. Controlling 2 robots apiece requires some left/right brain coordination and dexterity as you move around and have to execute precise moves with each, independently of the other. Opting to use more people, only controlling 1 robot apiece, presents its own issues with keeping everyone on the same page and likely needing to cede planning to only one person at a time. That’s unless you wreck yourself or each other on many of the fiendish traps that have been set before you. Having played many levels in all possible combinations I’ll say that they’re all interesting and entertaining, so you should have a great challenge no matter which way you play!

Once you’ve settled on how you’re going to take on the puzzle gauntlet put before you, it’s important to note that while you’re dying repeatedly the game does its best to keep you entertained through the misery. As you make progress you’ll hear running dialogue between an IT worker, David, and a computer AI named Iris. If you’re a big fan of the Portal and GLaDOS, in particular, some of the humor in their interactions and discussions will provide added amusement as they discuss what’s happening on-screen at times, offering a sort of commentary on your progress (or lack thereof). There are also a number of highly corporate-looking emails and notices shared between levels that should look very familiar to anyone who has worked in an office. These sprinkles of charm and humor, as well as some other surprise elements I won’t spoil, do an excellent job of keeping the experience from being too sterile and help to take the game to the next level in terms of the overall presentation. Since you will die quite a lot there are some specific sound bites that may get repetitive but remember, in those cases you’re really the problem since you’ve obviously insisted on dying so much.

Getting on to the real meat of the game the discussion should really center on the puzzles themselves and what you should expect when you play the game. Within the first half of levels or so you’ll likely have the majority of elements and trap types exposed to you in some fashion. Among the elements you’ll contend with are spikes, lasers, trip wires, teleportation pads, and movable blocks. Not all of them are lethal but they all present their own inherent challenges in terms of how best to avoid or make use of them, often in combination with one another. Typically on the first level any one of these is added the nature of their use will be straight-forward so you’ll understand the basics. From that time on, as they’re blended into new scenarios and mixed with other elements, you can expect that in many cases you’ll learn nuances to their use that will be absolutely vital. Basically, you’ll often need to learn how to use or abuse elements at their limits in some way. Even if you’re able to get through the bulk of the puzzles without feeling terribly taxed bear in mind that in addition there are 10 secret boxes hidden in various levels to find and The Vault, a collection of much more difficult puzzles (more will apparently be added to over time) and for Switch fans there will be exclusive levels as well!

What I believe makes Death Squared special is its ability to first make you feel sneaky or smart and then slap you with the realization that you were merely doing what was expected. There are quite a number of solutions to puzzles in the game that will, in some way, revolve around you taking in the problem and trying to do things that don’t color within the lines. I found in several cases the solutions to puzzles weren’t clear to me when I applied a traditional way of thinking to them, the assumption that all pieces had to in some way fit in perfectly was what was holding me back. I would then usually find the solution by initially thinking I’d found some sort of dodge, a way around the problem, but then once the puzzle was solved on reflection I’d see there was no other solution. This sort of reminds me of elements of The Stanley Parable where you think you’re defying the game and breaking out, only to then find out your move has been very much anticipated and is even necessary. While not everyone may have this experience in the same way it is these sorts of moments in the game that made the biggest impression on me and greatly enhanced my enjoyment of it all.

Moving into the areas that could keep people from enjoying the game to the fullest we’ll begin with the fact that Death Squared can be quite challenging to play by yourself or with others. While simultaneous movements aren’t always required to solve puzzles careful coordination and patience are absolutely necessary to get through many of the levels. The limits of your own personal dexterity will be tested if you opt for single-player, while the limits of patience and good will towards one another will be put under strain the more people you add to the mix in either mode. While my wife was game to play through Story mode with me for most of its length, the number of levels we’d play per session started to drop and then at Level 65 she couldn’t take the pressure of it anymore and decided to let me complete the game by myself. In the case of Party Mode having us both control 2 robots proved problematic early since the challenges there ramp up pretty quickly. We then added my kids to the mix and that took care of the control issues but, as with 4-player Snipperclips, we had to keep the sessions to a few levels at a time to keep the stress levels down. Results will vary depending on who you’re playing with but you’ll definitely need to keep this in mind!

It has been a long time since I’ve played a puzzle game where I didn’t end up feeling like I was going through the motions as a single-player experience. From that perspective I enjoyed the mental and physical dexterity required to tackle Story mode solo. While my wife and I completed all of the challenges in Snipperclips she also said, as a more casual game-player, that she preferred the less “fidgety” nature of control and challenge in Death Squared and that’s a perspective I can agree with. With there really only being a focus on movement the puzzle experience is a bit more pure and unencumbered, leaving you only with the challenge at hand. In that regard I also think the multiplayer aspects of the game have been as well-addressed as you could ask, you just need to provide a smart and patient group for it to work. With that in mind I’d say that no matter how you choose to play the game, alone or with friends, it absolutely works and is a great time. By their nature puzzle games aren’t for everyone but as a total package, and considering all of the viable ways it can be played, Death Squared is the most satisfying one that I’ve played in a very long time. It has, appropriately, defied expectations and raised the bar beyond the previous boundaries I had put on the genre.

Score: 8.5

  • A massive amount of challenging content
  • Viable whether playing alone or with friends
  • The light and often adaptive commentary provides levity and polish

  • It may tip the scales to being too challenging for some, moving into being aggravating
  • There are puzzles where trial-and-error is absolutely necessary rather than the puzzles being intuitive
  • There are times where late “gotcha” deaths can be aggravating after you’ve generally figured things out

Tuesday, July 11, 2017

Interview with Ashley Ringrose of SMG Studio

SMG Studios, started as one of 10 companies funded by Screen Australia’s Games Enterprise grant before the funding was cut in 2014, hasn't been around very long but has been steadily getting more ambitious. As a mobile developer they've made a splash with several titles, including the acclaimed and popular OTTTD (an aptly-named Over-The-Top Tower Defense game), and have used those successes to first dip their toes into the Steam ecosystem and now consoles as well.

Their newest title, Death Squared, is set to hit the Switch on July 13. For more info on this very compelling and often mind-bending multiplayer (though you can play it alone as well) puzzle game be sure to check out the Preview! Ashley Ringrose is one of the heads of the studio and took the time to answer some of my questions about Death Squared, the studio, and the state of the indie market.

