In “Anger Foot,” the soundtrack plays a significant role in encouraging continuous movement and propelling players forward. The tempo is consistent across all songs, creating a subconscious rhythm that helps players get into a flow state. The game’s designers, Jason Schaefer and Rafael Fajardo, did not intentionally design the soundtrack as a rhythm game but acknowledged that players might find themselves playing it as one.
Discovered during a 2020 itch.io game jam, Free Lives’ title “Anger Foot” is now making a dynamic entrance onto PCs worldwide. A blend of “Hotline Miami” and door entry games reminiscent of Sierra Entertainment’s “SWAT” series, “Anger Foot” offers an adrenaline-pumping, colorful first-person shooter experience that relies on quick reactions and rewards the player with a power fantasy akin to John Wick from the movie franchise. Though its visuals and overall refinement have seen improvements since its early unveiling four years ago, the fundamental idea and primary gameplay mechanics remain consistent in the completed version.
Game Rant had an exclusive interview with the core team behind “Anger Foot” at Free Lives, where they shared insights about the game’s inspirations, creation process, and development philosophy. With its distinctive style and gameplay mechanics, “Anger Foot” is a testament to Free Lives’ creativity and Devolver Digital’s ability to discover and distribute popular indie games. (The interview transcript has been condensed for length and clarity.)
Anger Foot’s Journey From Initial Concept to Going Gold
GR: To start, could everyone introduce themselves to readers?
Luc Wolthers: Absolutely. I’m Luc Wolthers, a collaborator and the chief artist on the project for you.
Jason Sutherland: I’m Jason Sutherland, and I’m the audio designer and handle the music.
Robbie Fraser: I’m Robbie Fraser and I do design and programming.
Jem Smith: I’m Jem Smith and I also do design and programming.
Expert: Anger Foot’s development traces back to the year 2020. By 2022, an official announcement trailer for this game was made public. Now that Anger Foot has been launched, let me walk you through the process from its inception to the reveal, and eventually reaching its “gold” status.
LW: Robert, do you want to speak to that?
RF: Yeah, sure! So I guess I’ll start with the origin story, which is basically…there’s an annual game jam on itch.io called the 7 Day FPS Jam. And, yeah, we…it was kind of like the end of the first year of COVID and we went away together for one week and just jammed on the game.
The initial jam prototype already contained the essential elements of what the game eventually became. It featured the game’s loop, a solid bass soundtrack, and a foundation for level design. We then expanded upon these foundations over the next three and a half years, mainly focusing on making the game larger and more extravagant without significantly increasing its depth or complexity.
From my perspective as a devoted fan, it seems that Anger Foot’s fundamental concept, which originated on itch.io, has largely remained intact throughout its development over the past few years, with a focus on refining and enhancing its existing features rather than undergoing significant transformations.
Expert: I believe preserving the essence of our initial concept is crucial.
Expert: Designing this game concept has presented certain challenges due to its fundamental simplicity. The enemy mechanics of one-shotting and being one-shotted in return restricts various avenues for innovation. One of the major design hurdles is introducing fresh content while preserving the essence of the core experience rather than drastically altering it.
EXPERT: Free Lives has been occupied with various projects throughout their development process for Anger Foot. Has this workload influenced the game’s creation timeline or was it primarily a matter of ensuring that Anger Foot was polished before its release?
From my perspective as a fan and follower of Free Lives, I can share that while Jason may have taken the lead in many aspects of your projects, it’s important to note that Jay has contributed significantly to all of them. However, most of us didn’t work on “Terra Nil,” with Jem contributing a little to “Stickman.”
Jem S: Yes, to some extent. However, I began working with the Anger Foot team right before that period. We’ve been fortunate enough to concentrate mainly on Anger Foot and devote most of our time to it. Occasionally, there are instances where team members get pulled in different directions due to multiple projects. But overall, we have kept a steady focus on Anger Foot.
