The highly anticipated sequel to the critically acclaimed tabletop-inspired RPG, Citizen Sleeper 2, is nearly here on January 31st, ending a lengthy wait for fans. What made Citizen Sleeper stand out among indie game enthusiasts was its innovative use of dice as a more integral element than most games. Its distinct mechanics offered a new hurdle for RPG players, requiring strategic thinking and risk management skills. Additionally, it received high praise for its captivating world and writing, with creator Gareth Damian Marten sharing with Game Rant that the inspiration came from pioneers of the cyberpunk genre like William Gibson.
In a chat with Game Rant, Gareth Damian Marten, the creator of Citizen Sleeper, discussed various aspects of Citizen Sleeper 2. He talked about maintaining the intricate interplay of the game’s mechanisms, their methods for class construction and player decision-making, and shared insights into their design philosophy of “success with consequences.” For your convenience, this conversation has been condensed and clarified.
Citizen Sleeper 2’s Tabletop Inspirations
Is there a possibility that Citizen Sleeper 2 might be adapted into a board game? Could you discuss the board game influences in its design?
In Citizen Sleeper 1, I ventured into uncharted territory by incorporating concepts that had proven effective in tabletop games like Blades in the Dark. Initially, I proceeded cautiously as I wasn’t entirely certain about the reception from the audience.
Initially, the first game served as a trial run, and it turned out surprisingly successful. For the next installment, I envisioned expanding upon those initial ideas and increasing its intricacy. It felt like I had been granted the freedom to fully explore and incorporate my favorite elements from board games into this sequel.
At the pinnacle of my preferences lies a stress system. I’m particularly fond of the stress systems in games like Blades in the Dark, Mothership, and Heart: The City Beneath, which I’ve been managing lately. These systems create an immense amount of suspense and thrill, and I yearn to introduce that sensation into a gaming environment for individuals who haven’t had the opportunity to immerse themselves in it yet.
Question: In Citizen Sleeper 2, there’s a harmonious blend of time and resource management. Was it challenging for you to keep all the game elements in check?
As a passionate enthusiast, I’ve always found maintaining equilibrium in this intriguing game a bit of a rollercoaster ride, given the five dice at play. The number of dice a player possesses could be diminished, or they might be accompanied by crew members, or playing solo. With such an abundance of randomness and variability baked into the game design, achieving a perfect balance seems almost elusive at times. Rather than striving for a flawless equilibrium, our strategy revolves around finding ways to manage the balance effectively.
The unpredictable nature of the stress system challenges players to venture beyond their usual comfort zones, fostering a sense of equilibrium. Even when a contract is progressing smoothly, the system may prompt you to take risks with your low rolls and increase stress. When stress reaches a certain threshold, players often feel anxious and decide to relax. This tension arises at all skill and difficulty levels, leading players to adjust their own balance based on their decisions.
There’s a significant range of results when working on contracts. For example, you may excel at a contract, reaping extra benefits, yet there are times when the investment of time and effort doesn’t seem to justify the outcome. On the flip side, you might fail at a contract but do so efficiently. There are also instances where everything falls in between. The beauty of this system is that it empowers players to set their own goals and find a balance, which was an intriguing revelation during the development process for me.
I’m consistently amazed when I delve into the most difficult setting of this game, as it’s the only one that truly pushes my mental limits, given my familiarity with the game. Despite my expertise, I often find myself in tight spots unintentionally or trapped in a vicious cycle of failure. Yet, it’s this struggle that makes it enjoyable!
In relation to this topic, “death spirals” and the possibility of failure are quite common in tabletop games with dice mechanics. How do you design gameplay to ensure that failure doesn’t exclude players from engaging content or exciting results?
In Citizen Sleeper 1, there’s no traditional “game over” scenario. It’s only in the toughest difficulty of Citizen Sleeper 2 (where character death is an option) where a game over can occur. This means I have to be flexible and adapt to whatever the player is experiencing throughout the game.
In addition, our game features an automatic saving system that’s quite robust. Players are unable to maintain multiple saves or revert to earlier stages to alter outcomes. Consequently, I strive to ensure the player has faith in the game’s design. Regardless of whether a situation ends in failure or success, there will always be an intriguing twist or layer of complexity. The resolutions are never straightforward; there’s usually a rich depth to them.
