Messofanego
Banned
Mod abuse:
Kickstarter:
https://www.kickstarter.com/projects/inbetweengames/all-walls-must-fall-a-tech-noir-tactics-game
https://www.youtube.com/watch?v=rEUCG_aX-wg
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http://www.allwallsmustfall.com/
So, after the news that Dead Island 2 was cancelled, some Yager (Spec Ops The Line, Dreadnought, Yager) developers (Jan David Hassel did technical art and was a game designer on The Line, Rafal Fedro did visual FX and UI on The Line, and Isaac Ashdown was senior programmer) formed inbetweengames. Before All Walls Must Fall, they did a couple of gamejam game, The Mammoth: A Cave Painting (September 2015, Ludum Dare 33) and OSHIYA! PUSH! (December 2015, Ludum Dare 34).
Early Access in Fall 2016.
Pictured, from left to right: Rafal Fedro, Isaac Ashdown, Jan David Hassel
22 seconds of gameplay from their Twitter, which is basically the first GIF here.
Blog:
Press Release:
Inspirations:
Development is two months in right now:
When is more being shown? Booth at A MAZE Berlin games festival (April 20-23, 2016).
Early Access is more about feedback than funding development, looking for funding from Medienboard:
Kickstarter:
https://www.kickstarter.com/projects/inbetweengames/all-walls-must-fall-a-tech-noir-tactics-game
https://www.youtube.com/watch?v=rEUCG_aX-wg
===
http://www.allwallsmustfall.com/
So, after the news that Dead Island 2 was cancelled, some Yager (Spec Ops The Line, Dreadnought, Yager) developers (Jan David Hassel did technical art and was a game designer on The Line, Rafal Fedro did visual FX and UI on The Line, and Isaac Ashdown was senior programmer) formed inbetweengames. Before All Walls Must Fall, they did a couple of gamejam game, The Mammoth: A Cave Painting (September 2015, Ludum Dare 33) and OSHIYA! PUSH! (December 2015, Ludum Dare 34).
Early Access in Fall 2016.
Pictured, from left to right: Rafal Fedro, Isaac Ashdown, Jan David Hassel
In early summer 2015, we were 4 developers still employed at YAGER in Berlin, where we were working on Dead Island 2. About two months before Ludum Dare 33, we got the news that Dead Island 2 would be cancelled. It didn't take us long to realize that most of us would wind up being made redundant from YAGER as a result. So we decided to jam for Ludum Dare 33 to cope with the situation somehow and made The Mammoth: A Cave Painting.
After years working in the AAA mines and seeing our work cancelled on the altar of money we figured it was time for us to try something different. So we decided to take a leap of faith and form our own indie team to make the kind of games we would not get the chance to make otherwise. We also just announced our first commercial game All Walls Must Fall - A Tech-Noir Tactics Game
After years working in the AAA mines and seeing our work cancelled on the altar of money we figured it was time for us to try something different. So we decided to take a leap of faith and form our own indie team to make the kind of games we would not get the chance to make otherwise. We also just announced our first commercial game All Walls Must Fall - A Tech-Noir Tactics Game
22 seconds of gameplay from their Twitter, which is basically the first GIF here.
Blog:
When we started inbetweengames after leaving YAGER and going indie, we decided that we wanted to make a game that we could stand behind as both a game and a piece of art. After about six months of pre-production, concepting and prototyping, we’re super excited to share with you what we’ve been working on.
Press Release:
All Walls Must Fall is a tech-noir spy thriller set in Berlin 2089 where the Cold War never ended. A game in the isometric action tactics genre, you command secret agents using time travel, social stealth and combat. Prevent nuclear annihilation. Bring down the Wall. Love, kill, and remix reality to explore the meaning of freedom in a parable reflecting upon current global issues in the mirror of a fantastic future past.
