We have an opportunity to show Thimbleweed Park as part of a presentation with Microsoft in March. Your brain figures out every hole and contingency, but your fingers just want to do something else. The most talked through control scheme can fall apart a mere second after trying it. The deceptive part of building a control scheme is that you can only talk about it so much. You know there is "something" wrong, but you don't know what. Control schemes need to feel natural and sometimes that takes time. Then it went through even more redesign for Last Crusade and even more for Monkey Island. It went though a lot of redesigns until we landed on what we did. The point & click scheme for Maniac Mansion didn't come out fully formed. I don't think I've ever created a control scheme that didn't go though round after round of tweaks and complete restarts. And not just "barely" playable, but fun with a controller. How to make a point & click adventure game that is true to the roots (and to the Kickstarter and our vision), but is playable with a controller. It's a different audience and one we want to reach. That said, we've always wanted the game to be on consoles. Thimbleweed Park was designed to be an adventure game played with a mouse. That was part of the impetus for The Cave: build an adventure game that was designed from the start to be played with a controller and feel energetic.īut that isn't Thimbleweed Park. I expect to be doing something all the time. When I'm playing a console game with a controller, I expect to be more viscerally attached to the game. When I'm playing PC games at a desk, I expect to be thinking and pondering. ![]() It's a very different experience than sitting at a desk with a mouse. ![]() ![]() Look it up.īut there is part of me that enjoys laying on the couch, feet sprawled in unnatural ways across the cushions and playing a good console game with a controller. It's the way god intended adventure game to be played. Thimbleweed Park was always conceived to be a true point & click adventure game.
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