The key aspect of this game’s design philosophy is rooted in the belief that the most memorable moments arise from complexities, not necessarily from outright mistakes, but rather instances where success brings about consequences. This concept resonates strongly with me, and I’ve strived to incorporate it into the game’s structure.
Additionally, I aim to create an environment for players where triumph feels intricate to maneuver, rather than a straightforward victory. The objective is to engage players through challenges in both defeat and victory. It’s not just the thrill of failure or success that captivates—both scenarios present unique surprises.
Q: Were there any lessons learned from Citizen Sleeper 1 that you applied the second time around?
Absolutely, you’re correct. The entirety of this new game is structured upon many aspects derived from Citizen Sleeper 1. For instance, I understand that some gamers, while not a large majority, expressed concerns about the game’s difficulty progression. As they played for longer periods, their characters grew more potent, and the game didn’t present them with as much challenge as before.
When conceptualizing Citizen Sleeper 2, I spent considerable time contemplating its structure, particularly the contract system. This design allows players to amass power without following a singular path. Instead, there are numerous strategies at play. For example, some players might choose to maximize their Push abilities, while others might prioritize quick recovery for generating substantial income. The beauty of this game is that there’s no definitive way to “win” it; success can be achieved through various methods.
Regardless of how much wealth you amass, there’s a cap to what it can do – it won’t magically grant you the skills needed to fulfill high-level contracts. You may excel in certain fields, but there will always be areas where you fall short. In our game, we emphasized this concept by making each character class uniquely specialized.
As a player, I find that each character possesses a particular skill where they aren’t quite as proficient, but to offset this, every class is equipped with an exclusive Push ability. This feature allows me to dabble in creating my own build, tailoring my Push to align with my preferred playstyle and strategy.
The intricacies arose primarily based on player input regarding Citizen Sleeper 1. Players adored the game, yet yearned for additional layers of gameplay mechanics, which I was thrilled to incorporate in the subsequent version.
Question: In relation to designing the building process for Citizen Sleeper 2, could you explain your methodology for creating the different character classes and structuring the game based on their abilities?
In my opinion, the significant change I implemented this time was to steer clear of passive upgrades in Citizen Sleeper 1. These upgrades resulted in gameplay style I’m not particularly fond of, as they made the character stronger without requiring active engagement—you simply received additional benefits everywhere. I believe this design approach may have been a result of some inexperience in crafting those systems earlier on.
In the development of Citizen Sleeper 2, I paid special attention to enhancing the active skills instead of solely focusing on passive improvements. Even with extensive upgrades, it’s essential to master the effective application of these skills. The upgrades are also adaptable, especially within the Push system, which can be customized into various configurations. My aim was to make the upgrade process more interactive, encouraging players to be not just passive recipients of improvements, but enthusiastic about the actions their upgrades enable. I want players to feel, “I’m eager to get this upgrade as it will let me perform this unique task or employ this strategy once acquired.
Embracing active updates aligns with role-playing aspects, which I find crucial to highlight. Each character class possesses a Push skill that mirrors their behavioral style and personality traits. For instance, the Machinist is crafted to portray a character who may lack social finesse but shines in single-task focus. This skill empowers them to amplify a die, and if they achieve a favorable result, they gain advantages from it. This gives an impression that the Machinist is meticulously concentrating on a pivotal task, understanding that mastering it could swing the odds in their direction.
The Extractor, on the other hand, has a distinct role, primarily focused on bolstering the team by enhancing their dice rolls, alleviating stress, and boosting their active time. These disparities not only impact the strategic ways players engage with the game but also shape how they view their character’s behavior and traits.
“As a film critic, I ponder over whether the decision to assign a specific social class to each player could significantly shape their gaming journey. The answer is a resounding yes!
A: Yes, I believe they could. To foster this, I considered incorporating ability tests into the game, especially during dialogue sequences. The primary purpose of these tests was to empower players who selected a specific character class to truly embody that role.
