Revenge of the Savage Planet Interview: Making a Hilarious Dystopian Metroidvania Game

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As a seasoned gamer with decades of experience under my belt, I must say that the developers of Revenge of the Savage Planet have truly tapped into my nostalgia for split-screen gaming. Growing up, there was nothing quite like huddling around a screen with friends or family, sharing the joy (and frustration) of navigating through a digital world together.

“Return to the Vibrant, Dystopian Worlds

To put it simply, unlike its predecessor, the game “Revenge of the Savage Planet” takes a different approach by adopting a third-person perspective. This change not only provides opportunities for unique movement mechanics but also amplifies the humor as players can now fully observe their characters’ reactions. Moreover, the inclusion of split-screen cooperative play is a rarity today, making “Revenge of the Savage Planet” an excellent choice for couples, families, and groups of friends to enjoy together.

Recently, Game Rant had a chat with Alex Hutchinson, co-founder and creative director of Raccoon Logic, as well as Steven Masters, game design director, to delve into the details of ‘Revenge of the Savage Planet’. Topics covered included significant enhancements such as an extensive map geared towards completionists, transitioning to a third-person perspective, and the studio’s unique take on humor. For your convenience, this interview has been condensed for clarity.

Revenge of the Savage Planet’s Move to Third Person Perspective and Approach to Comedy

A: Could you discuss the difficulties or possible dangers that might arise when porting Journey to the Savage Planet to a different system?

Hutchinson: I believe the best scenario is to work on both versions simultaneously, but as we’re an independent company, it can be challenging. While it’s risky to make drastic changes, there are plenty of positive cases—such as Resident Evil transitioning to first-person perspective or Helldivers switching to third-person. There are numerous successful instances of such transitions.

In a nutshell, we weren’t overly concerned about it as a whole, but I believe you’re spot-on – it offers advantages and difficulties. A first-person perspective adds an intimate touch, but it makes it hard to see our character’s feet during platforming, which presents a challenge for us. We aimed to incorporate stylish outfits that players could gather in the game world. You understand, right? It’s funnier to watch a character on fire in a third-person view, and there are limitations when it comes to expressing physical comedy through hand movements only. Our animation team was eager to explore the third-person perspective.

Mike truly infused the character with his unique flair, which was evident in the meticulous attention and affection he put into the performance. This endearing quality draws you in, making you eager to interact with it and have fun.

Q: How does collaboration work in terms of comedy between the design and writing teams?

Since it’s a compact team, I handle all the writing tasks myself. Masters often gives me his opinions, which leads to an exchange of ideas between us.

Q: Do you have guidelines regarding the comedic tone and whether the humor is going too far?

Teacher:I’ve found it challenging to follow our guidelines. Essentially, the characters are allowed to make jokes, but they shouldn’t become a joke themselves.

In a cinematic setting, it’s undesirable to create situations that make the player feel intellectually inferior. While it can be acceptable for something unfortunate to happen to the character, if the player senses they are being ridiculed or belittled, this is detrimental, particularly in a cinematic context.

In simpler terms, if errors occur during gameplay, it’s my fault. However, if a character in a cutscene commits an error, that’s not my doing because control is being taken away from me. We strive to make cinematics brief as we aim to minimize taking control from the player. When we do employ cinematics, mishaps can happen to other elements, but they don’t affect the player directly.

As a cinephile, I often come across an abundance of references in comedies, such as the Swordfish nod. It can sometimes be tricky to strike a balance, avoiding a script that’s overloaded with references or feels too similar to Deadpool’s style of humor.

You seemed to be focusing excessively on personal references, correct? It can be quite subjective. However, as Steve pointed out, since the team consists of just 30 members, everything is readily apparent.

Regarding that type of humor, I found myself contemplating how our art director frequently frets over references to the present; I suppose it’s not such a significant concern. However, when watching a series set in the ’70s, something that annoys me is when everything appears to be from the ’70s. Given my personal experience of the ’70s, you can see there are still remnants of the ’60s and even the ’50s present. The past does not vanish simply because a new era has arrived.

I think having old things in it is fine. Honestly, most people don’t even get the Swordfish reference. Someone much smarter than me once said, “Science fiction isn’t about the future; it’s about the present.” We’re radically exaggerating our lives. Like, right now, we’re sitting next to the biggest derelict block in California, but it’s directly across from the Staples Center, which just bleeds money. You know what I mean? It all feels humorously dystopian, especially with this lovely astroturf.