Expert: I strongly believe that having various individuals collaborating under one roof on a single project brings about numerous benefits. For instance, “Anger Foot” becomes more enhanced when there are team members passionately working on other exciting projects concurrently.
Expert: Has any knowledge gained from previous projects influenced the progress of Anger Foot during its development?
From the experience of “Terra Nil,” I believe we should avoid porting until the completion of a project. This lesson was our most significant insight gained from that project.
Jem S: Yes, there’s some collaboration in tool-sharing between our teams, but lately we haven’t been effective at it. We often find ourselves working on separate projects and later realizing that we could have benefited from merging our ideas earlier. We’re making an effort to foster more cross-project inspiration and improvement.
Working With Devolver Digital and Anger Foot’s Inspirations
Expert: At this stage in the game, Free Lives and Devolver Digital have built a strong collaboration. Devolver Digital has shown excellent judgment throughout, making them an obvious choice for publishing Free Lives’ game, “Anger Foot.” Was there any consideration given to partnering with another publisher, or was it a foregone conclusion that Devolver would be the one?
At the start, we engaged in some give-and-take with Apogee, the publishers behind the game “Turbo Overkill.”
RF: Yeah, 3D Realms
Expert: We were fairly certain about our project for the most part, but we wanted to gauge Devolver Digital’s interest level. Once they showed enthusiasm, we were more than willing to collaborate with them.
From my gaming experience at Free Lives, the dilemma often boils down to self-publishing versus working with a publisher. As creators, I believe we’ve found our perfect match in Devolver Digital. It wouldn’t make much sense for us to team up with another publisher given our unique style and synergy with Devolver. However, if we were to create a game that perfectly aligns with Annapurna Interactive or another specific publisher, then perhaps considering an alternative would be worthwhile.
Our collaboration with Devolver Digital is quite fruitful, I must admit. For them, it signifies minimal financial investment as they don’t finance any projects we work on. From our standpoint, we’re fortunate to have most of our games published by Devolver, a leading indie publisher, thereby gaining significant exposure to their large and engaged audience. This arrangement proves advantageous for both parties. With numerous collaborations under our belt, we are now well-versed with their processes, ensuring a smooth workflow.
Certainly! In the realm of indie games, Anger Foot bears a striking resemblance to Hotline Miami in terms of fast-paced action and challenging levels. However, there are other titles that have left their mark on Anger Foot’s gameplay design. Let’s explore some of its most significant inspirations:
As a fan of game development, I can’t deny the significant influence “Hotline Miami” had on our project, particularly its gritty style and crime-ridden atmosphere. However, when conceptualizing the mechanics for “Anger Foot,” Robbie and I drew inspiration from games like “SWAT 4” and their door entry systems. In “Hotline Miami,” you know what lies beyond each door, but in “Anger Foot,” that information is hidden from you. To address this design challenge, we delved deep into the mechanics of “SWAT 4.”
From a perspective of creating a fictional universe, “Sludge Life” stands out as an intriguing project for us. Its unique blend of absurdity and the casual exploration of bizarre settings and characters makes it particularly captivating.
As a gamer, I can’t help but acknowledge the brilliance of Terry Vellman’s creations. I wholeheartedly recommend “Sludge Life” and “High Hell.” I thoroughly enjoyed “High Hell,” but I believe there were areas for improvement, if you get my drift. Moreover, there’s a tiny yet captivating speedrunning game named “Refunct” that has left an indelible mark on me and influenced some aspects of the speedrunning mechanics in our game.
Expert: The “Anger Foot” level in the game can be rushed through at an incredible speed, but players also have the option to leisurely progress and strive for accomplishing the additional objectives within each stage. How were the specifications for these bonus goals determined by the development team?
Expert: For every level in the game, there are two stars to earn. The first star is awarded simply for completing the level in any manner. The second star, however, requires a more diverse approach. These alternative completion methods aim to promote various play styles and discourage over-optimization. For instance, they might necessitate playing without shoes or finishing quickly. By introducing such challenges, players are encouraged to experiment with different ways of engaging with the game, rather than relying on one specific strategy to progress. Consequently, a player who typically opts for a speedrun approach may discover newfound enjoyment in taking their time and exploring every nook and cranny of a level. Similarly, someone accustomed to playing cautiously might learn that they can successfully navigate the game at a faster pace. Ultimately, these secondary objectives serve to broaden players’ experiences and introduce them to aspects of the game they may not have otherwise encountered.
Regarding the third objective, I’d be happy if Jem could elaborate further. We aimed to infuse uniqueness into each stage by asking ourselves, “What can make this level engaging and thought-provoking?” or introduced lateral thinking puzzles and unexpected scenarios.
Jem S: Yes, indeed. The concept of incorporating a puzzle-like style into some levels seemed a bit incongruous with the game’s overall theme, “Anger Foot.” However, we were pleasantly surprised to discover that several levels could be infused with a touch of puzzles by selecting specific shoes or employing unique playstyles. These levels brought an element of enjoyment and novelty to the experience. Whenever possible, we would examine each level and brainstorm creative ways to introduce unexpected challenges or interact with the environment and props in unusual manners.
As a gamer, I’d say:
LW: Oh, I looked at a lot of slum and derelict things. Uh, one of the lesser known things, and I mean, I’ll spoil it, but I kind of hope people organically find out about it, is that the couch is specifically designed from the couch that Charlie and Frank have in their apartment in It’s Always Sunny In Philadelphia. There are just little odes to scummy culture all over the game, but I don’t want to spoil too many.
Expert: Yes, I recall that initially, Luc used to show us music videos featuring Tommy Cash and the raw Eastern European style. In contrast, Broforce pokes fun at American foreign policy in a light-hearted manner. On the other hand, Anger Foot can be seen as a heartfelt tribute to elements like wearing Adidas tracksuits and vaping. It embraces and finds appeal in these seemingly simpler aspects of life, making it a unique form of parody.
Jem S: Yes, I agree with that. It’s not exactly about a particular time frame or film genre, but rather evokes a certain sensation or feeling. Think of it as the raw energy and vibe of Eastern European trash house music, or any similar experience you might have in mind.
Free Lives’ Unique Style on Display in Anger Foot and Humor in Games
As a big fan of Free Lives and their quirky sense of humor, I can’t help but notice how “Anger Foot” shares the same off-kilter comedic elements that are present in many of their other games. With the studio known for its often violent and intense titles, including “Anger Foot,” does injecting comic relief become essential to strike a tonal balance?
Expert: Primarily, our focus is to ensure that all games we create prioritize amusement and lightheartedness. We aim to prevent violence from hindering enjoyment of our games. Therefore, the way we present things matters. Everything is playful and absurd, encouraging a carefree attitude. This sets a light-hearted tone for players as they begin their gaming experience.
As a game developer, I and my team had a dilemma: we wanted to convey the gritty reality of the crime-ridden city, but didn’t want to resort to excessive violence. We considered adding dismemberment and other gory elements typical in first-person shooters. However, we decided against it and instead opted for a more lighthearted approach. Our game may seem contrasting in its depiction of crime and degeneracy, yet it retains a certain level of wholesomeness. Even the Debauchery gang members speak fondly of holding hands while being debaucherous.>
As a gamer, I can tell you that the game’s creators aimed for an intriguing balance between raw badassery and lighthearted silliness. The murder elements are certainly present, but other potentially intense themes have been toned down to keep things playful and fun. We intended to make the player feel unapologetically cool while injecting just the right amount of goofiness into the mix.
ME: I strongly identify with this perspective. At Free Lives, I believe many of us share the same sentiment. Developing jokes into our projects brings immense joy to me. It’s like an added bonus to my game development role. When I work on a more serious project, I genuinely miss the playful creativity that comes with adding humor. It feels empowering to discover the delight in creating joke games, and once you’ve experienced it, going back just isn’t as enjoyable.