For instance, suppose your character is portrayed as assertive and in such a scenario, someone is being mugged nearby – do you choose to stand by idly or rush over to intervene? If your role’s nature aligns with taking bold actions, you stand a better chance of succeeding. This encourages players to reflect on their characters, thinking, “Yes, that fits my persona. I’m the one who steps into such situations and sees what unfolds.
It’s likely that players will find instances where their character’s class and individuality shine during these interactions, and we certainly aim for that outcome.
A: Reflecting on Citizen Sleeper 1, were there specific elements you felt it was crucial to maintain, as they truly represented the essence of Citizen Sleeper’s identity?
Absolutely. A significant aspect when creating a follow-up was preserving elements from the initial game that truly resonated with me. One such aspect was the deeply human portrayal of science fiction, showcasing an array of unique characters you encounter. Each character has their own distinct traits, and you become an integral part of their narrative. I felt this was crucial to maintain in the sequel.
A significant aspect was playing the role of the Sleeper, a character rich in self-reflection rather than simply responding to events. The Sleeper’s journey involves introspection, delving into feelings both personal and those of the character, creating a sense of depth that greatly contributed to the game’s appeal.
I aimed to capture the perspective of being inside the Sleeper’s mind, yet still keep the narrative rooted in a relatable, earthy human experience throughout the story.
As a movie reviewer, I’d say: “When crafting the compelling narratives for ‘Citizen Sleeper’ and its sequel, my inspiration came from a desire to create immersive, thought-provoking stories that resonate with audiences. I drew inspiration from various sources, including my own experiences and observations of the world around me, as well as the rich tapestry of science fiction literature.
I appreciate using detailed prose in the game as it allows characters to have a deep inner world, which can be challenging to portray without this kind of writing style. It’s not just about conversations; it’s also about adding emotional and descriptive aspects that make the characters more complex.
A significant influence on my creative process has been the work of William Gibson. His writing possesses a powerful, swift, and vibrant tone that effortlessly transitions between scenes while zeroing in on intricate, striking details – such as the scratches on a bar where someone is seated, without feeling the need to describe every single aspect of the bar. This skillful focus on tiny, visceral details left an indelible impression on me and served as a guiding principle when developing the game.
I aimed to disprove the common belief that reading in games equates to tedium or slowness. My objective was to employ a writing style that captivates players from the get-go, incorporating vivid, immersive details yet avoiding excessive descriptions that might slow down the pace. Essentially, I wanted to ensure a fast-paced narrative, vibrant characters, and writing that feels lively and engaging.
A: It’s great that you brought up William Gibson! “Neuromancer” is one of my all-time favorite books, and as I was formulating that question, it was on my mind.
B: I’m also a big fan of Neuromancer – it’s an outstanding book! Many people credit William Gibson with creating cyberpunk as we know it today, but his interpretation of the genre is quite distinctive compared to other authors in the field. His writing style and voice are truly exceptional and something that I greatly appreciate. There’s just something about his writing that makes him stand out among other cyberpunk writers.
Question: In Citizen Sleeper 2, the game and its world become more expansive as you advance. What changes does a player’s journey through the game undergo as they progress further compared to the early stages?
As you advance in the game, it’s possible that your attention will move from the urgent survival aspects. Initially, you may find yourself short on cash or fixing things following a job. However, as the game evolves, I aim for players to concentrate more on their long-term objectives. The narrative develops rapidly at first, but later, you’ll find yourself more interested in the story’s unfolding and the characters, rather than the constant struggle for survival.
One intriguing aspect of the system, particularly in Citizen Sleeper 2, is its multi-faceted nature. With its glitches, faulty dice, and stress mechanism, it’s simple to miss crucial details and find oneself in tricky predicaments without realizing it. Thus, even towards the end of the game, I can present players with challenging scenarios, occasionally leaving them a little humbled. They’ll need to regroup, learn how to bounce back, and then re-engage with the narrative.
In the early stages of play, it seems like I avoided several situations that might have led me in an entirely different direction. To what extent can circumstances vary significantly for two players as the game progresses?
