“Someone would have to spend at least half a day recording video, and get that back to me, then with our time-gap, it would take upward of three days to return anything. “At first, the developers would send me videos of some of the cinematics to Austin, which I would use to write the narrative, but we found that that was real wasteful of our time.” Locke says. How would Locke get the information he needed from the developers to write the text and integrate the narrative with gameplay?
#CHILDREN OF MORTA TWITTER HOW TO#
See an example of a cutscene from Children of Morta below.Ī plan for how to make narrative and gameplay work together is one thing, but when the developers and the narrative designer are in remote physical locations, implementation isn’t necessarily going to be simple. “One person telling the players the story as they witness it gave us the ability to give players the information they need as quickly as possible, make an emotional impact, and then get them right back into the gameplay,” Locke says. “We wanted the characters and the narrative to be important, but we couldn’t jam a traditional linear narrative into it because it just wouldn’t make sense in the overall game,” says Jakobsen Locke, the narrative designer on the team.ĭead Mage’s solution was to create a few key cutscenes that develop the story and present them to players at key points in the game. Fassihi, is originally from Iran.īut integrating the fascinating mythological themes of the narrative into a hack-and-slash game, came with challenges.
After all, Dead Mage’s founder and studio leader, Amir H. It shouldn’t come as a surprise that both the beautiful 2D art and the adventure narrative in Dead Mage’s 2D roguelike dungeon crawler were influenced by Persian folklore.
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