Game Masters: Brave New Worlds

CASTLE CRASHERS by The Behemoth (Emil Ayoubkhan)

Playing Castle Crashers is like spinning a wheel of genre tropes and cultural iconography, its set dressing cycling rapidly from ramparts and trebuchets one minute to cacti and canyons or glowing alien technology the next. A four-player brawler featuring pirates, puritans, ninjas and even the developers themselves, it’s a chaotic affair, but one that always feels cohesive thanks to artist Dan Paladin’s flexible drawing style.

Crude, yet deceptively calculated, Paladin’s illustrations assimilate this diffuse range of source material with the breezy playfulness of a kid’s scrapbook doodles (albeit with a bit more violence) and are a large part of what makes The Behemoth’s work so recognisable. As the team’s Emil Ayoubkhan explains, “All of our projects to date have been designed and visually directed by Dan, so not only do our games have a very specific look to them, there’s a very specific humour as well.”

Indeed, The Behemoth possesses a house style that’s among the most distinctive in indie games, an observation which Ayoubkhan attributes to the company’s laid back, socially-minded approach to design: “We don’t take ourselves too seriously with any specific story element or gameplay mechanic. Another important aspect of gaming for us is multiplayer. Every game we develop is designed with both single and co-op gaming in mind.”

When it launched in 2008, Castle Crashers appeased an appetite for local multiplayer that had been largely ignored since the advent of internet-connected consoles, anticipating the current revival of 'couch' multiplayer games. These works are bringing video games back into bars and other public spaces, positioning them as a supplement to social activity rather than dominating it.

The Behemoth fully embraces this aspect of their work, having built DIY arcade cabinets to exhibit their games at industry events. Though these won’t be on display at Game Masters, Castle Crashers is still well worth checking out (as is their debut Alien Hominid), so we asked Ayoubkhan for advice to players approaching the game for the first time. “Walk slowly,” he recommends, “don’t make direct eye contact, and keep one foot on the ground at all times.” So long as you bring some friends, we reckon you’ll be fine. [Andrew Gordon]

MACHINARIUM by Amanita Design (Jakub Dvorský)

Long before Minecraft made its millions, Flash games were bringing the work of bedroom enthusiasts to a worldwide audience, setting the precedent for the 'indie' game scene we know today. Jakub Dvorský’s career has its roots in the heyday of Flash games, beginning with Samorost in 2003. Samorost remains the archetype for his studio Amanita Design’s imaginative and idiosyncratic output, its photographic use of found objects like rusty gears and hot dog cans exhibiting a fascination with decayed, discarded technology that would later define the aesthetic of his full-length debut Machinarium.

Dvorský still works in Flash, which is unusual for a game developer in 2014, and his loyalty to this anachronistic practice neatly mirrors his commitment to the point-and-click adventure genre. Pronounced dead by many a critic at the turn of the century, Dvorský argues that it is precisely adventure games’ supposedly rudimentary qualities that shield them from the unflattering effects of time: “Adventure games in general age slower than other genres. The art is painted in 2D and is not based on fancy 3D graphics, visual effects or physics.”

Set in a gorgeous scrapheap world of ramshackle Victorian-esque machinery, it boasts playful and inventive puzzles that subtly acquaint players with the denizens and social dynamics of its derelict robot metropolis, peppered throughout by Amanita’s hallmark non-sequitur humour. Though widely celebrated as a modern reimagining of the genre at the time, its streamlined take on the point-and-click was as much ripe for the growing indie game market as it was entirely precedented.

It’s for this reason that Machinarium is an important inclusion to Game Masters, representing a counter-narrative to big business versions of video game history which emphasise perceived innovation over long term craft. Dvorský seems fittingly nonchalant about Machinarium’s purported role in revitalising the adventure genre. “It lives its own life while we move on and work passionately on new projects,” he responds.

As for indie games more generally, he’s resoundingly positive. “More experimental, artistic and weird indie games are developed and that’s a good thing,” he says. “It helps the medium to grow and mature.” One needn’t look further than his own work for proof. [Andrew Gordon]

ANOTHER WORLD and FROM DUST by Éric Chahi

The apocryphal story of Archimedes solving the issue of object density whilst in the bath is, at the very least, a reminder of the importance of taking a breather. Game designer Éric Chahi knows this only too well, having all but disappeared from the games industry for thirteen years before his return with 2011’s From Dust. “I discovered a passion for nature, especially the Earth in motion… the fragility of life and the impermanence of things,” says Chahi of his time away from videogames.

This experience is indelible on From Dust. Viewed from a God-like perspective, players can mould and shape the rock, lava and water of the environment in order to help a nomadic tribe survive and evolve. However, the force of nature is always at hand, reminding players of their relative powerlessness, even as a semi-deity. “It was something I wanted to express,” explains Chahi of his inspiration. “Something different that I would love to see and play.”

Different is the key-word, as From Dust was certainly a change of scene after Chahi’s 1991 breakthrough Another World. Yet whilst From Dust drew inspiration from the likes of Populous and Megalomania, Another World felt somewhat peerless upon release. “I don't like to repeat myself,” states Chahi. “Exploring new fields has always been the force pushing me to create.” Therefore it’s Another World that has endured the most, undoubtedly because it is so different in and of itself, influencing more games than it ever borrowed from. Fumito Ueda may have coined the term ‘design by subtraction’ with 2002’s cap-doffing Ico, but Chahi had long since mastered the same principle with Another World.

Yet it almost never was, with Chahi’s penchant for going off on tangents almost derailing his crowning achievement before it began. “I loved the comics of Richard Corben, Frank Miller and Alan Moore,” he states of Another World’s influences. “I was thinking of becoming an illustrator and leaving videogames, but they have always attracted me more in the end.” With that we’ll assume Another World as being Chahi’s own personal ‘eureka’ moment. [Darren Carle]

FLOW, FLOWER and JOURNEY by Thatgamecompany (Sunni Pavlovic)

Ever since Braid redefined what an indie game could be, and indeed the audiences it could reach, there’s been a steady stream of ‘important’ titles taking advantage of new digital frontiers. Perhaps the most notable of these was 2012’s Journey. Developers Thatgamecompany had already achieved notable success with their first two games, Flow and Flower, but it was Journey’s distinct non-game approach to design and highly emotive, yet wordless story that brought a flurry of awards and gushing, sentimental prose.

“After so many sequels and growing violence in games, Journey came out as this original experience built on themes of appreciation and love,” begins Sunni Pavlovic, studio manager of Thatgamecompany. “It resonated with a wide spectrum of people - from those who may have lost interest in games over the years to those who may never have cared about them at all. It was as if this very different, beautiful, quiet experience came along and shifted the conversation around what games are and what games can be by validating to a much broader audience, for the first time, that games matter.”

What certainly makes Thatgamecompany’s titles so popular is their accessibility. Whether it’s Flow’s simple navigation, Flower’s therapeutic premise or Journey’s spiritual pilgrimage, these are not games that require four thumbs and years of built-in muscle memory reflexes. “Our philosophy has always been to focus on creating simple interactive experiences,” says Pavlovic. “Games that are dedicated to positively connecting players through visual storytelling with emotions and themes that are universal to everyone.”

In amongst the whistles and bangs of most other exhibitions at Game Masters, Flow, Flower and Journey will no doubt feel like the oases of tranquility they were designed to be. “Take your time and play your way,” advises Pavlovic. “There are no timers to beat or points to collect. There is no right way or wrong way to play. These are experiences. We hope you enjoy what you find and take away something positive from the experience.” [Darren Carle]

CRITTER CRUNCH and SUPERBROTHERS: SWORD & SWORCERY EP by Capybara Games (Nathan Vella)

“The hallmark of a 'Capy game' is simply that it was made by the amazing people at Capy. It is our trust and belief that we can do cool things together. It is our passion for games and game culture. That's our marque, and that's what's ingrained in us.” Nathan Vella, co-founder and President of Capybara Games sounds well versed in assimilating his studio's diverse back catalogue of games. Like Stanley Kubrick, Capy seem to genre hop with each new project, yet manage to maintain a cohesive strand throughout everything they touch.

Their two offerings at Game Masters are testament to this. The first, 2009’s Critter Crunch, is a maddeningly addictive, cutesy puzzler whereas 2011’s Superbrothers: Sword & Sworcery EP is a far more stylized indie adventure game. Yet there’s something in their offbeat humour, contrasting styles and aversion to playing things safe that makes both games feel very… well, Capy. “The team is driven by making things we believe are genuinely interesting,” continues Vella. “We found both games fun to make and they allowed us to dive in the aesthetics and make something we believe people would find beautiful.”

Beautiful they are too, particularly Superbrothers with its pixelated retro art, a trait that has bled into Capy’s more recent offerings. Yet in taking stock of where they have come from, Vella feels honoured to be in the spotlight. “Game Masters,” he marvels. “Heck, even the title is a little hard for us to wrap our heads around. The games industry has its fair share of awards shows, parties and expos for showing our work, so it's great to have this alternative format that looks at our creations in a fresh light.”

As more of a cult concern, Capybara seem likely to snare plenty of new fans at Game Masters, with Critter Crunch and Superbrothers hopefully piquing interest from opposite sides of the gaming spectrum. “Feel free to look and play critically,” advises Vella to such new recruits. “Feel free to question it or love it or leave it be. But mostly just have fun with it.” [Darren Carle]

VIB-RIBBON and PARAPPA THE RAPPER by NanaOn-Sha (Masaya Matsuura)

Though originally released in 1999 on the original PlayStation, 2014 is proving to be Vib-Ribbon’s renaissance year. Firstly, a concerted effort by fans to revive the long-dormant rhythm action title culminated with a re-release on PlayStation Network in October. And now the somewhat bizarre vector-based game, along with its spiritual predecessor PaRappa The Rapper, is forming part of Game Masters’ itinerary of important independent games. “I am overjoyed that both titles have been selected for the Game Masters exhibition,” exclaims creator Masaya Matsuura with characteristic deference.

He shouldn’t be too surprised though. Those in the know have long regarded Matsuura’s games as cult classics. Like the Velvet Underground, not everyone was into PaRappa or Vib at the time, but those that were made their influence count. Not least was Shawn Layden, current president of Sony America, a territory that the original release of these games never even managed to reach. Unsurprisingly, many credit Layden with Vib’s rebirth to PSN but Matsuura is thankful to all involved. “I am very happy that fans have held it dear to them for so long,” he states.

Though largely agreed to hold the honour of the first rhythm game, PaRappa never had much commercial clout outside of Japan. Vib suffered much the same fate, the eventual breakthrough coming from more populist fare such as Dance Dance Revolution and the Guitar Hero/Rock Band series. However, Matsuura has no sour grapes towards Harmonix, the developers of the latter. “Harmonix are good friends and I was glad to see they had helped the genre succeed in the west,” he offers. “I was cheering them on.”

However, some success is now coming to Vib-Ribbon and PaRappa, not least with their inclusion here at Game Masters. Matsuura though is keen to point newcomers towards Vib and a feature which certainly helped its cult success. “If you get the chance, try swapping the PlayStation disc with your own favourite music disc,” he suggests, highlighting the ground-breaking feature that saw the game adapt to your own music collection. Any excuse to break out our Carly Rae Jepsen CD, Matsuura-san. Arigato! [Darren Carle]