The course of action in this game is heavily influenced by the level we’re discussing, as there are multiple storylines to follow. However, the player’s initial setup also plays a crucial role, including factors like the number of damaged dice they possess, the type of glitch they’re dealing with, and the resources they’ve amassed. Different resources in the game have specific purposes, so if you have an abundance of data, you’ll frequently find yourself going to places where it can be sold. Conversely, if your focus has been on gathering scrap, you’ll use that resource differently.
In essence, the game, Citizen Sleeper 2, has multiple paths it takes based on mechanics. However, when considering the narrative, it doesn’t present wildly divergent paths, but instead offers significant turning points. Given that Citizen Sleeper 2 is a single-developer project with approximately 250,000 words (a considerable amount for one person, though still relatively small compared to something like Baldur’s Gate 3), it won’t offer the same extent of extensive branching as a larger team might.
I paid particular attention to several core aspects in Citizen Sleeper 2, particularly the characters. The individuals you have on your crew and the narratives they share with you are crucial. The way you manage certain characters during specific tasks, or whether you succeed or fail at contracts, has a substantial impact on the game’s progression.
As a movie enthusiast, I’m envisioning a cinematic experience where each player embarks on their own distinct journey. While the broader narrative may remain consistent, I aspire for every gamer to carve out their unique tale within it. I want them to navigate through the game, encountering challenges that feel personally challenging, and then overcoming those obstacles, thinking, “This was when the going got tough, but somehow, I found a way to persevere, and then this unexpected event unfolded.
The aim is for the game to function as a tool for storytelling, with a significant portion of the plot unfolding not just through the scenes I’ve scripted, but also through its mechanics.
A: In creating the overall storyline for Citizen Sleeper 2, did you intend to differentiate it from Citizen Sleeper 1, or were you focusing on a specific narrative?
Initially, it was decided that the game would kick off by startling you with a sudden awakening during a reboot sequence. This scene had been a mental image of mine for some time because I aimed to establish an authentic feeling of transformation – as if everything has shifted, and now you’re no longer reliant on the stabilizer. Moreover, your body is experiencing alterations, and there’s someone claiming friendship, but you aren’t familiar with him yet.
Instead of beginning Citizen Sleeper 2 gradually like its predecessor, I aimed for an energetic start, immersing the player directly into the narrative from the get-go. As a follow-up, I wanted to capitalize on the opportunity to provide a sense of speed and urgency right from the opening moments.
As I developed the game, I didn’t initially have a rigid structure or definite finale in mind. Instead, I focused on capturing the thrilling sensation of being on the run, letting it guide me through the creative process. I found myself asking questions like, “Where should our characters flee next?” and “What events might occur in these locations?” I also pondered over thoughts such as, “What circumstances could motivate these characters to resist?” The creation was quite an expedition, and there were moments when the outcome wasn’t entirely clear to me.
As I progressed further, pieces of the puzzle began to come together. By the final stage, I understood that the story was organically evolving in the manner I had envisioned. Initially, I had certain concepts for wrapping up the story, but midway through production, I decided to alter my strategy—and I’m incredibly satisfied with the outcome. It seems like the ending aligns flawlessly with the game.
A: Have there been times during the process when you implemented a feature that turned out to be disorganized or problematic? Conversely, can you recall any unexpected successes where something worked better than anticipated?
A: At times, the game became excessively pressured due to an abundance of stress indicators. For instance, the spaceship itself, its components, contracts, and characters each had their own stress levels. This multitude of stress sources made the game challenging for players to handle when they exceeded the limit. Adjustments were necessary as we progressed to make it more manageable.
From another perspective, one delightful unexpected feature was the inclusion of the mini dialogue box when engaging with the game’s crew members. I chanced upon this during my initial demonstration of the game to the media. In a hands-off presentation, I found myself describing the characters’ emotions. For instance, I might say, “I’ll use Juni for this,” yet it struck me that she wouldn’t be fond of such an action because she’s more of a hacker and prefers not to force open a door with a torch. This realization made clear to me that the crew weren’t mere tools—they had feelings and distinct personalities.