Berlin, November 2089 - For 150 years of Cold War both sides have used temporal technology to counter each other's every move. But this deadly love is finally coming to an end as a rogue nuclear strike has both sides sending agents back in time to find out who did it and how to prevent it before everything turns to ash forever. Over the course of a journey that jumps and loops through a single night in the city, players will unravel the conspiracy keeping East and West locked in struggle and oppression. As lines between factions become blurred, choices become difficult. Which side to play? Who to side with? When both time and free will are an illusion - who can you really trust? Will your actions tear down the wall, bring stability, or perpetuate a cycle of war and terror? In the end all walls must fall.
Features:-
Berlin, November 2089 - For 150 years of Cold War both sides have used temporal technology to counter each other's every move. But this deadly love is finally coming to an end as a rogue nuclear strike has both sides sending agents back in time to find out who did it and how to prevent it before everything turns to ash forever. Over the course of a journey that jumps and loops through a single night in the city, players will unravel the conspiracy keeping East and West locked in struggle and oppression. As lines between factions become blurred, choices become difficult. Which side to play? Who to side with? When both time and free will are an illusion - who can you really trust? Will your actions tear down the wall, bring stability, or perpetuate a cycle of war and terror? In the end all walls must fall.
Features:-
- Isometric action tactics game for download on PC and Mac
- Procedurally generated levels and campaign that plays different every time
- Developed by a team of former AAA professionals using Unreal Engine 4
- Sci-Fi noir Berlin as a divided city in which the Cold War never ended
- A parable that reflects on free will, moral ambiguity and the meaning of freedom
- Mixed 2D/3D art style of a propaganda poster brought to life
- Mind-bending time manipulation abilities
- Pausable real-time tactics with actions on the beat of the music
- Synaesthetic nightclub environments and audio
- A simulation sandbox featuring crowd simulation and destructible objects
- A focus on player agency and expression fostering different play styles including combat, hacking and social stealth using specialized secret agent characters
- An inclusive representation of the people of Berlin including their diverse cultural, sexual and gender identities
Inspirations:
So what’s your new game then? All Walls Must Fall. What is that about?
David: All Walls Must Fall is a tech-noir spy thriller set in Berlin 2089 where the Cold War never ended. It’s also an isometric action tactics game, in which you command secret agents using time travel, social stealth and combat.
Isaac: It’s a love letter to Berlin, cyberpunk and sci-fi! I’ve always thought Berlin was an underused setting in video games. There’s been a few games set here, but I’ve never really felt they captured the city too well – or at least, the city that we live in today. You might think setting a game in the future also has that problem, but we actually want the place to feel somewhat plausibly contemporary despite the sci-fi angle.
David: It is also going back to classic games that came with the 90s PC wave like Syndicate, XCOM, Fallout, Planescape, and too many others to name them all here. For me personally that was the time when I decided that I really wanted to make video games. But by the time I arrived there games had moved on. The graphical arms race was and still is in full swing with all the consequences of what makes up AAA games today. So with us going indie we are jumping off that bandwagon, that is currently headed to VR and even more photorealism, and go back to the roots of where it all started for us.
What are your main inspirations for All Walls Must Fall?
Isaac: Well saying “XCOM meets Braid” is definitely the easiest way to pitch the gameplay concept. Though of course those aren’t the only inspirations, or the only games that have tactical combat or time-travel mechanics. Initially we came up with mechanics relating to how the music and the gameplay work together first, and after we had all that working we realised we’d basically made a mechanic out of time travel. Then we rolled with it.
David: Besides video games the city of Berlin itself is a huge inspiration for us. We make a point of seeking out things that we have access to here and research them thoroughly so we can recreate an impression of them in the game. Like the current club culture which really started with the wall coming down and historic sites and museums covering the time period of when the city was divided. Noir movies and especially tech-noir movies and sci-fi stories are also something that we look at a lot.
David: All Walls Must Fall is a tech-noir spy thriller set in Berlin 2089 where the Cold War never ended. It’s also an isometric action tactics game, in which you command secret agents using time travel, social stealth and combat.
Isaac: It’s a love letter to Berlin, cyberpunk and sci-fi! I’ve always thought Berlin was an underused setting in video games. There’s been a few games set here, but I’ve never really felt they captured the city too well – or at least, the city that we live in today. You might think setting a game in the future also has that problem, but we actually want the place to feel somewhat plausibly contemporary despite the sci-fi angle.
David: It is also going back to classic games that came with the 90s PC wave like Syndicate, XCOM, Fallout, Planescape, and too many others to name them all here. For me personally that was the time when I decided that I really wanted to make video games. But by the time I arrived there games had moved on. The graphical arms race was and still is in full swing with all the consequences of what makes up AAA games today. So with us going indie we are jumping off that bandwagon, that is currently headed to VR and even more photorealism, and go back to the roots of where it all started for us.
What are your main inspirations for All Walls Must Fall?
Isaac: Well saying “XCOM meets Braid” is definitely the easiest way to pitch the gameplay concept. Though of course those aren’t the only inspirations, or the only games that have tactical combat or time-travel mechanics. Initially we came up with mechanics relating to how the music and the gameplay work together first, and after we had all that working we realised we’d basically made a mechanic out of time travel. Then we rolled with it.
David: Besides video games the city of Berlin itself is a huge inspiration for us. We make a point of seeking out things that we have access to here and research them thoroughly so we can recreate an impression of them in the game. Like the current club culture which really started with the wall coming down and historic sites and museums covering the time period of when the city was divided. Noir movies and especially tech-noir movies and sci-fi stories are also something that we look at a lot.
Development is two months in right now:
So how far along are you with the project?
David: We are a couple of months in so we have a gameplay prototype that includes procedural level generation, combat and some social mechanics. It basically is one mission of the game that plays a little different each time you play it and already has multiple outcomes. But it also very much still looks like an early prototype. Besides that we made one example dancefloor showing more how we imagine the game to look like in the end. This is the one we’re currently showing to give people a better impression of what we’re aiming for.
Isaac: We spent quite a bit of time last year working on some pretty out-there stuff regarding prototypes for what wound up being our core set of tactical time-manipulation mechanics. We broke down a few conceptual walls along the way and think we have found a way to wrap it all into a coherent package. Since then we’ve spent quite a bit of time nailing down the design for the whole thing and now we’re back into the most exciting part: working full-time on development!
David: We are a couple of months in so we have a gameplay prototype that includes procedural level generation, combat and some social mechanics. It basically is one mission of the game that plays a little different each time you play it and already has multiple outcomes. But it also very much still looks like an early prototype. Besides that we made one example dancefloor showing more how we imagine the game to look like in the end. This is the one we’re currently showing to give people a better impression of what we’re aiming for.
Isaac: We spent quite a bit of time last year working on some pretty out-there stuff regarding prototypes for what wound up being our core set of tactical time-manipulation mechanics. We broke down a few conceptual walls along the way and think we have found a way to wrap it all into a coherent package. Since then we’ve spent quite a bit of time nailing down the design for the whole thing and now we’re back into the most exciting part: working full-time on development!
When is more being shown? Booth at A MAZE Berlin games festival (April 20-23, 2016).
When are you going to show more gameplay?
Isaac: It is still early days, and in many ways parts of the game are still being prototyped. But the reason we want to announce now is so we can really get going with this whole open development thing. Until now, I’ve always worked for other people with their silly NDAs and so on so you have to keep what you’re doing for most of your working life a secret. But I love showing off! I’m really looking forward to talking about what I’m working on every week, probably more than is healthy.
David: Yeah, we’ll be working on getting those aspects we only have in rough prototype state presentable and then ask people for feedback as well. So expect more gameplay being shared on Twitter and Facebook pretty much every week from now on.
Cool. When can I see more of All Walls Must Fall?
Isaac: Straight away! We’re spending the rest of this week at the Berlin Games Week where we have a little booth at the A MAZE festival, but after that we’re back into full-time development and I will be showing what I’m working on as often as I can!
David: Yeah going forward we’ll be sharing updates on whatever we’re currently working on so you should get a pretty good impression of how things are going if you follow us on Twitter or Facebook.
Isaac: It is still early days, and in many ways parts of the game are still being prototyped. But the reason we want to announce now is so we can really get going with this whole open development thing. Until now, I’ve always worked for other people with their silly NDAs and so on so you have to keep what you’re doing for most of your working life a secret. But I love showing off! I’m really looking forward to talking about what I’m working on every week, probably more than is healthy.