Like many other indie developers out there your roots are in the mobile market. What's the transition like, moving out of the mobile ecosystem?

AR: Mobile is a much easier place to test game ideas out and iterate on a game. You can have an idea, make a game and be out in a month which is impossible on consoles.

Console side there's also a LOT more paperwork to fill out. It's like doing six months homework in one go before you even get a dev kit!

The audiences have cross over but console players demand much more value for their time.

How did the idea for Death Squared, a multiplayer puzzle game where you control robots around test areas filled with death traps and requiring constant coordination and teamwork, start out? 

AR: Pat, the main designer and creator of the game, took part in a 48hr Game Jam in 2015. The theme was "What happens next" and with that he created a game where every level would surprise you with new mechanics. We all played it after the Jam and thought "wow this is fun! we have to release this" 2 years later we did!

Was the surprisingly adaptive/responsive running commentary there from the beginning?

AR: Not for the first year actually. When we were picked for Indie Showcase at PAX AUS the story wasn’t part of the game. But we already had plans for it. It was important for us to add a story element to the game to make it more than just a series of puzzles. We wanted you to want to follow the story and also have a laugh too.
We did a lot of testing with the amount of voices. At the start there was too much. Then we pulled it right back and it wasn’t enough. We ended up top and tailing the levels + a few random elements + adaptive ones and that was the right mix.

Mick (Ricepirate) who did the voices was great and also recorded a bunch of variations for many of the lines. I hate when you play games and hear the same things over and over so we wanted a play-through to not repeat anything. In some of the earlier story sections we even did variations as we knew people would see/heard them multiple times.

People are pleasantly surprised by the fact we have a story and more so that it's funny.  We also have a happy and a sad ending too 😊So make sure you watch both.

In terms of humor, and even some of the comments and phrasing used to describe the test chambers, there seems to be a heavy GLaDOS/Portal vibe. Big fans of the series?

AR: Yes, who isn’t! More so the writer Jonathon and myself the studio head. Pat didn’t have Portal in mind when he created the game.
The Stanley Parable, Portal 2 and Thomas Was Alone were influences on how a well-voiced story can really make a game shine.

Careful coordination is often required!
How did you envision most people playing the game with the single-joystick controls? You can certainly play Story mode by yourself if you can handle the left/right brain nature of things, but would any two people have the combined courage and dexterity to tackle Party mode both try to pull that off?

AR: Do you mean two people sharing the same controller? Kinky! But it can work. That's why the Switch is a great platform as it has 2 joy-cons out of the box.

The game is still fun as a single player game but with two people it really shines.  You can also play the 4 player mode with 2 people with each person controlling two bots.

At a certain point in the game there are some tormenting "mess with the player" moments that almost reminded me of Eternal Darkness back in the day. What was the inspiration for that and did you giggle at the thought of players suddenly screaming out loud as they were being punked in-game?

AR: Ohh Eternal Darkness is a good reference. It was more The Stanley Parable type thinking in which the game knows it's a game.

We just wanted to keep surprising the player with some 4th wall experiments.  Once we had the story locked in it gave us scope to do a lot of fun things. Even reading emails in the game is a time for comedy.

Don't know if this is giving anything away but my wife and I got to a level where, off in the distance we saw something and were thinking "What the heck is that?" We found the way to get to it and it told us we'd found secret cube 1 of 10. Is there anything you can say about the reward for finding them all to incentivize people?

AR: We didn’t make a big deal about calling it out at the start as we wanted people to discover them. Maybe you'd get to the end and realise you only found 3 and then have something else to do when finished.

If we called it out at the start people would play the levels differently (in a less fun methodical way) and we like to think fun first then you can go back and try to 100% it :)

In terms of Switch-exclusive content what will players be looking at on top of the 80-level Story Mode and the additional 40-levels in Party mode?

AR: We also have the 20+ Vault levels + 7 special Switch levels. We hope to add more to the Vault also. The Switch levels are very Nintendo in their design :)

Having been in the very over-saturated mobile market and then the jam-packed Steam market is it a relief to be looking to get into a much more curated and limited space even if the Switch install base is obviously currently much smaller? What are the challenges you've had being an independent and trying to get the word out about your projects?

AR: Yeah we're excited to be one of the first games on the new system. For some in the team (who are VERY big Nintendo fans) it's a dream for them. I feel like we're in a lucky position to be in this early.

Mobile is actually easier to get visibility in than Steam right now. Free mobile games have a MUCH better word of mouth element as kids go to school and talk about the game they're playing.

The 4-Player Party Mode steps it up a notch!
Any particular thoughts about the relationship with Nintendo and your experience since becoming a "Nindie"?

AR: I've probably annoyed them with the amount of emails I send a day but they have been great. All the platform holders (PS4 and Xbox) are really nice people who, no matter how small you are, are always willing to help.

Once this is in the rear view mirror do you already have your next project in mind? Any hints?

AR: We're working on a VERY big project now for release late this year which I can’t reveal.
We're also still working on our RISK game which is doing well for us.

And we hope the Switch does well for us so we can look at other games for the platform and also add more levels to the Vault!

Many thanks again to Ashley for taking the time to participate in the interview and to endure my prodding while they're trying to focus on releasing their first title on the Switch. Death Squared will debut on the console on July 13th and is already available to play on other platforms as well.

Monday, July 10, 2017

Interview with Daniel Nascimento on Rocket Fist

Working as an inspired lone developer, Daniel Nascimento has had a tough road among even other indies, tackling the challenges of learning the ropes and developing concepts on his own. As you can tell from my Preview this has hardly been a problem, and hopefully his first project to get to the Switch will be a successful one. I was fortunate enough to borrow some of his time as he's working through the final stages of the Switch certification process to get some insight into his background, the challenges he has faced, and practical reasons things players take for granted can be quite complex, among other things.

How did you get started on your indie developer journey, and what's the most important thing you've learned to this point about game development?