I recently implemented a new function that enabled your crew to provide comments on tasks and contracts they were involved with. This feature came together rather swiftly, taking only a few days of development work. However, once integrated, it greatly enhanced the gameplay experience by giving the characters more depth and realism. Instead of mere task completion, they now became active participants in the unfolding storyline, expressing their thoughts and reactions. This added dimension of emergent narrative was both engaging and surprising, as you might encounter humorous or unpredictable interactions between the crew’s comments and the ongoing narrative. Overall, I’m thrilled with this new addition to the game and believe it significantly improves the overall player experience.
A: It’s delightful to discover that the interesting feature was an unintentional occurrence. I found it clever when the characters expressed their abilities or lack thereof regarding tasks, such as “Hold on, I’m not skilled at that.
As a fan, I find it intriguing that each character responds uniquely when faced with tasks beyond their comfort zone. Some characters boldly turn down tasks that don’t align with their strengths, while others bravely step up to challenges, even if they’re not their forte. These instances offer delightful glimpses into their individual traits, making it clear who they are by their reactions in unfamiliar situations. This method of character development is quite engaging and effective in showcasing their personalities.>
A: In creating Citizen Sleeper 2, how did we approach it as a follow-up? Was our intention for it to stand alone, or should players have experienced the original game?
A: The game was designed with the intention of being self-sufficient. A significant aspect for me was introducing a time gap between the two games. My aim was to make players feel a sense of familiarity if they played the initial one as a prequel, such as “Ah, I recognize this character, and this is how they’re related.” Despite the strong ties between the two games, these connections function more like hidden treasures (Easter eggs) – delightful moments for those who know the backstory, but not crucial to the main storyline.
By understanding a character better, you could selectively assign them certain tasks to observe their responses, providing intriguing outcomes. This game design involves giving players hints and subtle moments that can be played in any order. I wonder how the players will react when they play Citizen Sleeper 1 after Citizen Sleeper 2, since playing it as a prequel instead of a sequel may significantly impact their perception of the characters within the storyline.
What Citizen Sleeper 2 Is About
A: What does the game Citizen Sleeper represent in your opinion? When players finish the game, what reflections or thoughts would you like them to carry with them?
One key element central to Citizen Sleeper is the examination of our connection with our bodies, notably through the character of the Sleeper. This concept is further emphasized in Citizen Sleeper 2 with the theme of decay, which represents the inevitable deterioration of all bodies, including those of Sleepers and ourselves. The game invites players to ponder this idea, offering a detached perspective that might stimulate conversation about it, while minimizing any potential distress associated with personal experiences.
As a movie aficionado, I found myself deeply drawn to the central theme of Citizen Sleeper – the delicate balance between our individual identities and the overwhelming systems that surround us. Yet, even within these grand structures, we possess the unique ability to influence others and cultivate significant interactions. This intricate dance between feeling insignificant amidst the vastness and yet capable of making a tangible difference echoes profoundly in today’s world, as we grapple with complex systems that govern every aspect of our lives. My aim was not to prescribe a particular perspective but to develop a game that immerses players in this emotional journey – experiencing powerlessness at times, while forging deep connections with the people around us.
A: When a game character enters a bar, there are numerous possible choices they could make. What method do you use to determine which decisions to offer the player and how these decisions might affect the game’s circumstances?
In my perspective, there are various types of choices in a game, and it’s crucial to handle these choices differently. To illustrate, numerous decisions in Citizen Sleeper fall under the category I call “expressive choices,” where the player primarily aims to convey their character’s identity or emotions towards the person they’re interacting with. These choices occur frequently as the necessary feedback is relatively minimal.
At the opposite extreme, we find the substantial, consequential choices – such as deciding whether to abandon someone or align with one group over another. These choices carry great weight and should not be made lightly, as they demand a considerable amount of consideration and context to execute properly. The challenge lies in identifying those key instances where making such a significant choice will have a profound impact on the player’s experience.
One approach to rephrase this could be: A significant part of it involves understanding the player’s perspective. I ask myself, “Is there a chance for an alternative route that a player might find appealing?” I strive to ensure the player never feels restricted by the game, thinking, “I desired to do something, but the game didn’t allow it.” It’s a delicate equilibrium because not every choice can be provided. However, by crafting scenarios and describing them effectively, you can hint to the player that they will encounter a significant decision here.
