WAS IT DIFFICULT TO IMPLEMENT TWO DIFFERENT VIEWPOINTS THAT DYNAMICALLY ZOOMED IN AND OUT, ESPECIALLY FOR SUCH A FAST-PACED GAME? scene and then applied to an object within the scene in real-time.) Some balancing was needed to get the right “feel” but it was fairly straightforward.
make), and having to set deadlines based on how much money I had left as I was self-funding.
hard and I don’t think I came up with a way to test the game as well as I could have, especially when future.
DID YOU LEAN ON ANY FAVOURS OR FRIENDS TO WORK ON THE GAME OR WAS IT 100% YOU?
I had some friends playtest the game and listened to their thoughts which were super useful, but aside from some volunteer part-time testers, the game was made entirely by me (though I did commission one has ended up in the game!) It’s hard to say whether I made 100% of the game, because you are also using tools that have been created by other people, but I will say that the creative and production buck stops with me.
50 | MCV/DEVELOP April/May 2023
“When people play Hellscreen, they realise that the mirror isn’t a gimmick at all but integral to how the game works.”
IT’S AN INTERESTING COLOUR PALETTE YOU’VE CHOSEN. WERE YOU GOING FOR A PARTICULAR LOOK THERE? I didn’t base the visual style of the game on anything really. It came from a combination of “What looks good?” vs. “How long will it take to make?“ and evolved over several months.
look without relying on known references or icons and so I played around with fewer onscreen colours and lower resolutions. Initially, it was a black, white and red colour scheme but I felt that was a bit tired. I decided on blue over black, that stood out.
Once I added points of specularity to objects in the game This resulted in asset production being more about
solo developer this was important to me as it meant I
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