DN: I studied 3D Art & Animation at the Vancouver Film School and upon graduating had a hard time finding a job. I was playing a lot of an indie game called Dungeon Defenders that let players create mods for it. I started modding the game and ended up getting a freelance gig to animate a trailer for them. That kind of opened my eyes that I could actually use my knowledge to work with games. I started learn how to program and started trying to make my own games using Unity. Nowadays I work a lot more with programming than actually doing art. I'd say the most important thing is to playtest a lot, see what players actually think of the game first hand, and what confuses them. All of my games evolved a lot by watching how other people interact with them.

For example, the dash-stun of Rocket Fist was created because a friend of mine, when playtesting, used to wait for you to throw your fist, then sit on it keeping control of all the fists in the level, giving you no choice but to wait to die. It was so satisfying to see him doing that only to be dash-stunned and killed with his own fist on the next playtest. ;)

In my preview I am very clearly coming away with a classic Bomberman vibe on several levels, sadly moreso than for the current version on Switch. Where did the idea for Rocket Fist come from and what inspiration have you drawn from other games that have helped you define and refine the game since you started work on it?

DN: After making several game jam games and smaller projects over the years, I wanted to make something more complete with a longer development cycle. I was pursuing a master's degree in Digital Media and in one of the projects we were working on we were tasked with coming up with games for the PS Vita that made good use of it’s physical interface. I was working on a lot of small prototypes for the Vita and had the idea of making a 1 vs 1 game in which each player held one side of the device. It didn’t really fit the project’s premise but I wanted to try it out anyway since I haven’t seen a game doing anything like that on the PS Vita.

The original PS Vita version

And that was the first-ever version of Rocket Fist. It was just some spheres in an environment made of cubes throwing little cube missiles at one another, and even at that stage it was already pretty damn fun. Each player only had one button and one analog stick to play with, it was simple and addicting. I started playtesting with my classmates and it was a success, everyone I introduced this to would play for a long time and would have a hard time giving it back. I then decided to try it with more people, I added controller support, and made a PC-version with a bigger level and 4 players.

The original 4-Player Version
I had only spent about 5 hours working on the game and me and my friends ended up playing that version for much longer than that. At that point I was sure that was THE ONE, the project I should pursue to be a long-term commercial project. I definitely drew inspiration from Towerfall with its limited number of retrievable arrows, in Rocket Fist's case limited to only 1 at a time. Also a little inspiration from air hockey in the way you plan your bounces around the screen to hit your objective. And of course there are a lot of Bomberman inspirations in there, from the powerups to the revenge ghost/cart outside of the screen once a player dies.

While obviously Rocket Fist's primary strength would be multiplayer chaos I was pleasantly surprised by the fun I've had playing the single-player Adventure mode. Boss battles are always a plus and some of these guys take some real effort to defeat. Since there's obviously so much additional content you needed to add to support Adventure mode what was your inspiration to include it when some games will opt to go multiplayer-only?

DN: I was watching a talk by Auston Montville from Sportsball (Wii U game) and one of the warnings he gave at that talk to other games focused on local multiplayer was to not release without a single-player mode. From that day on I started working on creating a single-player mode for Rocket Fist. I tried a few different variations, and ended up landing on the current version which keeps the same gameplay of the local multiplayer version with the single camera arenas.

Uncle Knuckle Awaits!
At least in the PC version of the game I couldn't miss the Level Editor. Any chance of this making it to the Switch as well just for local use? I'd ask about sharing but would imagine setting up and trying to curate that outside of a dedicated infrastructure like Steam's Workshop would be a nightmare.

DN: The lack of Steam Workshop to assist with the sharing was the reason we decided to not port the Level Editor to the Switch. We figured a level editor in which you can't share your creations with others wouldn't be of much use. Also, it would be a lot of more potential bugs to complicate our release.

If you see some great levels come through on the PC side of things, or even if you find inspiration of your own, is there any chance the Switch version of the game could see a "best of" level pack patch or DLC potentially?

DN: I haven't looked into the process to release DLCs or updates, but that's definitely a possibility :) Maybe even some extra sectors, bosses and enemies if there is enough interest.

Another feature, very clearly still marked as beta, in the PC version is Versus Online. Since some other indie multiplayer titles have either launched already or are in progress with no support for online play I'd wager implementing that isn't nearly as simple as we gamers tend to want to make it when we just note "it would have been nice to have online multiplayer". Are there any thoughts you can share on the challenge that presents to try to implement?

DN: It definitely isn't simple. In reality each player is playing a whole different game, and the games are talking with each other trying to make it look as similar to each other as possible. In a first-person shooter, for instance, it's fairly ok to be wrong in these cases. You have a very limited field of view and if your game tells you that you got shot, sure you must have gotten shot right? In a game like Rocket Fist you're seeing the whole screen the whole time, and if in your screen you shot me, but on my screen the fist you shot actually didn't hit me because I moved before it did, your game will still tell my game that I got shot. In this case, who is right? One of those 2 players will think the game cheated them.

The more latency between players the worse this will be. Then, to complicate things even more, players pick up fists. It's entirely possible that 2 players think they have the same fist if they were close enough to it and there is enough latency to make things confusing. I ended up never managing to make a satisfactory version of Rocket Fist for online multiplayer on the PC :/ it's still beta to this day, it works well enough with 2 players with low latency, but with more players and some latency it's terrible.

What are your thoughts on the state of the industry where indie devs are concerned on the Steam platform and the challenge of getting seen in that sea of content? What have you tried to do to get the word out about your game and is there anything you wish you could see happen that would help?

DN: It is pretty worrying. I hope that good games will still be able to stand out on their own but I don't know if they will. I feel the App Store is already a huge gamble on being noticed in the sea of games being released every day and Steam seems to be going in that direction. I haven't had any experience releasing on consoles so far, I'll see soon with Rocket Fist if the console market will be a good way to avoid the potential Steam apocalypse. If that's the case I'll be focusing more on consoles in the future. The only things I did was sending press releases and posting on social media. I don't know what else I can do or what would help :(

Any thoughts on the process of getting picked up to release your game on the Switch or your interactions with Nintendo to this point as a "Nindie"?

DN: Nintendo is awesome, they have been incredibly helpful :) It feels great to be able to see a game I created on a Nintendo platform since I've been playing games on Nintendo systems my whole life.