I strongly dislike it when games feature an unfavorable conclusion known as a “bad ending.” To me, it seems unjust for a player who has put in equal effort as any other to receive an undesirable ending solely due to one decision made near the end. This can leave a bitter aftertaste. Consequently, I strive to exclude such outcomes from my designs, although there may be instances where I delay a choice because I know that path doesn’t lead to a positive outcome. Instead, I aim to honor the player’s choices and present an engaging result at the end of every branch, regardless of the direction they choose.
A: Working alone as a developer can be quite challenging and stressful, but do you think it also comes with its own set of benefits?
I thrive on working independently, and I’ve grown to appreciate this style despite the high stress levels involved. Over time, I’ve become adept at identifying efficiencies and finding ways to alleviate certain tasks, making it an engaging challenge. I’ve always relished the thrill of taking on larger entities, often referred to as “punching up.” It’s a rewarding game in the gaming industry, especially for solo developers. In fact, my shelf houses a Dice nominations plaque, with Citizen Sleeper being nominated for Best RPG alongside heavyweights like World of Warcraft. I find this validation gratifying not because it elevates my importance, but rather as proof that games are about more than just spending vast amounts of money or creating massive productions.
There’s something extraordinary about the world of games—individual creators taking on large corporations. I find it one of the most striking examples of that concept in any form of media. You don’t often see it in films, where one person battles big production houses. What I appreciate about games is that they provide a platform for me to express myself and seize opportunities that might not be available otherwise. I believe it also contributes to the game Citizen Sleeper being successful. The game is well-received because it’s a solo project. Working alone makes it simpler for me to produce something coherent, relatable, emotional, and impactful, as I too am an individual. Infusing my personal feelings and ideas into the work creates a connection with others. If I were part of a team of 10 writers, I think it would be more challenging to create something that feels authentic, human, and consistent throughout.
It’s understandable that I empathize with larger production studios, as it seems like a challenging task for them to reach their objectives with larger workforces compared to working alone. Indeed, I greatly appreciate my solitary setup.
Q: It must feel great when people mistake you for a fully-staffed team.
B: I find it truly fantastic! Working with partners who offer unique viewpoints is also extremely gratifying for me. Take Amos, responsible for the music, and Guillaume, handling character designs. They operate independently from our game, working in their respective fields, yet they consistently provide a positive impact on our project. When I incorporate a fresh character design into the game, it not only propels the project but does so in an inspiring manner. Such collaborative moments invigorate the project and contribute to its overall improvement.
Making Citizen Sleeper 2’s Art and Music
Question: By the way, could you discuss the art style in Citizen Sleeper 2? What factors influenced the development of its overall aesthetic, both visually and sonically?
In the process of creating Citizen Sleeper 2, I found it engaging to apply the principles developed in the first game to the visuals and soundtrack while exploring a larger, more diverse setting. For instance, since characters no longer reside on the same space station, they can exhibit distinct clothing, styles, and personalities, reflecting the multitude of individuals traversing the asteroid belt and embarking on various adventures.
An illustrative instance is Darkside, a locale abundant with solar mirrors. Due to its intense solar concentration, it’s almost like an oven within the urban setting. This aspect of extreme heat led to residents dressing sparsely, as they are essentially basking in the city. This detail proved crucial for our understanding.
For quite some time now, I’ve been teaming up with Guillaume on character design. He’s incredibly talented, particularly given his experience in comic books, and excels at adhering to briefs. I typically compile intriguing references and accompanying text, which I then forward to him. As English isn’t Guillaume’s first language, we frequently exchange images and references for clearer communication. We’ve been working together for five years, allowing us to develop a highly intuitive form of collaboration. I rely on his judgement when it comes to the Citizen Sleeper universe, as his designs are consistently detailed yet never seem out of context.
To expand the auditory landscape of Citizen Sleeper beyond its initial version, we collaborated with Amos on the music. Instead of maintaining a similar tone, we infused more rhythmic elements and emphasized creating a sense of unease for the contracts. A key inspiration was the Metroid Prime soundtrack’s harmonious blend of ambience and tension, which we aimed to incorporate into our own score.
