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Because Unreal provides full access to the source code, you can easily make it functional, performant, and fast.” And then, beyond that, you can take those prototypes and then make native code. “So, you can use Blueprints to get something working quickly without having to dig into the nitty gritty of how it’s implemented.
“One of the things that makes Unreal really cool is that you can rapidly prototype,” said Fumo. Our focus is on visuals as a first step to get that sense of atmosphere established very quickly and doing that in Unreal Engine was straightforward.” “I’m a visual person, I know a little bit of math, but I’m not a programmer.
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“When we started Giant Squid, it was just me sitting in a room full of desks and I had to figure out how to get a game up and running by myself,” said Nava. While the studio has been focused on crafting this connection and providing increased playability in its follow-up to ABZÛ, Giant Squid didn’t shy away from reflecting on the foundation that’s already been laid for the company, the challenges associated with indie game development, and the importance of choosing the necessary tools required to achieve their goals. When The Pathless ships, we hope that we’ll create another experience that brings that quality to players.” “One of the most surprising and rewarding elements of creating ABZÛ was that we received a lot fan mail telling us that this game had given (the player) an experience that moved them in a way that they weren’t expecting. “The emotional connection with the characters, with other players, or with the world, is something that’s very difficult to do and is difficult to articulate how to do it,” said Nava. On a fundamental level, Giant Squid itself is aiming to create experiences that spawn a close connection between the content and the player - something they admit isn’t easily achieved. We want them to think about what they are shooting at and why they are shooting it.” So, we don’t want the player to have to think about aiming because we want them to feel like an expert. In The Pathless, it’s a similar thing, except the character now, instead of being a diver, is an archer and the hunter doesn’t have to think about aiming because she’s an expert.
“So, in ABZÛ, it meant you could swim around freely, you could flip and turn upside down, and you never felt like you couldn’t perform the behaviors you wanted to perform. “The controls are not a barrier for expressing yourself the way you want to as the character in the game,” stated Lead Gameplay Programmer Cosmo Fumo. So how exactly is Giant Squid looking to expand on its previous effort? Simply put, they want the player to experience an increased sense of interaction as they explore and engage with the lush, vibrant world around them. “For us, it's a game that extends our philosophy from ABZÛ forward, but incorporates more traditional gameplay elements.” “The Pathless is about the relationship between a hunter and eagle as they explore a forest full of cursed beasts,” said Nava. “(We) try to make games that are atmospheric and take you somewhere that’s really immersive and beautiful, but gives you something to think about at the end.”Īlong with the goal of creating a memorable conclusion in The Pathless, the developers aim to provide players with plenty to think about during the adventure itself, which is why accessible controls are at the core of the experience. “As an indie developer you have to find a niche, something that people aren’t doing,” said Nava - whose industry credits include his prior role as Art Director at thatgamecompany where he produced the iconic visuals of the critically-acclaimed Journey. In fact, Giant Squid Creative Director, Cofounder, and President Matt Nava stated that creating an emotional connection with its players is a differentiating factor for the studio. When we recently visited the team in Santa Monica, the small company’s commitment to creating atmospheric and immersive experiences was clear.