Once you've got Rocket Fist out there (hopefully to great success) what's next on your radar? Anything you can reveal about what you have in mind moving forward?

DN: My most successful game thus far has been "What the Box?" an online multiplayer shooter in which all the players are boxes in an environment full of boxes. I'm currently working on porting it to the Xbox, but I'd like to bring it to the Switch as well if it's possible (Haven't looked much into the requirements for online multiplayer games on the Switch yet, so don't know how hard or easy it would be yet.). On the PC side of things I'll be working on a full version of a game jam game I made earlier this year called Bug Brawl, an Online Multiplayer arena battle between ladybugs.

I want to again thank Daniel for taking the time to share his thoughts on some of these interesting topics. Rocket Fist should be releasing in the coming weeks and will be another entrant in what promises to be a crowded and highly competitive space for local multiplayer games on the Switch!

Review: De Mambo

Likely having the distinction of being the first game ever developed primarily in a coffee shop, De Mambo wears its somewhat minimalist and punk rock nature proudly. Adhering to the philosophy of making the most out of a one-button control scheme, it manages to eke quite a lot of mileage successfully out of simple concepts that are generally well executed. The decision point for most gamers, however, will be whether or not De Mambo’s purist leanings are enough to remain engaging over the long haul.

The major component that will drive your level of enjoyment of the game will be in the area of this simplified control. There are a number of schemes you could choose to utilize (use of either the D-pad or joystick are possible and jumping is supported using either a button or by pressing up on the D-pad) and depending on your overall style these options are welcome. While there is only one action button, the length of time you press it will change things up between a simple poke, a spinning flurry, and a 4-way missile barrage. There are cues to help you recognize when you’ve charged to the more powerful attacks and you’ll want to use them because holding out too long will result in a burn out and you being vulnerable temporarily.

Playing with my family it seemed to take only until the second match for the general control to take hold and by the third people were already able to maneuver and attack quite effectively. In a general sense the “loose” control doesn’t seem to be an issue, though perhaps jump not being able to be suppressed when you’ve opted to use a button could present a problem. This is due to even the pro controller being prone to registering up pretty easily, especially when you’re in the heat of battle. You’re able to triple jump, so it usually isn’t much of an issue, but when every move counts and you accidentally burn a jump you didn’t mean to use it can be a bummer.

The main attraction in the game is the 4-player Mambo mode. With a pretty staggering number of unlockable stages there are quite a lot of maps for you and some friends to explore. The critical question will be whether the gameplay will hook everyone long enough to see them all. There are absolutely some differences between the stages, with some having strategically placed blocks with a variety of properties, and others having special events or environmental effects to keep you on your toes. While the controls are simple there’s a depth of strategy to De Mambo that can be surprising. Whether you choose to generally opt for the up-close game, trying to smash your opponents, or decide to go ranged and fire on everyone else from a distance with your missiles, there are a number of tactical ways to approach things. One of my daughters was actually quite successful simply staying away from the heat of battle and keeping to the periphery, waiting for the rest of us to wear each other down before coming in for the kill.

People making the most of the gameplay opportunities that are there is what makes the game work, but I will acknowledge that for some family members the simplicity ended up being an issue with questions on whether there were different modes or power-ups available. That may be De Mambo’s biggest stumbling block, that it got the inspiration for core control mechanics and their simplicity from Smash Brothers but it is missing the often transformative fun of some unpredictable power-ups dropping to turn the tide in someone else’s favor. The varied environments on many of the levels do a lot to help compensate for this but there are points where the added chaos of something like items is missed.

Not content to simply deliver a local multiplayer experience there’s some good news in that De Mambo sports both a dedicated Solo mode and a “friends are optional” Survival mode as well. The Solo mode presents you with a variety of relatively quick challenges, ranging from collecting items to simply trying to stay alive and more. For the most part these are a fine diversion and give you an opportunity to practice and refine some of your movement and attack styles. One unfortunate problem that comes along for the ride, though, is that the control that works out fine when you’re banging into friends in a fast-paced brawl doesn’t work as well when you’re trying to make more subtle movements or do things like jump between multiple narrow platforms. I’m not positive how best this could be addressed, whether through exposing a sensitivity setting for users to play with, or by simply tweaking the control in general, but it does make some Solo levels far more difficult than they have to be and may discourage some people from enjoying the mode fully.

Survival mode is generally quite simple, tasking you with destroying waves of incoming invaders while trying not to let them destroy the parts of the platform you’re trying to stand on. Your protection of the squares of your platform is vital because each one that gets slowly taken from you leaves another gap for you to be sure not to fall into. For me this mode in particular had some sentimental value, with elements of it reminding me of one of the first arcade titles I remember playing called King and Balloon. While it isn’t very complex in how it is set up if you enjoy classic arcade-style games, like I do, it is worth spending some time with for something a bit different. It is also important to note that this mode can be played with multiple people as well, hopefully allowing you to survive longer and not having them instead be an added distraction.

As a freshman effort De Mambo does an excellent job of putting The Dangerous Kitchen on the map. It is clear that they’ve taken the philosophy of simplicity, have spent time carefully defining and refining each aspect of their creation, and have delivered an experience that makes the most of everything they’ve provided for. With a group of friends who are down for smashing into each other and having a raucous time the Mambo mode will absolutely deliver, at least for a while. The question for group play will come down to whether everyone will invest in mastering the tools they’ve been given and will make the most of them or whether they’re looking to the game itself to provide more consistent opportunities. As I’d said the variety in stages does help greatly in this area but there can be levels or just passages of action where only the core move set is in play and that can lose people over time. The inclusion of two additional modes is also admirable and does provide for added value. Their mileage will vary for people, depending on tastes, as they are add-ons and the focus is clearly the main Mambo mode. In the end the effort and love are all there but while the control simplicity worked out well there’s room for peoples’ expectations for more interfering with their appreciation for it over the long haul. In what is looking to become a very competitive space on the Switch in the coming months I’m not sure De Mambo will be able to clearly break away from the pack, though it will undoubtedly be right in the thick of things.

Score: 7

  • The controls are simple and easy to understand for new players
  • A wide selection of maps provide for variety to keep things interesting
  • Additional modes add flavor and value

  • Game-changing items are missed at times
  • Not everyone may dig on the minimalist look and feel
  • “Loose” movement controls can be aggravating in some stages of the Solo mode that require precision

Friday, July 7, 2017

Review: Vaccine

The central question that should be posed by Vaccine is whether or not you can go back to the “good old days” of the original Resident Evil that it very closely emulates (perhaps to a fault). Unfortunately, after having spent quite a lot of time with the game, I don’t think Vaccine executes on its goals well enough to take the focus away from its flaws. There will, no doubt, be a subset of gamers who will enjoy the throwback experience. But, a combination of outdated mechanics and an overly wide swing in random factors that influence every run will create substantial stumbling blocks for the average gamer.

While I’ve seen a fair amount of complaint leveled at control in the game, when considering its goals of what it wanted to emulate, I found it reasonably workable while also being authentic. For those unfamiliar the controls are a bit tank-like in that your rotation is distinct from your forward and backward movement. There are a few control configurations available as well so I’d wager most people should be able to find a control style that suits them, though nothing will change the clunkiness of the classic scheme. Removing how you physically will control the action I will note that it at least feels a little faster than RE’s traditional sluggish movement that always aggravated me as well.

Welcome to Handheld Mode Hell...

Exploring the visuals is where some of the problems begin to show themselves, especially when considering people use the Switch in handheld mode as well as docked. I can respect sticking to the very polygonal models and low-quality textures that were very much a part of the original Resident Evil experience. Unfortunately, that won’t change the fact that in these environments finding some of the objects you’ll need to survive outright sucks. Consider that aside from larger items like a health pack there are also things like keys that you’ll need to progress and even on my monitor these can look like a single silver dot on a muddy texture that represents the floor. Now take it out of the dock and try to find the key and everything gets much worse. There are shimmers of light at times to help people find items but when you then throw in the various fixed camera angles (also authentic to the original game) distances from the camera to the object further add to the problem. In reality what you’ll find yourself doing is working from memory for what given environments look like, scan for anomalies, and then simply walk around everywhere tapping the action button “just in case”. I’ll additionally note that in handheld mode you’ll have to adjust the in-game brightness or there will be rooms that will look completely dark. There’s a slider to adjust this but it is worth giving fair warning about.

Given my love of roguelikes, and the fact that I’ve often come to their defense in terms of difficulty, that’s another area that deserves exploration. The problem isn’t necessarily that the game is “too hard” in a uniform sense. Yes, it can be aggravating that I’ve had runs where I was unable to find a gun, no matter how much I checked everywhere, but I had a pack full of ammo and then would run into 2 crawlers in quick succession, pretty much guaranteeing death and failure. The bigger problem is that I’ve had runs that are pretty well in the opposite direction, where I’ve found the gun, multiple health packs, and essentially an embarrassment of riches. This means the pendulum overall isn’t being constrained with a formula to keep the game within a defined “sweet spot” and it harms the experience.

In addition I wonder if having to find the gun is even necessary when conceptually without bullets it is functionally useless anyway and if you need to manage your resources it isn’t like that would break anything. What concerns me is that all of this difficulty, I believe, is serving to mask how little content there actually is in the game though. Once you count up the rooms, handful of monster types, and items you may encounter in your first completed run you’ll find you’ve been thrown back in with a new randomized map to see all of the same things again, just having kept your stats and inventory and the timer is shorter. Nothing fundamentally changes. While all roguelikes do essentially the same things, remixing a set amount of content through repeated play, the issue I have with Vaccine in this case is that there is so little you ultimately do. Explore, collect, encounter danger, either die or kill or evade danger, get vaccine, get back to your friend and repeat. There is the element with the laser generators that change for each pass and will have something happen if you manage to disable all 3 but it’s not enough of a hook most likely to keep an average person enduring the same loop that isn’t really that engaging the 20th or so time through.

As I said, I appreciate the fact that some elements of this game are purposely set up to be true to the vision of Resident Evil, which this is obviously inspired by. I also get that there will be people who, despite the game’s failings, will thoroughly enjoy it and be engaged by the action loop it offers. However, given the wildly inconsistent nature of it (even by roguelike standards), the issues with items being so critical and yet so complicated at times, and the fact that handheld mode is likely not going to be a great idea overall it’s hard to recommend without a substantial number of qualifiers. As noted, I think with some balancing and changing up pieces of the formula the overall experience could improve if tweaks are made but not knowing what the plans are I can only score the game based on what was provided.

Score: 3.5

  • A mostly authentic retro Resident Evil experience
  • Some fun enhancements like CRT mode to go even further retro
  • The attempts at an overall story you may be compelled to try to see through to the end

  • Handheld mode poses multiple issues due to scale and level of detail
  • While they’re implemented well the classic tank-like control scheme may turn modern gamers off immediately
  • As critical as items are to having successful runs finding them can be unnecessarily challenging
  • The roguelike formula isn’t as well implemented as it should be, swinging from too hard to too easy quite often and unpredictably
  • Once you’ve gotten the vaccine and brought it back to your partner once you’ve likely already seen the majority of things the game has to offer

Review: I and Me

While I and Me has its simple charms between its laid back music, easygoing pace, and periodic Zen-like words of calmness there is a point where that approach can backfire. There is no doubt in my mind that there’s a class of gamer that will enjoy it, perhaps even a great deal, but aside from very casual gamers (not likely the ones to spring for a $300 console you can take on the go) I’m thinking for many people it won’t be very satisfying once all is said and done.

Starting with the positive the game is absolutely cute, with its two small black kittens who you’ll need to move (they move together unless blocked by an obstacle), through their puzzle of platforms, hazards, and various odd animals to their respective picture frames. The level is concluded when you get them both into their frames at once and you’ll be expected to utilize whatever is around you, some intuition, and sometimes some dexterity as well to get them there and ensure their spacing works out properly. On some levels there’s an additional challenge of a notepad for you to blend into your plan of attack if you want to up your effort a little, but at a high level the entire game has just been described.

That leads a bit into one of the valid criticisms for the game, that from the start very little changes in terms of the experience or makes a significant impression. There are seasonal variations and new elements that get added as you progress through the levels but in truth it kind of all ends up being the difference in painting the walls in the ivory versus the bone. The music may vary but even as a music-lover I can’t say any of it stood out. Added to that there ultimately are a very limited set of total assets in the game to mix things up with both in terms of visuals and in gameplay. There are no outright faults to any of it but there also aren’t any real highlights.

What will make or break the game for you, though, will be the puzzles and whether you find them engaging. Overall, as a puzzle fan, I’ll say that I didn’t find the majority of them challenging either in terms of planning or execution. At the end of the day any given edge or element is a clue to the ultimate solution so even without planning things out you can generally barrel head-on into the puzzle with assumptions on how it will work based on the layout. Unfortunately I’d say that the puzzles I did struggle the most on were aggravating not because I couldn’t figure out how to solve them but because the very mild platforming elements to the game are a little on the wonkier side at times. It is when you combined this with the very slow pace of the game that I actually got the most frustrated. When you know the solution, you fail to execute on some detail, and then everything resets and you need to wait through some pattern again multiple times you start to think about bad things happening to innocent little black kittens. Either a fast forward button or even a rewind option would serve the game incredibly well and maintain a greater focus on it being a clever puzzler and not a mediocre platformer.

With all of this in mind I find myself in the middle concerning how to score I and Me. There’s really nothing inherently wrong with it, but at the same time I didn’t find it terribly compelling or able to significantly differentiate itself from similar offerings you could find on tablets (or even mobile phones) in terms of challenge or interest. The overall demographics for Switch owners I’d say probably compound this problem a bit, since it is a very sedate and exclusively single-player experience, but I’ll acknowledge that for the right people this could actually be a selling point. I’d say the best bet is to read a variety of reviews, check out some video, and take it all in to decide whether or not the game is for you. While I’d personally prefer something more innovative, there is a place for I and Me on the Switch for people looking for a calming way to puzzle away some hours.

Score: 5

  • Cute, charming, and generally sedate
  • Traditional puzzle-solving fare
  • A reasonably high number of puzzles if you enjoy their style

  • Cute, charming, and generally sedate
  • Traditional puzzle-solving fare
  • The slow pace, when married with the clunky platforming that is sometimes necessary, can make the game aggravating for the wrong reason

Thursday, July 6, 2017

Interview with Viktor Solodilov and Denis Novikov of Bread Team

Having started out in the mobile space, making the somewhat twisted math puzzle game Divide By Sheep, Bread Team decided to embark on something more ambitious for their second title. Phantom Trigger is a combo-driven action RPG of sorts, blending in some roguelike qualities for good measure as well. With the events in the game happening in parallel with a story of a man who is very sick in the "real world" how the action on-screen relates to that story will likely be a central part of the game.

The game is currently gold and is expected to hit sometime in the next month, assuming there are no snags in the process as we've seen for some indie titles and the Switch. While they are going through this process one of the members of the team was nice enough to field some questions to help shed light on their process, what influenced their development of Phantom Trigger, and where they may be headed in the future.

How did your team get started in terms of both choosing game development as a career path and then in terms of how you decided to join to form Bread Team?

VS: Me (Viktor Solodilov) and Denis Novikov are founders of the Bread Team. There are only two of us.

So you start out with a puzzle game, with a pretty twisted sense of humor, in Divide By Sheep. What prompted you to then decide, "Hey, let's make a colorful slasher/brawler game with combos about a guy in an alien environment complete with flashbacks to his everyday life where he's apparently terminally ill in some way"?

VS: As players, we enjoy different types of games. As developers, we want to bring some of our own vision to our favorite genres, and sometimes even to create a completely new type of game. This what happened with Divide by Sheep and Phantom Trigger.

When people from the PC space saw art and footage from the game a lot of them noted visual similarities to Hyper Light Drifter, but then again I can think way back to games like Out of this World that also had somewhat similar alien landscapes and looks. Where did some of your inspirations come from for the aesthetics, in particular the often unusual enemies?

DN: This is an excellent question. We were inspired by many games. When I was working on the game environment, I was heavily inspired by Soul Sacrifice. We like to experiment with mixing up unexpected things - for example, a level with a lollipop jungle, covered by spiderwebs. This creates very unusual environment.

I really like using bright colors in the game. While making Divide by Sheep, we started experimenting with using different contrasting bright colors. Mixing up dark and neon colors creates very interesting effects. We really enjoyed combining those bright neon colors and dark backgrounds in Phantom Trigger. 

We wanted to show the enemies in the game as a part of one organism - since there are a part of Stan’s mind. We like to have one rule for all the enemies. In our case, this rule is eyes. Multiple eyes! That’s how Bubble-heads and other monsters in the game were created.

Aside from the fact that the game doesn't shy away from being pretty challenging the combo system stands out as a major feature, in some ways making it a blend of a hack and slash with a brawler. What games helped serve as guides for the feel and flow of the combat?

VS: Main references for the combat were DMC, Hyper Light Drifter, Soul Sacrifice. We tried many different combat options, and only the best fitting ones made it to the final game.

One part of the description of the game is that it is "roguelike" but with the progression and checkpoints in the game it isn't like you're starting over from scratch when you die. What qualities does Phantom Trigger have otherwise that would help define it as that type of game?

VS: There are roguelike elements in the game. Each time you die, you lose experience until the previous checkpoint. Each death will change the level: you will encounter different types of enemies and traps.

Like many other start-up indie developers you've moved from the mobile space to Steam and are now moving to Switch. What has that transition been like and what are the biggest hurdles and benefits you've seen with the introduction of more power, physical controls, etc as you've gotten away from the mobile space?

VS: We were finally able to make a game bigger and more complex. There is more graphical and sound content. Now we can create big levels and use gamepad. Making games is easier now, when the device performance is not limiting our ideas.

Having been in the Steam ecosystem what would you say is your current impression of that marketplace in terms of getting your name out there and convincing people to pay attention to your game when there are so many others coming out every week in parallel?

VS: Our game belongs to a special subgenre - Slasher. There are not many games in this genre. You uncover the story in the most unusual way. The players will find many interesting things for themselves in this game.

With a much smaller number of titles likely to release the same week as yours on the Switch, even though the install base is obviously much smaller, do you feel like the road can or should be easier, tougher, or about the same overall?

