![]() ![]() Though the partnership didn't work out, it turned out to be a blessing in disguise because of the platform constraints it would have meant. ![]() Throw the destroyable buildings onto an island so there's some danger/tension from falling into the water, and the final direction for Instruments of Destruction seemed obvious in retrospect (the name took a few weeks to decide on). Construction vehicles were a perfect fit for the theme and direction of the game, and he'd enjoyed doing the 3D modeling on Speed Demons (another vehicle-heavy game). Luke's preferred solution came to him while driving a couple days later. They asked if monsters or medieval contraptions were be a better fit. In one of the calls, the partner mentioned robots weren't particularly appealing to a lot of people and would pose marketing challenges. The difficulties in taming the physics system and combining parts into one cohesive unit would be the largest technical challenge the game would face, but slowly the problems were overcome.Īt this time, Luke was also discussing the game with a potential partner. The setting itself was also unclear, and the art direction wobbled between cel-shaded-like visuals and a simpler direction.Īfter some hesitation, Luke went in the direction of making OR-BE himself more complex, and using physics-based attachments instead of choosing various upgrades from a grid of possible powers and modifiers. A couple different control types were attempted, and it was pretty fun to smash through walls, jump high in the air and slam down, and use collected debris to take down other buildings.īut something was missing, and Luke was distressed by the lack of replayability outside of the destruction itself being satisfying. OR-BE gained many powers, including a Katamari-like ability to absorb broken pieces into a larger and larger ball of debris. While messing around with different ideas, using a rolling sphere to smash through the buildings and use a vortex to pull the debris towards the sphere was quite fun, so Luke continued that direction for a few weeks, with the sphere morphing into an Obliteration Robot: Ballistic Edition. He prototyped both for a short while and decided on the destruction game.Īfter getting the initial structure system implemented without too much trouble, the next big decision was what the moment-to-moment gameplay would be. Nearly 10 years later, Luke was beginning a big new project and had to choose between a variation of Speed Demons (racing with an overhead viewpoint) or a destruction-based game. About 6 months after last working on RFG, Luke left Volition to form Radiangames, a one-man independent studio. He continued to work on RFG and its DLC for the next 5 years, both as lead tech designer and lead multiplayer designer. A couple years later, he joined Volition as a designer on The Punisher, then started to work on Red Faction: Guerrilla in late 2004 (the 4th member of the team at the time). History Working on Red FactionĪfter starting his career in games in 1997, Luke Schneider first worked as the lead Red Faction II multiplayer designer while part of Outrage Games in 2002. An intuitive vehicle creation system lets you build and customize your vehicle using a wide array of parts to complete various objectives. Instruments of Destruction is a vehicle-building sandbox featuring advanced physics-based destruction. Song: Symphony of Destruction Artist: Megadeth Album: Countdown to Extinction (1992) Bassist: Dave Ellefson Tabbed by LoudLon for Big BassTabs.Factsheet Developer: Radiangames Based in Illinois, USA Release date: Early Access Launch - March 2nd, 2022 Full 1.0 Launch - 2023 (or later) Platforms: Steam (PC) Website: Regular Price: USD $19.99 (EA launch) Description
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |