As a seasoned game developer and storyteller, I can’t help but be captivated by the journey of Nomada Studio and their latest creation, Neva. The development process for this game was no walk in the park; it was more like scaling Mount Everest without oxygen tanks.
The game titled “Gris,” which is a platform-adventure that symbolizes traversing the five stages of grief, has amassed numerous awards. Some of these include:
The game titled “Neva” explores the bond between parents and children, as portrayed by the protagonist Alba and her canine companion, which matures throughout the storyline. In sunny Barcelona, Spain, Game Rant conversed with the creators of Nomada Studio (Adrián Cuevas, Conrad Roset, and Roger Mendoza) regarding the development of this game, its unique aspects compared to “Neva”, the hurdles they encountered, and the weight of following a successful game like “Gris”. For ease of understanding, the dialogue has been condensed and clarified.
Adrián Cuevas, Technical Director
Q: Could you give a little overview on what you do and how Nomada came together?
Hi there! I’m Adrian Cuevas, a co-founder of our studio. I’ve been friends with Roger for quite some time now. We went to school together in Barcelona and collaborated at Ubisoft Montreal. We also worked together at Ubisoft Barcelona. It was during a party that I was heading to Ubisoft Montreal on a temporary assignment that I first met Conrad, introduced by a girl who was celebrating her birthday. That’s how our friendship began. As of now, I serve as the technical director and one of the producers for Nomada, Gris, and Neva.
A: I’m wondering if living in Barcelona has impacted the way you design games, perhaps differently from when you were working at Ubicoft, since it’s where you reside and some of its features have inspired you?
In simpler terms, the atmosphere of Barcelona is dominated by its strong artistic influence. Art is everywhere, from the architecture to the theater, and there’s a significant media presence in illustrations and museums, especially in this specific district. If you had visited a month earlier, you would have experienced the Gracia festivities where the entire neighborhood decorates its streets with themes from movies or other countries. This year, for instance, a street was filled with statues of characters from Studio Ghibli like Totoro. Consequently, this particular district is known for its lively artistic community, attracting many artists who wish to reside there, making it quite popular.
Q: As a technical director, how do you take something like that and manifest it into a game?
The perspective we take is indirect, applied to any form of media, including video games. This shift in approach makes us view games as an art form. It’s not about replicating specific architectural masterpieces like Sagrada Familia in video games, but rather treating games as a work of art. We start the game-creation process by focusing on the narrative and artistic elements, with music, artists, and everyone involved collaborating from the beginning to shape the final product. This collaborative approach inspires us the most.
A: What made you decide to work on Neva instead of continuing your break after finishing Gris? Was there a specific aspect about Neva’s concept that sparked your interest and motivated you to return to work?
Our goal was to develop Neva as a progression from Gris, offering a welcoming entrance into the gaming world for many gamers. We recognized that Neva’s artistic style could appeal to individuals who may not have previously played video games. Our aim was to create an enjoyable experience for both new and experienced players with Neva.
We aim to elevate our game by incorporating an additional feature related to video games. Specifically, we’ve developed a streamlined combat system that enhances the gaming experience without being overly difficult. While there’s a story mode for those who might find it challenging, our goal is to introduce this new aspect in terms of gameplay.
From the perspective of storytelling, our aim was to share an emotionally resonant tale. With the arrival of new family members, both Conrad and Roger are now fathers. They wished to explore their evolving bond, focusing on its transformation as their children mature.
Question: Could you elaborate a bit on how the five aspects – love, identity, trust, courage, and growth – from the website relate to Gris’ story as they align with his journey through the five stages of grief?
While creating the game, we examined numerous growth theories. To put it straightforwardly, there were quite a few varying opinions on this matter. Some argued for seven stages, while others proposed five or even four. Ultimately, we decided to align with our four-part thesis and connected these stages to the seasons, resulting in elements like summer and autumn within the game.
In our perspective, each season symbolizes a phase in Neva’s life. Summer kicks off this cycle, evoking feelings of joy and contentment. It seems like an ideal time because of its pleasant weather and the fact that many people are on vacation. This sentiment is particularly strong when you’re young, as worries take a back seat during this season. Thus, we associate it with carefree happiness.
During autumn, she becomes a teenager. The artistic theme of the second chapter features many hues of reds and yellows. It exhibits a slightly rebellious vibe similar to Neva, as it’s somewhat aggressive in nature. She only seems interested in biting things and doesn’t show much concern for you. As the story unfolds, you will witness her growth.
In winter, there’s a more refined, calm feeling. It seems she has evolved, so we try to express this as her maturity. As for spring, I won’t elaborate much since it concludes the story, but it symbolizes development in relation to these stages, reflecting a progression of growth and seasons.
Q: Similar to that but unlike Gris, Neva has combat. What was the biggest technical challenge you had to deal with when you’re going from a game that doesn’t have combat to one that does?
In our development process, we encountered quite a unique dilemma: creating two distinct AI systems – one for combat enemies and another for the companion character, Neva. While each AI is handled by different team members, it posed a significant challenge in terms of balancing their behaviors and responses to ensure an engaging yet realistic experience.
We aimed to prevent feelings of disappointment. I’m confident we won’t reach the grandeur they accomplished with Trico, it was awe-inspiring, but striking that perfect balance was challenging. In essence, what we ended up with was progress towards Neva, developing AIs that needed a touch of ingenuity, and we brought on board some individuals who had previously worked on similar projects and aided us significantly in the development process.
Question: In the way Neva behaved, there were moments when it seemed like we were playing cooperatively. When you discuss this AI and its balance, how does achieving that “game feel” factor come into play? Was the sensation of it being almost cooperative in nature deliberate or merely coincidental? Or was I just imagining it?
Absolutely! You still have quite a bit of the game left, and I must say, Neva isn’t your typical ally in battles at first. Instead, she’s more of a liability, but once she starts assisting you, look out! It feels like an extra pair of hands, or rather, a whole other fighter joining forces with me. That’s the essence we aimed for, and it’ll evolve a bit later on, offering a slightly different combat experience.
A: Was it a decision made from the start to include animal-petting in the game, or is it due to the popularity of this feature among players? I was simply wondering if you had this planned since day one.
Once we learned she would transform into a wolf, it became clear that petting her was essential. It had to be included in the game. When we demonstrated the game to Devolver, the first question on everyone’s mind was, “Can I pet the wolf at any point?” Now, you can do so whenever you like, and players tend to go overboard with it, pressing the button for extended periods of time. In fact, some players simply stand there and press it repeatedly. We knew we needed this feature as soon as we decided on the wolf character, and players are free to pet her at any time, whether she’s being helpful or just doing something nice.
A: It seems that Neva is receiving more attention in terms of development compared to Alba. This leads me to wonder about the naming pattern being used here. Specifically, I’m curious as to why Neva was chosen over Alba, or if there’s a particular reason for naming her Neva instead?
Absolutely! In this game, Neva serves as the primary character. Despite your role as Alba, the sidekick, the story revolves around Neva’s growth and her evolving relationship with you. The narrative aims to provide a parental viewpoint, which seems more relatable for us at our current age compared to the perspective of a child. Initially, we planned to tell the story from Alba’s point of view, but for me, Neva is the main character.
Is it possible that the intention was to create a contrast, as Gris (meaning ‘gray’) is a term in Spanish, while Neva (similar to ‘snow’), carries connotations of purity and calmness associated with it in certain contexts?
From the outset, it was clear that Gris would be named as such because Gris encompasses colors and their significance. The name suits it perfectly, reflecting the narrative’s evolution of emotions – an emotional journey where one isn’t constantly joyful or melancholic. In essence, Gris embodies all stages of grief.
Beyond its connection to the wolf, Neva is primarily characterized by its snowy white appearance. It symbolizes a natural force, something deeply embedded within nature itself. In Neva, discussions often revolve around parental relationships, global issues such as strife in the world, and potential corruption. These themes are more metaphorical, representing environmental concerns like climate change, wars, and various worldwide problems. By associating it with nature, we sought a name that would resonate with its white, majestic wolf image, and pure natural essence. Since Neva is part of an environment, this connection seemed fitting and appropriate for the character. We believe this name encapsulates it perfectly.
Q: Is there anything you’re hoping players walk away with once they’ve beaten Neva?
A: It seemed simpler for Gris’s response since our primary concern was whether the game’s metaphorical nature might make it difficult for people to relate. For Neva, I sincerely hope that at least they find it entertaining and get a bit touched by Neva’s story with Alba.
I’m pretty sure you’ve already made quite a few people cry.
Essentially, what we aim for is for the media to touch people in some way, whether it’s stirring emotions like sadness, happiness, or thoughtfulness. Ideally, it would provoke any of these reactions in the audience, but at a minimum, they should find it entertaining and enjoyable. I hope that they complete the game and express satisfaction with it. While not everyone might feel deeply moved by it, if they appreciate it as fun and good, that’s enough for me. The best-case scenario is that they can relate to it personally and recall fond memories.
Conrad Roset, Creative Director
This interview was done with the aid of a translator.
A: You brought up the fact that having a child influenced the creation of this game. Could you tell us a bit more about how Neva, the game and the wolf character, were affected by this personal experience?