David: Yeah, we’ll be working on getting those aspects we only have in rough prototype state presentable and then ask people for feedback as well. So expect more gameplay being shared on Twitter and Facebook pretty much every week from now on.
Cool. When can I see more of All Walls Must Fall?
Isaac: Straight away! We’re spending the rest of this week at the Berlin Games Week where we have a little booth at the A MAZE festival, but after that we’re back into full-time development and I will be showing what I’m working on as often as I can!
David: Yeah going forward we’ll be sharing updates on whatever we’re currently working on so you should get a pretty good impression of how things are going if you follow us on Twitter or Facebook.
Early Access is more about feedback than funding development, looking for funding from Medienboard:
When is All Walls Must Fall coming out?
Isaac: We’re aiming for an Early Access release in the Fall of this year, and aim to have the game finished in 2017 for a final release.
David: Cross your fingers and press your thumbs! We’re still pretty early but yeah those are our current plans. Let’s hope it works out.
Are you going to make a Kickstarter at some point?
Isaac: It’s not currently planned: we’re hoping to secure funding from the Medienboard Berlin-Brandenburg, and we should know if we got that within a couple of months. If that doesn’t work out, we shall see.
David: Yeah I think if we would do a Kickstarter at some point it would be important to us to give something to people as quickly as possible so they can actually play it and give us feedback.
What about Early Access?
David: We’re really looking forward to it! The prospect of giving out an essential unfinished game to people to play with sounds really scary but also exciting. We’ve been working in these closed off spaces of AAA development for such a long time that interacting and getting feedback from a bigger group of players really early in the game’s development is really appealing to us.
Isaac: Perhaps some people aren’t really into buying Early Access games, and that’s totally fine. When you’re selling a product to the public, it has to be a state where it’s something that people are actually excited about and want to play. You shouldn’t be selling just the promises you’re making. The real successes are games that were fun from day one of them being on sale. That’s our goal for our Early Access release. And I really think you need to be able to make those promises with confidence: you need to be sure that even if you can’t fund more development from those early sales, you already have in the bank what you need to deliver on them. We want to use Early Access as a way of getting feedback on the game while it’s in development, rather than a way of funding that development. For us, this is one of the reasons behind going indie: it’s something you don’t get when working behind a restrictive NDA. There’s also the community that you can build, getting people who are really passionate about the game involved early. I think if you do it right, everybody wins.
Isaac: We’re aiming for an Early Access release in the Fall of this year, and aim to have the game finished in 2017 for a final release.
David: Cross your fingers and press your thumbs! We’re still pretty early but yeah those are our current plans. Let’s hope it works out.
Are you going to make a Kickstarter at some point?
Isaac: It’s not currently planned: we’re hoping to secure funding from the Medienboard Berlin-Brandenburg, and we should know if we got that within a couple of months. If that doesn’t work out, we shall see.
David: Yeah I think if we would do a Kickstarter at some point it would be important to us to give something to people as quickly as possible so they can actually play it and give us feedback.
What about Early Access?
David: We’re really looking forward to it! The prospect of giving out an essential unfinished game to people to play with sounds really scary but also exciting. We’ve been working in these closed off spaces of AAA development for such a long time that interacting and getting feedback from a bigger group of players really early in the game’s development is really appealing to us.
Isaac: Perhaps some people aren’t really into buying Early Access games, and that’s totally fine. When you’re selling a product to the public, it has to be a state where it’s something that people are actually excited about and want to play. You shouldn’t be selling just the promises you’re making. The real successes are games that were fun from day one of them being on sale. That’s our goal for our Early Access release. And I really think you need to be able to make those promises with confidence: you need to be sure that even if you can’t fund more development from those early sales, you already have in the bank what you need to deliver on them. We want to use Early Access as a way of getting feedback on the game while it’s in development, rather than a way of funding that development. For us, this is one of the reasons behind going indie: it’s something you don’t get when working behind a restrictive NDA. There’s also the community that you can build, getting people who are really passionate about the game involved early. I think if you do it right, everybody wins.