As a fan of the game, I can’t help but cherish those unexpected moments when the dancing death sequence is introduced. It aligns perfectly with our message that even in defeat, there’s an element of silliness and absurdity to make light of the situation. These little quirks bring joy and relief during challenging levels or unfair deaths, encouraging us to laugh at ourselves and not take things too seriously. It’s all part of the game’s unique charm.
RF: I also think that the feeling of fun and, like, cartoonishness does come from the developers having fun. I think if you have fun while making it that can show in the game that people play. I think Anger Foot is a game that feels like the developers had fun making it, and that’s important to us as well.
Jem S: Absolutely, I agree with that. At times, we make judgments based on a sort of instinctive feeling. When someone proposes an idea and the team reacts with uncontrollable laughter, it’s often a strong sign that the concept is worth exploring further. We derived immense joy from creating it.
Expert: In “Anger Foot,” the protagonist pursues his valuable sneaker collection instead of a typical damsel in distress in a homage to beat ’em up genre conventions. Did the gameplay or the incorporation of sneakerhead culture inspire this creative twist?
LW: From the moment the game was named “Anger Football” we sensed a focus on sneaker culture in your objectives. Yet, avoiding the damsel-in-distress scenario was a conscious choice as well. We simply dislike such narratives and the way they frame things. It didn’t align with our concept of the protagonist or the crime-ridden world we were building. Crime should not be romanticized through “special” acts like stealing a girlfriend. Instead, everyone engages in this criminal behavior – it’s just part of how the world operates. We aimed to maintain a light and playful tone, with shoes serving as an amusing representation of the serious yet non-serious aspects of your character.
Expert: In our concept, the main character was viewed more as a natural element than a typical person. We even made lighthearted comments about him being plant-based, and at one point, we used “Dude, Where’s My Car?” as our primary inspiration due to its trivial focus. The charm of this idea lay in the fact that he passionately adores shoes and unwittingly saves or transforms the world. His concern doesn’t extend beyond recovering his beloved footwear; he remains oblivious to the Crime Minister and the city’s fate. This was our attempt to create an alternative to serious, self-important games by highlighting the insignificant personal stakes of the protagonist.
Expert: In the realm of design, the mechanics of the sneakers in your game bear some resemblance to the mask powers in “Hotline Miami.” I’m curious about the thought process behind selecting and implementing these abilities. Could you please share the story behind their creation and any hurdles encountered during the process of maintaining game balance?
LW: Blood, sweat, and tears. Jem, do you want to talk to that?
As a fan of the game, I can relate to the initial excitement of selecting shoes based on personal preference or shared interests. At first, my friends and I chose the pairs that resonated with us, exclaiming “We’ve got to try this set of shoes first!” Later, we considered play styles and strategies, but, as Robbie wisely reminded us, the game’s core concept is straightforward. We didn’t intend to complicate it further.
In this game, certain shoes don’t offer major alterations to gameplay with features like doubled health or increased firing speed. Instead, there are shoes with notable impacts on the gameplay experience. Some shoes bring about drastic changes, while others introduce playful and comical elements, such as clown shoes that cause everyone to fly, create confetti, and emit clown noises. We aimed to provide a diverse selection of footwear for varying gameplay styles and added touches of fun.
Anger Foot’s Emphasis on ‘Flow State’ Gaming
Expert: Reaching the “flow state” in Anger Foot is an achievable goal where actions and the engaging soundtrack synchronize, putting players in an automated mental zone. Was this immersive experience intended by the team as a key gameplay feature or a fortunate outcome of meticulously crafted mechanics and sound design?
“During the entire development process, I believe the team has reached a state of deep focus and mental clarity where ideas flow freely without interference.”