Instead of adapting the music to players’ emotions as in our initial game, for the contracts, we opted for a repeating track system similar to that found in games such as Metroid. This design choice was influenced by the continuous, tension-building music in these types of games.
In our next game, we’ve chosen to carry over the effective emotional radio system from the previous version, despite considering enhancements. The reason being, if something is functioning effectively, there’s little point in making changes.
Q: The music on contracts almost feels dynamic, like it’s reacting to events during the contract.
I’ve found myself captivated by Amos’ musical artistry. Unlike some artists who explicitly label their work as sad or happy, Amos excels at creating what he terms “emotionally agnostic” music. This unique style subtly evokes a myriad of emotions without clearly defining them as joyful or sorrowful. Instead, his compositions exhibit an intriguing balance, a sort of emotional ambiguity that adds depth and complexity to the listening experience. It’s as if the emotion in his music is not black and white but rather a beautiful shade of gray.
In Amos’ contract music, there are various stages, yet they all flow smoothly as if organically occurring. Each track features both intense and relaxed segments, contributing to an environment conducive to spontaneous narrative development. The aim is to encourage players to perceive correlations between the music and the game events. Since predicting every possible circumstance is challenging, we design the music to be adaptable and versatile, thus empowering players to fill in the emotional voids on their own.
Q: What did you feel was the most challenging aspect of Citizen Sleeper 2 to work on?
The sheer amount of content required for a game like this was the hardest part. It’s a bit daunting when you consider it. I have a map of the game pinned on my wall. Initially, I sketched the map and calculated, “Alright, I need a specific number of locations for this game to function.” Soon enough, I realized I needed approximately 10 main hubs. Then I had to ponder how many tasks each hub would require. Before long, the calculations became complex.
When you dedicate yourself to designing a game that offers diverse adventures across various locations, it quickly becomes a snowball effect. Each choice expands the content, and before you know it, everything piles up. Indeed, generating such a large amount of content was undeniably a formidable task.
Ultimately, I opted to prioritize quality over quantity in my work. While there was an opportunity to take on additional contracts, I believed that without a unique narrative, they would merely serve as unnecessary additions, lacking the authentic essence desired for the gameplay experience. Instead, I preferred to avoid creating generic tasks such as “gather random items from the ship.
Initially, I dabbled with concepts such as procedural contracts, but it became clear that the heart of Citizen Sleeper lies in delivering a compelling, well-crafted experience. I don’t believe that indie games are inherently flawed due to lack of content; it’s the quality that truly counts. Therefore, I chose to ensure every aspect within the game would meet the high standards players have come to expect.
As a lone developer, maintaining the right blend of quantity and quality for a game of such magnitude was truly testing, and I’m unsure if I’d undertake another project akin to an open-world RPG single-handedly. However, it was an incredibly intriguing journey throughout the process.
A: It seems that making players aware that the missions aren’t randomly created could motivate them to participate more actively in the game content.
When I was considering how to approach that decision, I kept in mind certain touchstones for the game, such as Cowboy Bebop and Firefly, both of which revolve around crew and ship narratives. If you’ve watched Firefly, you might notice that there are only 14 episodes. However, these episodes don’t show every single task or job the crew completed. Instead, the more captivating, significant stories in each episode imply that they must have undertaken numerous mundane or side jobs. We don’t need to see those because they aren’t essential to the engaging, central stories.
In my mind, I decided to model it this way. While recognizing that many tasks and events fill our world, I’m zeroing in on these crucial instances. This decision proved significant for me.
Q: Any last thoughts you’d like to share or something we didn’t cover?
As a diehard fan, let me tell you, I was absolutely thrilled by the extensive array of questions you’ve put together. It’s a joy to know that they resonated with you! I can hardly contain my enthusiasm as I eagerly anticipate people diving into the game. Even now, I view game development as a long-term journey, much like being a Game Master (GM). The adrenaline rush I get from my players’ reactions—whether it’s the triumphant return of a character or an unforeseen twist—keeps me going. So, I can hardly wait to witness those moments as people immerse themselves in the game. I’m genuinely looking forward to it!
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2025-01-11 17:21