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More DMC In 2015, But Which Continuity Will It Follow?

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In case you missed the memo, Capcom recently outlined the strategy that it plans to use in order to stay profitable over the next decade. It seems to be much the same as that already in use by many of the other publishers, so I see no reason to analyse it. For me, one of the more interesting points brought up is the decision to attempt to shorten development times for their properties and what this means for the Devil May Cry series in particular. Given that Capcom are aiming for a two-and-a-half year cycle for each game, it is expected that the title that follows the next will come some time in the second half of 2015.

Of course, we all know that Capcom has teamed with English studio, Ninja Theory, for what is widely regarded as a re-imagining and reboot of the popular action series. It supposedly takes place in an alternate universe from that of the original, with a new-look Dante that has raised the ire of many fans. Even so, many elements from the seminal series carry over, including the fast-paced combat, several aspects of the story and game design and the brash attitude of Dante. It certainly is an interesting prospect, marrying the gameplay expertise of Capcom with the singular excellence of Ninja Theory’s storytelling. But there are grave doubts for any potential future of this spin-off evolving into a new series.

Not least of these is Capcom’s continued portrayal of Dante in his original form. It was this Dante that was present in Marvel vs. Capcom 3, while further character from the first quartet of games came as downloadable content later on. This tactic is one to create mixed messages. If Capcom is serious about Ninja Theory’s vision, why would they keep flaunting their design instead of replacing it, quite easily one would guess, with the other? It could be as simple as recognition. Dante is an iconic character in the industry, a fact brought on by his relatively unique look and persona along with the high quality of most of the games that he has appeared in. Another reason, just as viable, is that it is a fallback. Keeping the original in the public spotlight gives them the easy transition back to it if their experiment fails to capture the imagination of the masses.

Further giving this impression is the recent HD releases of the first three DMC games. With the HD Collections generally being released in order to drum up interest in an upcoming game, it seems a bit counterintuitive on the part of Capcom. Many fans of the initial series see the latest effort as a betrayal of the character and legacy. As such, those displaying the greatest degree of interest and curiosity must be people that only glanced over the originals, or never had a chance to play them. If they opt to take the opportunity presented by the HD Collection (one most highly recommended, in this writer’s humble opinion), is it not likely for them to fall into the same mindset of those elitists and declaim the offering of Ninja Theory?

I hope not. One way or another, the question cannot be answered now. Capcom is a business and, as such, exists to make money. They may be a creative entity, but this does not mean that they are not ruled by profitability. Ultimately, it will fall to the sales figures to determine which continuity the sixth Devil May Cry game will follow: the old or the new. But then, there is every possibility of both continuing into the future, flipping over as EA does with Battlefield and Medal of Honor, or Activision with their flagship Call of Duty franchise. Even more striking is the possibility of the combination of the two into a single, unified series once again.

For me, I’d like to see both continue as it would ascertain a future for what I consider to be one of the best independent studios in the world, as well as continuing an increasingly interesting and high-quality series swimming in mythology and lore. But what about you?

 

While you’re here, why not check out our Wrack giveaway and get yourself in the running to win a free copy of the game!

Damien Lawardorn is an aspiring novelist, journalist, and essayist. His goal in writing is to inspire readers to engage and think, rather than simply consume and enjoy. With broad interests ranging from literature and video games to fringe science and social movements, his work tends to touch on the unexpected. Damien is the former Editor-in-Chief of OnlySP. More of his work can be found at https://open.abc.net.au/people/21767

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“The Perfect Canvas To Build a Game World On”: Talking Hand-Drawn Horror in the Hills of Mundaun

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Mundaun

The Swiss Alps are best known as a holiday destination. Snow and skiing dominate the public imagining of the region, but horror lies in all hills. The folkloric horror game Mundaun promises to subvert the usual perception of the area.

The horrific twist on an idyllic locale is accompanied by an eye-catching art style like no other in gaming.

With Mundaun being such an intriguing prospect, OnlySP reached out to the game’s director Michel Ziegler to find out more.

OnlySP: Could you please begin by providing a brief description of Mundaun for any of our readers who may not be familiar with the game?

Ziegler: A [while] ago, I came up with the description: a lovingly hand-pencilled horror tale. I like the word tale, because it emphasizes the type of narrative the game is going for. It’s a first-person adventure game inspired by the dark folklore of the alps. The aesthetic is really unique, since I combine hand-pencilled textures with 3D. It’s kind of hard to be brief about what makes the game unique. I think it’s the combination of all the things in there, some pretty well hidden. Mundaun should be a mystery, an enigma.

OnlySP: Curiously, Mundaun is a real place. How accurate a recreation of the landscape is that found in the
game?

Ziegler: The levels are a condensed interpretation of the real thing. It’s more about how that place feels than accurate topology. The steepness of it, the objects and architecture you encounter that is very specific to that place. It wouldn’t be possible to meaningfully populate a large sample of the real mountain range. I want the give the player the feeling that in every corner there could be some small and unique thing to discover.