Expert: In our initial jams, we aimed to incorporate a scene where breaking down a door would occur. The music during this instance is chaotic and overwhelming, evoking a sense of sensory overload. This moment brings to mind the intense action sequences in films like John Wick, where one shoots multiple opponents only to be left questioning the events that transpired. The chaos then subsides, and the cycle repeats itself at the next door. It’s an experience akin to a vivid dream, where one experiences numerous deaths but ultimately revels in the triumph of having mastered a level in record time, becoming an unbeatable force. This was a crucial element we strove to incorporate into our creative vision.
Jem S: Yes, indeed. The aim is also for individuals not to feel pressured to master the game completely. Our intention is to ensure that everyone, regardless of their skill level, can eventually reach a state of optimal performance and enjoyment.
If you perform well in the game and manage to avoid dying frequently, you’re likely to encounter more of that enjoyable feeling. However, we didn’t intend to give the impression that mastering the game is a prerequisite for enjoyment. Even if you approach the game slowly and carefully, you can still experience that flow state. We hope this message comes across clearly.
EX: How did you develop the music composition techniques to keep the player engaged and encourage them to advance continuously?
Jason S: Maintaining a consistent rhythm across songs seems to keep us all progressing. After extended play, my legs instinctively tap in unison with the music, putting me in a state of focused flow. At least for me.
As a devoted fan of “Anger Foot,” I’ve noticed that immersing myself in the game as a rhythm experience, allowing the music to guide me, has led to greater success than hastily rushing through levels. Did the game creators deliberately design the soundtrack with this effect in mind?
Jason here: Perhaps my brain wasn’t taxed too much, allowing me to concentrate better. It was actually Luc who suggested incorporating the raw energy of Gabber music into our soundtrack. Frankly, I was unfamiliar with this genre beforehand. Yet, I managed to compose an entire soundtrack in its style. In fact, I deliberately avoided listening to any Gabber tracks during the creation process, aiming to develop my unique take on it. Fingers crossed, it hits the mark!
Inquiry: With respect to “Anger Foot,” how did the motivation to move swiftly influence the layout and challenge of its levels?
RF: The gameplay loop relies on it being super punishing, and the level design is really important for that. So, the fact that the levels are really short is important because if you have to replay a 10-minute level because you died right at the end, I think the game would be incredibly frustrating. The other key thing is the fact that the levels are learnable as well. Luc mentioned earlier the Hotline Miami thing, where you can kind of see an overview of what’s behind the door. In Anger Foot, you can’t, so we don’t have enemies that patrol, for example.
When you crash through a door, that adversary will consistently be in a particular spot. Thus, you can memorize and practice this routine. Despite repeated deaths, one can anticipate enhancing skills to prolong survival. Our primary focus during development wasn’t on speed or speedrunning. Instead, we aimed for compact levels with swift resets, ensuring an engaging learning experience.
From the get-go, we recognized that level designs should be largely linear due to the gameplay mechanics involving progression from one door to another while taking down targets, evoking a sense of empowerment when hitting bullseye shots. Disorientation or backtracking disrupts this experience, hence our decision to mostly maintain unidirectional levels’ progression, allowing players to remain focused and engaged throughout their journey.
In “Anger Foot,” it seems that dying and being revived happen rapidly, allowing for a swift return after death.
“Yes, that’s right. We aimed for minimal interruptions after someone passes away. You simply transition to the start of the next level without any loading screens or delays.”
[END]
Read More
- BTC PREDICTION. BTC cryptocurrency
- LUNC PREDICTION. LUNC cryptocurrency
- SOL PREDICTION. SOL cryptocurrency
- USD COP PREDICTION
- Ethereum (ETH) Crashes Dramatically, What’s Next? Solana (SOL) Can Still Reach $200, XRP Struggling Before $0.63 Test
- USD PHP PREDICTION
- Major Dogecoin Downtrend Might Finally Be Over
- BREAKING: Spot Ethereum ETFs Get SEC Nod, Debut Set For Tomorrow
- Cardano Enters Chang Hard Fork Era With Node 9.1.0 Upgrade
- DOGE PREDICTION. DOGE cryptocurrency
2024-07-14 15:35