VS: We believe that if the game is interesting and exciting, people will buy it. That’s why we did our best to make Phantom Trigger an exciting experience.

As you move past Phantom Trigger, assuming you are able to have some success, are there any ideas for what type of game your team would like to try to tackle next?

VS: If the players will like the game, we’d like to make a sequel. We've got many ideas for new stories. But it’s too early to talk about this right now.

I wanted to thank Viktor and Denis for taking their time and Yulia at tinyBuild for arranging this interview. Phantom Trigger is currently planned to release on the Nintendo Switch and other platforms in the next month.

Review: Bulb Boy

Since many indie games on the Switch thus far have had an action focus of some kind, people in search of something a little more relaxing may have have been feeling a bit left out. If you don’t mind some potty humor, very unusual enemies, and a quirky sense of humor (or, better yet, are searching them out) Bulb Boy should lift your spirits, at least for a little while.

First and foremost among the game’s charms is the art style. Often looking, to me, like something out of a John Kricfalusi (of Ren and Stimpy fame) sketch book the game is visually a lot of fun. In contrast to the ever-cheery Bulb Boy himself the settings he often finds himself in are typically dingy and somewhat nightmarish. Even better, there are some enemy creature designs in the game that left me alternatingly shocked and amused by in quick succession. It’s the “what the hell am I going to run into next?” question that drives you to overcome each set of challenges put before you and, in general, the game rewards you for your persistence.

As there is no dialogue in the game the story is pretty basic, and due to the short length I’ll not cover it any further for fear of ruining what there is. Suffice it to say that Bulb Boy has run into some adversity and will need to muster up courage to overcome the frightening creatures he encounters along the way. The music that accompanies his journey is appropriately themed and helps reinforce what’s on the screen nicely.

The bulk of the gameplay is point-and-click (though not on the touchscreen) adventure style, something traditional console players may not be as familiar with but is easy to pick up. As these sorts of games go the environmental puzzles are handled very well, neither being mind-numbingly simple or hopelessly obtuse. Some trial and error solutions to problems are involved, followed often by death, but you never lose too much progress since the autosave occurs quite often. There was one puzzle in the game that stumped me for the wrong reason, namely that I didn’t understand I could use the right analog stick to control a second character in parallel, but the problem may be mine and a quick look around gave me the information I needed to continue on.

It doesn't remain this cheery
If you’re looking for a unique game experience on the Switch that isn’t terribly expensive and will provide you with a few hours of varying challenges and laughs Bulb Boy delivers quite handsomely. Especially since, for the moment, it has nothing comparable to go up against on the console it is a breath of fresh air as well. As long as you keep your expectations for its length in check there’s little holding me back from recommending it to people in search of a little adventuring.

Score: 8

  • Distinctive art style
  • Clever puzzles that generally make sense
  • An often devilish, though sometimes childish, sense of humor


  • There’s no escaping that it’s over too soon
  • Point-and-click adventure isn’t for everyone
  • In one case a control option wasn’t clear to me

Wednesday, July 5, 2017

Interview with Shaun Roopra of The Dangerous Kitchen

Starting out as a group of friends who connected while in school over a love for games, The Dangerous Kitchen may be small but their ambition is not. It turns out their sense of humor is pretty lively as well as demonstrated by this passage from their "About Us" on their website:

The Dangerous Kitchen are indefinable. Your puny human words cannot do justice to their shimmering brilliance.

I reached out and got into contact with their self-described resident punched-eclair-faced existential visionary to discuss their upcoming release of De Mambo on the Nintendo Switch, the challenges of being indie developers, and where they see themselves headed.

Having read a few interviews, including the most recent and fascinating one by Eurogamer, one constant is your work environment being a very "borrowed" space. In many ways I'd say that even up against "bedroom coders" you all sound like you may hold the title of "most punk rock" indie developers hands down. Assuming you find success with the release of De Mambo will you stay true to the process and working "on location" or will you go traditional and work in a quieter and more sterile setting?

SR: Let’s just start by saying thanks so much for granting us such a cool title! As a big Suda51 fan, I’m very much a fan of the “punk rock” school of games design Suda brandishes. It’s something we try and capture with a lot of our design processes which is very rough around the edges and DIY. As an example, most of the sound effects in De Mambo were made using iPhone apps that I recorded from my phone directly into my laptop speaker without using a wire. That gives them a really gritty, lo-fi feel and so if you hate the incredibly obnoxious sounds De Mambo exhibits, blame me!

That’s a tough question to answer as there are a lot of benefits to an office but the creative element of being in an open space might be too pivotal to us. We did have a stint in an office for a few months but it lacked the freedom I think we need, as being in a ‘borrowed space’ as you put it keeps you more grounded. But, if we do find an office with a pizza oven and maybe an occult library then yeah maybe we’ll go for it!

As you all embraced this journey fresh out of school, and not necessarily having gone through a traditional path to start a video game company, what words of wisdom / advice would you have for other people out there who dream about making games?

SR: Well we did decide on becoming a company at University, but it took a few years for us to actually get to this point, so that’s definitely my first bit of advice—if you want it, you’ll have to keep at it. There were so many times we could of quit and moved on, but we didn’t. If you want to make games, you’ll simply find a way. Another great bit of advice is something Alan Moore talks about in that you need to lose the desire to succeed and the fear of failure. By doing this you focus on making something that is pure and true to you. So, use what you have and just do it. Have fun and try not to focus entirely on things that other people do and have done, focus on you and only in what you or your team can possibly create.

Looking at the Kickstarter campaign that really got your started, your intention was going to the Sony platforms (including Vita) and PC. At the time the Wii U was presented as a possibility but wasn't the focus. At some point you then obviously ended up on Nintendo's radar and now you're launching as Switch-exclusive initially, then going to the others later. Not sure how much detail you can share but how did that all get changed?