OnlySP: Do you have any personal connection to the real place? Why did you settle on it as the setting for the game?

Ziegler: My family has had a small holiday flat there since before I was born. I spent many summers and winters up there and so it became like a second home. Especially for a child, the nature feels huge and full of wonders. I would spend my days finding well-hidden spots and imagining adventures. I chose this setting, because it is dear to me and it is full of buildings that are many centuries old. It always felt like a timeless and mysterious place. The perfect canvas to build a game world on. Four years in, it still inspires too many ideas to ever fit into one game.

OnlySP: I’ve seen the game described as ‘folk horror’—following the likes of The Wicker Man and Children of the Corn. Would you consider that to be an accurate assessment of Mundaun?

Ziegler: I think so, even if my game isn’t inspired by those particular works. But I think there is a certain ambiguity to the scenario that makes people immediately think of fiction that has a similar feel in their cultural circle. Even if I draw much inspiration from things that are specific to where I live, I find that the world and tone of Mundaun resonates with people from all around the globe and from different cultural backgrounds. That said, the haymen that haunt you in Mundaun make the comparison to The Wicker Man an obvious one.

OnlySP: If so, what sort of local legends are you drawing on for the source of the horror?

Ziegler: Not really any specific ones. If I had to name one story that influenced the plot of Mundaun, it would  be Jeremias Gotthelf’s The Black Spider. The oppressive mood it conveys has always fascinated me. Also, I loved collections of small folk tales as a child and I think, I’m remixing elements from those, creating my own folk tale. I’m not restricting myself to only local influences at all though. I take everything that I think is interesting and fits the world and universe of Mundaun.

OnlySP: How does the monochromatic art style contribute to the player’s sense of tension?

Ziegler: For one, it invokes the aesthetic of old movies and photographs. For me personally, those often have a sinister quality, hiding something in the dark shadows. In addition to that, the hand-drawn textures give the game the quality of a darkly illustrated picture book.

OnlySP: Speaking of the art style, it certainly is one of the most intriguing elements of Mundaun. How did you come to settle on it, and what is the process by which you bring these hand-drawn artworks to life in the game? When you began, did you have an idea of how much work would be involved?

Ziegler: I just love drawing on paper. I’ve never gotten into drawing digitally much. For a small game prototype (The Colony) I made before Mundaun, I also applied a hand-made approach. I love the combination of hand-made textures with 3D, it’s a strange thing. Pencils just seemed a perfect match for a more dark aesthetic.

The process is similar to the usual 3D process, but with a small detour. After unwrapping the finished 3D model, I print out the UV maps. I trace the outlines to a new drawing paper and then I fill in the actual drawing with pencils. After scanning them back in, I apply them to the models. I probably didn’t properly anticipate, how many drawings I would end up making, because I underestimated, how much Mundaun would grow.

OnlySP: The puzzles that appear in the trailers seem to draw from an older tradition in games wherein they don’t necessarily feel realistic (although that interpretation is, admittedly, based on brief snippets taken out of context). Nevertheless, do you have any concerns that that approach might turn away some players?

Ziegler: Yeah, it’s a concern. I try to make the puzzles quite logical. Playtesting seems to be the key here. I’m not trying to break the flow of the game, the puzzles are just a great way to add detail and flavour to the world. I try to integrate them into the world and make them feel organic and unique to this place.

OnlySP: Aside from the puzzles, what else will players be doing in Mundaun?

Ziegler: Encountering, avoiding, or fighting off different types of enemies. Finding and talking to some of the eccentric native folk. Making coffee, smoking a pipe, carrying around the head of a goat. Driving a chair lift, a hay loader vehicle and a sleigh. There’s a whole lot of different things to discover. I think, the mix of high-stakes death threatening situations with more mundane activities is one of the most interesting qualities of Mundaun.

OnlySP: Explore” seems to be one of the keywords of the game. Does it feature an open-world design, or is it more of a level-to-level affair with expansive levels? And, in total, about how big is the game world

Ziegler: It features three discrete levels, each with their own flavour. You start in an area with meadows and trees and then make your way up to a more sparse, stony area. Then there’s the snow-covered summit region. The levels are quite sizeable and the player is given freedom to explore them, but it is not an open-world design per se. Each part, activity, and task is unique and lovingly hand-crafted.

OnlySP: How long do you expect the average playthrough to last? Or is it still too early to be able to say?

Ziegler: It is a bit early, but I think it’ll be 4-5 hours.

OnlySP: Speaking of, we first came across Mundaun about a year and a half ago. How long has it been in
development?

Ziegler: It has been in development for 4.5 years now.


Ziegler and his team at Hidden Fields are currently targeting a Q1 2020 launch for Mundaun on Mac, PC, and Xbox One.

If your interest is piqued, let us know either in the comments below or on our community Discord server.

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