The arena was formerly known as something else, but it’s now called the Crypto.com Arena, named after a company linked to a founder who is currently incarcerated, going by the name of Bankman-Fried. I’d put it this way: “Bankman-Fried? Seems like they didn’t shy away from using his name for the arena.

A: Could you discuss your strategy for designing the game in a way that encourages exploration and offers intriguing activities, while maintaining advancement and ensuring smooth movement?

Developers: When designing our planets, we focus on the player’s experience. Our aim is always to procure a crucial item for the character’s survival on the jungle planet. We envision this quest as a sequence of challenges that the player must conquer. Essentially, we view these challenges as problems, not just “finding a blue key for a blue door.” We want players to solve these problems, and during their journey, they’ll uncover needs that motivate them to create various upgrades.

In our design process, we often approach it by focusing on obstacles and finding ways to surmount them. Once we’ve done that, we expand our ideas beyond that point. We create an environment teeming with possibilities that align with items the player has already obtained. For instance, if you’ve obtained a whip in a previous world, you might encounter areas blocked by whip-destructible objects or similar challenges.

Apart from creating for immediate needs, we also plan ahead for future possibilities. We hint at rewards that lie ahead in the future. For example, imagine a body of water with a chest submerged at its bottom. Can’t swim yet? That’s okay! When you venture into the jungle planet, one of the sights you’ll encounter is exactly this: a chest beneath the water that you can’t access right away. However, it will take numerous adventures across several planets to eventually reach it.

Hutchinson: It’s also important to think about the rhythm – at what point does an event turn from irritating to enjoyable, rather than having a lengthy list of things to tick off in your mind.

Following Steve’s idea, it seems your central aim is evident when using an area scan. The level design objectives are intentionally misleading, encouraging exploration such as, “What’s that? Let me investigate over there.” In doing so, we attempt to engage you within the game’s breadth, as Steve suggested. However, if you ever feel lost or uninterested, simply remind yourself of your main objective and head in its direction.

Masters: The game’s structure may guide you to the finish line with a gold marker, but it’s filled with other exciting areas to discover and activities to engage in. Our aim is to keep you intrigued, allowing for an open-ended exploration of the world. Much of the level design focuses on creating enticing attractions – subtle hints or indications that suggest, “Look over here, there might be something interesting!

A: What strategy do you use when creating a game to ensure it offers engaging side activities while still allowing players to concentrate on the primary goal?

As a film enthusiast, let me tell you, it’s quite a challenge, yet strangely less complex than another method I could mention. The real struggle lies in managing every detail, particularly the tempo – that’s a tough nut to crack! Tempo control is the trickiest aspect of the process.

It’s hard to predict: Might this be too extensive for someone? Or perhaps too brief? What appeals to one person might not interest another. We seem to avoid taking responsibility for that. We simply provide the options and ensure the guidepost indicates the path for progression. Beyond that, we say, “Feel free to choose your own adventure.

It’s even interesting with the scanning. I don’t know how much scanning you did, but see, one of the others was scanning every single rock they came across. I can’t tell which one is “right” because neither is “right,” but both are right.

Masters: One aspect of the design challenge I enjoy most is adapting to and recognizing the player’s journey through the game world. Let’s consider scanning as an example. Upon starting, you might notice a health-restoring plant nearby since your character is initially injured. Your robotic ally may then comment, “Hey, take a look at that plant over there. It might be beneficial for you.

Regardless of whether you decide to scan an item or not, the response from the bot will vary. For instance, if you eat an unknown plant without checking it first, the bot may recognize your adventurous spirit but also advise you with a comment like, “It might have been wise to scan that before consuming!” This is just one of many possible scenarios demonstrating the impact of scanning on the bot’s responses.

After incorporating that concept, you carry it throughout the entire game. In simpler terms, you might say, “Sure, you could have gathered this prior to acquiring that.” The variety in the ways things can be handled is quite impressive. Keeping track of all these possibilities and maintaining a consistent narrative – that’s an intriguing process. Moreover, it provides the player with a tangible confirmation of their decisions.

Hutchinson: I believe the essential idea is this: our approach involves backing whatever decision a player makes. We aim to make them feel as though they’ve consistently made the best choice. The path they chose may differ, but it’s all correct; it’s just a matter of personal preference. If a player is meticulous and checks everything thoroughly, we affirm their cautiousness. On the other hand, if someone prefers to act swiftly, we admire their urgency—Wow, no time for hesitation!