SR: So when we actually started, the Wii U wasn’t particularly healthy looking. Don’t get me wrong, I’m a big fan of the console, but from a business perspective it made no sense. With the original prototype of De Mambo, being minimal was our mantra, so we felt the game would be great on a handheld. Since our game was Unity that kept out the 3DS which wasn’t compatible and we decided that the Vita being a strong indie machine would be great for us. Sony had a better reputation with indies and putting a Smash style game on a console which has Smash didn’t seem like the best option, so being with Nintendo wasn’t our intention. It’s funny how that works right? We exhibited at Bit Summit 2016, they liked the game and now we’re launching on the Switch! We changed focus because releasing in the launch period of a new console would yield far more exposure for a new company making their first game.

As a group of Nintendo / Smash fans influenced by aspects of their design philosophy, focusing on simplicity and fun over all else, how does it all feel right now? To have your first game released on their brand new, and unquestionably smoking hot, system?

SR: Honestly, it still feels like a dream. Just going from avoiding Nintendo, to hearing that they are interested in your game, to then receiving a devkit is so surreal. We definitely haven’t processed it yet, so after we’ve released and we’ve had time to relax, that’s when it will hit us and we’ll most probably explode taking out everyone in our near vicinity.

Aside from you all being new to the development process you're also new to the business end things in terms of the networking, marketing, and contract side. What have you learned or what help have you gotten to assist yourselves in navigating that aspect of things, well beyond simply trying to design and implement the best game you can?

SR: That’s the conundrum an indie developer faces. How do you make a game and juggle the business on top? Quite simply you just have to find a way and get it done. Personally though, what I’ve learnt is to make everything fun. Writing a press release wasn’t exactly my idea of fun before doing this, but because I make it fun to write, I love doing them. Creativity solves all problems after all. Thankfully, we’ve been incredibly lucky to receive a lot of support from so many different people. We have a friend who’s basically our press mentor helping us out in that department, our neighbor at our first EGX gave us one small piece of invaluable advice for exhibiting—which was simply to go talk to people when they hover about your stand, which increases the chance of them playing your game—and friends and family offering so much support.

Having interviewed a few other indie developers to this point the discussion around making and trying to sell a game that is more "visually simple" has come up before. What have you tried to do in order to make the most of your visual style and to attempt to get people to give it that initial chance? At the point they give the game 5 minutes what are you banking on being your best "hook" to get them to see the full potential of the game experience beyond merely what they see?

SR: Well, we didn’t concentrate on how De Mambo looks to begin with, as I do feel that imagination is far more empowering to the user. So the idea of something and how it functions in relation to the player was our goal, which we inherently added from the very beginning. How does the player understand it? That’s our main focus when designing. It’s pretty much the Nintendo way. The concept of ‘design expresses function’ that Miyamoto talks about when discussing Mario is how we tried to design De Mambo. For example the fact that every level is made up of block, that was simply because a player would understand the destructibility of the stages far easier as blocks. So with all that said, playing the game is the hook we rely on, as it’s a game right? Visual hooks will only get you so far.

While with the Smash inspiration the game obviously has a significant multiplayer focus you also have a single-player experience and co-op play possible as well. What game experiences would you say inspired the style and play of the modes that aren't just focused on 4-player battles?

SR: ‘Solo’ mode was a conundrum for us. We refused to just make your typical tacked-on single-player mode, as that’s not really our style. We wanted to explore the gameplay we could build around the core of De Mambo and had a lot of crazy ideas but ultimately we toned it down. Super Mario 3D World was a big inspiration as in that game you have the Mystery House’s where you face these short 10 second challenges and it really shows you the imagination Nintendo is capable of. So we combined that with the quick-fire nature of Wario Ware and the towers of Mortal Kombat and somehow made a single-player De Mambo mode that we’re really proud of. 

Survival on the other hand was very quickly made, pretty much an afterthought that turned out amazing. I think it’s due to the foundation of De Mambo’s core gameplay being very flexible. Obviously, Space Invaders and Galaga etc were the inspiration for ‘Survival’.

What would you say, in a game designed with simplicity of control in mind, is the best secret or trick to being successful at the game against your friends?

SR: Although the controls are simple, there is still a lot of intricacies to them such as perfect attacks or dashing. Timing is also beneficial, as you can counter someone’s spin attack with a spin attack of your own and even reflect a projectile back. Even mind games come into play as when you’re on the ‘Loser-Rail’ all you have to do is go near someone to make them fear death! So I think the essence of being successful at De Mambo is using what you have in the best way you can.

Having followed your Twitter account for a while now I've seen you all go to quite a few trade and industry events. What has the reception been like for you and at those sorts of shows how would you rate the level of enthusiasm for the indie market as a whole as opposed to the big developers?

SR: The reception has been great, especially since De Mambo is the type of game that needs to be played to be best understood. Going to events has really helped us out, as obviously that’s how we got on to the Switch in the first place. There are so many passionate fans and supporters of indie games you see at these events, so even if there’s less enthusiasm on a grander scale, on a more intimate level it’s far more engaging.

Seen as a package, what would you say is the selling point of the game? What gets you excited about playing it and what experience are you most hoping people will walk away from it with?

SR: We believe that De Mambo being on the Switch in itself is the best selling point for a multitude of reasons. The fact that the game is a single screen multiplayer game that you can play against people in ‘Mambo’ or with them in ‘Survival’ is completely at home on the Switch. The game controls really good with one Joycon held sideways and since the controls are simple (one button and analogue) it alleviates a lot of cramping—trust me, I’ve tested the solo mode for hours on end! Also the replayability and quick burst nature of ‘Solo’ is great for playing in handheld mode. We just hope that people have fun, as that’s why we made the game in the first place.

Having been successful in realizing your initial vision of breaking down a game like Smash to its simplest form, and then working and refining it, do you think there are other popular games you'd like to attempt to do the same thing with next time? Or do you think you'll next look to something more ambitious?

SR: That’s a good question! Well, I can’t speak for the whole team, but I’m definitely interested in doing something similar for Mario Kart. I’m a big platformer fan so putting the platformer back in Mario Kart à la the first game is something I’d love to explore. I don’t think we’ll be making our next game in quite the same way, as you have to spice things up and see what new avenues are available to explore. It’s like they say, those who stand still in an expanding universe are moving backwards.

Many thanks to Shaun for taking the time to respond to my questions. You'll be able to sample their first title, De Mambo, July 13th from the Nintendo Switch eShop!