Neva came into existence due to a couple of factors. The backdrop of the lockdown and having a two-year-old son served as the driving force behind its development.
Neva symbolizes the dynamic between parents and their children at the close of each day. As he crafted his story across four chapters, his thoughts often revolved around interactions with a child. Initially, there’s the role of protection, followed by the teenage phase marked by defiance against authority, and finally, reconciliation where the child returns to the embrace of their parents.
As a devoted admirer, I’d like to share that my time in Barcelona and the captivating Gracia neighborhood have significantly shaped my perspective on the beautiful game. Could you elucidate, from your unique standpoint, how these influences are reflected in the way we play?
The studio in Barcelona and its surrounding area hold significance for the individual, yet it’s not so much the location itself as it is the people residing there. For nearly a decade, from age 24 to 34, he was immersed among painters, musicians, and other artists. This prolonged exposure cultivated an artistic ecosystem that played a crucial role in his professional development. It was during this time that he experienced the most growth professionally. He was greatly impacted by the seasoned individuals around him, who served as mentors and influencers.
Q: Do the relationships in that ecosystem affect the relationship between Alba and Neva in any way?
Instead of having a specific bond in Neva, it’s more about a shared appreciation for aesthetics, work methodology, and artistic influences among those involved, rather than any particular relationship.
Q: What’s the process like taking these inspirations and turning them into a game?
He has numerous storyboards and notebooks at hand. To him, the storyboards serve as his guidebook. It’s clear that there’s a great deal of brainstorming and character development going on with the art team, but the crux of the work revolves around the storyboard.
During your earlier presentation, you mentioned that ideas are broken down into fundamental stages, and then those stages are redrawn by hand. This process appears quite labor-intensive. Could you roughly estimate the time required to create, say, a single stage as an example?
The work is carried out simultaneously, but approximately three months for concept development per chapter and three to four months for level design. After that, he goes over all the designs again, which adds about a month and a half to the process. However, the creation of concepts and level design happens concurrently.
Q: When you’re at the drawing phase, do things ever change last minute because it’s done in parallel? How do you know to account for earthquakes or other mechanics that might be developed in parallel?
In his primary role, he frequently communicated with the mechanical designer. Over the course of a year and a half, they exchanged ideas, provided feedback, and delved into various mechanical aspects.
Is there a connection between Gris’ journey through the stages of grief and Neva’s focus on growth?
A: He pondered connecting those two significant experiences for quite some time, yet he ultimately chose not to. Although they are closely connected, such as the arrival of a newborn or conquering grief, they remain distinct entities rather than a unified link.
Q: How did you approach designing the enemies?
A: Yes, he aimed to portray the enemies as a world-destroying force. Based on this foundation, he began crafting their characteristics.
Q: Is there anything artistically you hope players walk away with after they’ve played Neva?
Artistically speaking, they’ll encounter some unexpectedly thrilling moments. Emotionally, the intention is to evoke a range of feelings and tap into players’ emotions.
Roger Mendoza, Lead Producer
A: To begin with, could you share some insights on the experience of creating a game that carries elements and inspirations from your hometown or personal background?
We feel fortunate to be present in numerous aspects, surrounded by many friends, with Conrad finding inspiration in Gaudi’s work. The essence of our culture is what we strive to share. All our game titles, at least up until now, are in Catalan and Spanish, the languages spoken here. Conrad has relocated from Gracia neighborhood, but for the creation of Gris, we often gathered in one of the local bars to discuss the project over casual conversations. It’s enjoyable. Additionally, it’s exciting that Barcelona now boasts a thriving game development ecosystem. This scene has expanded significantly in recent years, and I believe this growth makes it easier to find inspiration as it offers numerous opportunities to connect with various individuals.
Previously, you were an animator for some of the Assassin’s Creed series. In comparison, how does creating characters and worlds for a more personal game like Neva contrast with the presumably extensive research-focused projects you have worked on before?
Here’s one way of rephrasing: During my time at Ubisoft, I didn’t have a role in the specific research area you’re referring to. Working on AAA games, as I experienced it, feels like being a small cog in a big machine, where each person is responsible for a limited aspect of the project and doesn’t typically venture beyond their own domain. For instance, I was focused on animals, so I had little insight into other parts of the project. With such a large team spread across various time zones, it’s challenging to do anything but concentrate on your assigned task. However, this current project is unique because the three of us are starting from scratch and have direct influence over its development. This isn’t meant as criticism of Ubisoft or AAA games, as I did learn a lot there and met some fantastic people. But eventually, I wanted to work on something smaller and more personal.
Question: Are there any particular spots near our neighborhood or Barcelona that have inspired you specifically?