The focus lies in appreciating the choices made by the player. When we’re striving for a somewhat systematic approach, albeit not a fully systemic game, we aim to provide ample room for problem-solving diversity. We want to commend this versatility in the player. If they discover, “I could have taken another route,” it promotes them to view the surroundings from new perspectives. This is far more engaging than simply moving from point A to point B and pressing X when instructed to do so.

How Revenge of the Savage Planet Refined Its Metroidvania Gameplay

Q: Are those lessons you were trying to apply in the first game?

Hutchinson: With a given amount of time and tasks, the challenge is determining how far you can delve into them. I believe we made a small attempt at that earlier, but we didn’t reach the depth we aimed for then. Now, we’re improving in this area, and if we have another game, we hope to excel even more.

Our studio’s vision has consistently been shaped by trailblazers such as BioWare, Blizzard, and other “B” companies. They start modestly, developing their technology foundation, continually improving it. This approach results in games like Fallout and Skyrim, both built on the same engine but with dramatically distinct styles, or projects like Dragon Age and Mass Effect being developed concurrently.

We believe the best approach for our growth is modeled on small teams creating substantial games. Just like those successful companies, we aim to avoid becoming so large that we face potential collapse every few weeks. Currently, we have 30 team members which gives us stability, but we aspire to continue producing larger and more immersive experiences in the future.

Question: Were there any aspects from the initial game for which you received positive feedback, and you’re pleased to have included them in this new version?

Hutchinson: Perhaps the map was suggested. Steve strongly advocated for it. I didn’t necessarily oppose the idea of a map, but I was certainly against using it as a strategy, or “playing the map.

In many games, players often spend more time examining the map and navigating according to marked points rather than actively exploring the game world. My intention was to encourage players to truly interact with the environment, not just follow a predetermined path. This point was discussed extensively in our team meetings.

As a Movie Buff: I’m thrilled about the new system we’ve implemented! In the first installment, tracking down those elusive last items was quite a challenge. The frustration of not knowing where to find them was real. But now, every zone you step into has a handy guide that lists all the tasks you can accomplish there for completionists. As you explore, you can simply press the right stick and it will illuminate all the treasure chests waiting to be found! What a game-changer!

In my exploration of this captivating Metroidvania game, I discover that whenever an upgrade is obtained, it’s marked on the map, ensuring I don’t miss any hidden power-ups. As the storyline unfolds and I approach the climax, my focus shifts to acquiring every single item scattered throughout the world. The map then becomes an invaluable tool, helping me systematically explore and complete each corner of this enchanting realm.

Question: I noticed a passing comment about the use of split screens, which seems less common now. Could you elaborate on how you handled the split screen feature in Revenge of the Savage Planet?

Hutchinson: I spent my childhood enjoying split-screen games, and it remains one of the most enjoyable gaming experiences for me. Now that my kid is 12, I look forward to sharing this kind of gaming with him. Sharing a game on the couch, whether it’s with your father, friend, partner, or child, adds a unique charm to the experience. Unfortunately, there aren’t many games in our category (AA) that provide this shared gaming experience. It’s quite uncommon.

I strongly endorse the concept of two-player collaborative play. For our initial game, we opted against four-player co-op due to the finding that a group of two offers an ideal balance for genuine teamwork. During playtests, it’s evident that players engage in continuous communication when playing as a duo. In contrast, while four-player groups chat intermittently, their interactions tend to shift towards a shared experience rather than true cooperation. I personally believe that the optimal number lies with two players.

Q: If my friend joins my game, do they have the things that I have?

Masters: It’s mirrored, so they’ll have what the hosting player has.

Q: What are you most excited for people to see in the game, whether they’re fans or newcomers?

Hutchinson: We discussed this briefly, but the unique aspect is its bright and positive vibe – an unusual term for a bright, joyful dystopia. However, it serves as an exciting playground to explore with friends, loved ones, or children.

Sharing this particular experience brings me the greatest joy. It reminds me of an old-time fantasy, when buying games meant visiting stores like Maxwell’s, a classic Australian computer store. I recall purchasing a game there, then spending the entire journey home engrossed in the box artwork. Upon reaching home, I would pore over the instruction manual before finally starting to play. It’s my hope that our game can recreate even a hint of that nostalgic feeling.

Masters: I can’t wait to spread happiness with this project! Watching our creations coalesce is incredible, and it’s a joy to know that unexpected, delightful things will emerge during play. Even after three years of work, I still find myself chuckling at the game.

It brings me great satisfaction when others enjoy our playtests, with their frequent laughter and expressions of joy. I’m eager to share this enjoyable experience with as many individuals as I can.

[END]

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2024-12-19 20:08