A: Not focusing on a particular spot. Instead, there’s the renowned architect Gaudi in Barcelona, whose work includes Park Guell, that represents a broader aspect of the city’s community and architecture.
Question: Compared to Gris, what are the unique ways in which the development of this new project featuring Neva and two characters has diverged thus far?
As an enthusiast, I must admit that this upcoming game surpasses the charm of Gris in numerous ways. Unlike Gris, which was a solo journey with only one character, our new adventure features two characters to follow. Moreover, while Gris clocked in at roughly 2-3 hours, our game is estimated to be around 4-5 hours long.
That was important, especially at the beginning with the combat. We haven’t worked on combat before. We did hire a combat designer at the beginning of development who helped us a little bit, the basis of what the combat should be, some of the enemies, and from there, it’s been really fun because Devolver also allows us to take all the time we need. There were times in the project that we were not very happy with how it was turning out, and Devolver said, “if you need to wait another year, wait another year. Just make sure you’re happy with what we ship.” That really helped with a lot of iteration, a lot of polish, and now we’re finally here. It’s been a long journey.
A: In simpler terms, the AI developed by Neva was quite remarkable. She felt both autonomous and efficient. There seemed to be a collaborative aspect to it. Can you tell me how challenging it was for her to get this AI to function properly? And approximately how many times did she have to adjust or improve it?
A: It’s challenging to pinpoint the reason. We experienced a problem where a certain version of the game didn’t resonate with you and Neva failed to create a strong bond. This was certainly an obstacle. Our usual approach is to design one level initially, which often turns out to be too lengthy. Then we begin trimming and refining. We usually go through four or five revisions for each level, focusing on ensuring the fundamentals are solid and interactions with Neva feel satisfying. However, something was missing. Perhaps we should have added more interactions or animations to make Neva seem more lively. I can’t specify the exact adjustments made, but there were many, especially in relation to Neva, as our goal was to connect with her without making her overly independent. However, Neva’s behavior varies depending on the chapter since it changes as the story progresses. We made numerous modifications to get it right.
A: One question you might be frequently asked is whether it’s possible to pet the wolf in the game. Initially, I also attempted this action, and I thought it would be interesting to discuss how we incorporated this feature and the significance of including such an animation.
A: These days, people have come to anticipate this feature, but watching players interact with the wolf is truly heartwarming. I believe this interaction fosters a unique bond, which was an essential aspect for us. Allowing players to pet the wolf anytime and regardless of its size (since Neva grows) was crucial. It took some time for us to incorporate it into the game, as we initially prioritized other aspects such as small interactions. Adding petting functionality turned out to be standard practice, but the ability to pet at any moment makes it incredibly rewarding, particularly when you witness a content player and their positive response.
A: Adrian shared with me that he considers Neva as the main character of the game, given it’s titled after her instead of Alba. How do you design a player character while keeping the spotlight on an NPC like Neva?
As a devoted gamer, I must admit, it was quite intriguing, to say the least. The allure of games lies in the evolution of the character you command, keeping each gaming experience unique. However, Alba takes a different approach; the moveset remains consistent throughout the game, offering no fresh additions. This was perplexing because there’s something exhilarating about unlocking new abilities. To address this, we’ve introduced novel gameplay elements through Neva, but also through the world itself. Each world presents its unique theme, opening up new gameplay possibilities, ensuring that Neva remains engaging as something new is constantly unfolding.
Q: On stage, you called it Gris with a sword. What about Neva necessitated combat?
In our perspective, portraying the sense of safeguarding was essential as Neva represents a cub starting out. This protective aspect is crucial for her survival against threats. Additionally, we aimed to enrich the gameplay compared to Gris, making each session distinct and engaging. Introducing combat seemed like an exciting endeavor that aligned perfectly with the game’s theme, considering how Neva matures and gradually becomes more involved in combat as she grows older and stronger.
A: Despite many similarities between Gris and Neva, can you speculate on the most distinct hurdle encountered when creating Neva as opposed to Gris?
Personally speaking and not as Nomada’s statement, I felt immense pressure at the start of Neva. Gris, fortunately, turned out great, but that success added its own kind of pressure and expectations. We can’t help but consider what people might want, but what if we decide to do something different? What if they don’t like it? Ultimately, we chose to create a game that we’re satisfied with and feel proud of – just as we did with Gris. I would have cherished playing Gris for the first time without being part of its creation. The same goes for Neva. I wish I could be at home, having never worked on Neva and then playing it. Our goal is always to deliver a game that we can stand behind and feel proud of.
Q: After beating Neva, what do you hope players take from the game?
In simpler terms,
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