KickStarter BEAUTIFUL DESOLATION - isometric post-apocalyptic adventure from STASIS developer

[ScrotumBroth]

 

[Jenkem]

gonna ask here because I'm too lazy to go to kickstarter but when should backers expect their keys?

 

[Morgoth]

Love the cover image with the two hicks. The Wokemedia is gonna have a rainfall of salt over this.

 

[agris]

Pyke I've played more, and been thinking about the UI, especially those hotspot pop-ups. As I said earlier, it's really only an issue on maps with multiple hotspots closely packed, where navigation with the cursor could inadvertently cause them to expand. In practice this means smaller, indoor maps. The 2nd floor of the Abbey is a great example.

Separate from this issue, is that the description text of the hotspot as well as the green polygon make it hard to actually see what it is that is being described, a real shame in such a beautiful game. By description text, I mean "barrel", "lion", "holographic projection", etc, not the actual hotspot text itself.

So here's a suggestion: keep the green squares as they are, including the logic for when they appear (proximity rule on the PC, I believe). But, remove the text above the green polygon ("barrel") from always displaying. Your code currently makes the hotspot text expand when the mouse is close to the green polygon, which is the source of the frustration (in some situations). Rather than have the text expand when the mouse is close to the hotspot, instead make the text ABOVE the hotspot ("lion") appear when the mouse is close, and change the hotspot text to only show when the polygon is clicked.

I think if you made those changes, and let the player click on the icons from anywhere and path to + interact with them all in one go, that would remove the vast majority of the UI issues that new players could bounce off of. Plus I think it would be a more comfortable experience.

 

[lightbane]

https://www.oneangrygamer.net/2020/...isometric-adventure-launches-feb-26th/102993/

OAG mentions your game, and Billy seems to look forward to it!

 

[agris]

lightbane

Spoiler

I have hit a wall, and it appears there’s nothing else for me to do yet I cannot enter Bulkwark. I’ve got the seeds in the milk, but the Hanasi guard doesn’t have a talk icon over his head. I’ve got the Asgard Transponder so I can land on the military base in the first map, but there’s nothing to do as I’m blocked by a red force field. I can’t enter Kettle because I don’t have the password, but I’ve talked to all people. I have 2 credits left, the necrosis jar, the femur, the seeds in milk, the military transponder and the warden device, plus the simulacrum. Bulkwark tells me simply that I’m not allowed to land there.

I also have Don’s broken droid.

What am I missing to land in Bulkwark, and how do I get into the Kettle and give the stoners herb seeds?

 

[Pyke]

lightbane

Spoiler

I have hit a wall, and it appears there’s nothing else for me to do yet I cannot enter Bulkwark. I’ve got the seeds in the milk, but the Hanasi guard doesn’t have a talk icon over his head. I’ve got the Asgard Transponder so I can land on the military base in the first map, but there’s nothing to do as I’m blocked by a red force field. I can’t enter Kettle because I don’t have the password, but I’ve talked to all people. I have 2 credits left, the necrosis jar, the femur, the seeds in milk, the military transponder and the warden device, plus the simulacrum. Bulkwark tells me simply that I’m not allowed to land there.

I also have Don’s broken droid.

What am I missing to land in Bulkwark, and how do I get into the Kettle and give the stoners herb seeds?

Spoiler

Kettle Password - If you talk to Bra Bones (Witness skeleton in Witherberg Bar) Once you've rescued Don he will talk about his brother at the Kettle, and will give you the way to get in.

--------------------------------------------

So go to the KETTLE MAIDEN - she is inside the kettle in the garden at the top left.

Combine the GORD OF MILK with the SEED and give it to her.

Leave the scene and then come back and there will be CULTIVATED HERB in the garden.

Pick it up and take that to COTTON MOUTH in the Hanasi Gate, and he will let you in.

At some point you're gonna have to get some more herb, but when you need it just go back to the garden and there will be some waiting for you.

---------------------------------

To enter the Bulwark you have to speak to GRAVE at the Kettle.

. Once you've spoken to him you'll be able to enter the Bulwark.

To challenge the priests get the FEMUR BONE from the Travelers Graveyard in Saxonwold.

Go to the Sangoma in the Kettle and access his store-room. (You have to shut him down, and then plug your PDA into him to read the password).

In the Storeroom is a blood synthesizer. Put the bone in the machine and get the blood. Combine the blood with the bone, and make that offering.

 

[lightbane]

agris , the dev pretty much told you everything. Still, there's one thing I can tell you:

Spoiler

Sadly the military base is pretty much unfinished in the demo, there doesn't seem to be much you can do here. Note though that you'll eventually find another area with a red force-field. This one you CAN enter it, but it will require solving quests first, specifically check that fisher guy you likely met some time ago.

I hope the full game doesn't have so much backtracking.

 

[agris]

Thanks guys, I figured out that

Spoiler

I needed to talk to bra bones

right after I posted, and essentially covered all the ground in Pyke's post.

Now, I'm stuck at a different stage.

Spoiler

I still have no token, and I need to find the tear. I've been admitted into the Chezchnyama dome, gained audience with Grave and Oothee, been to the Caecus map (where all I was told was that I couldn't enter the BigTree), and told by the flesh golemn on the second level of the Abbey of the tear in Vesta "where two different lifeforms fight" or something to that effect, but I can't move forward. I've talked to everyone on every map, and I cannot see how to find the tear. The skin golemn's free information did not reveal a new map, did not let me say anything additional to Oethee (hanasi) nor say anything to the Chezchnyama. I can enter bulkwark, I've given blood and bone, talked to the knowledge slave and need a token and do not see how to progress further given where I'm at. Grave wants Nevrohoses mask (which I need a token to win from Bulkwark), Oethee wants the location of the tear to make the Hanasi happy (1 possible token per Pyke in this thread), and the leader of the Chezchnyama want the location of the tear for the tether device (for the 2nd token, I presume). Per the skin golemn on the second floor of the abbey, the tear is located in Vesta, between two very different forms of life. But I see no way to exploit this information into advancement.

 

[Pyke]

Thanks guys, I figured out that

Spoiler

I needed to talk to bra bones

right after I posted, and essentially covered all the ground in Pyke's post.

Now, I'm stuck at a different stage.

Spoiler

I still have no token, and I need to find the tear. I've been admitted into the Chezchnyama dome, gained audience with Grave and Oothee, been to the Caecus map (where all I was told was that I couldn't enter the BigTree), and told by the flesh golemn on the second level of the Abbey of the tear in Vesta "where two different lifeforms fight" or something to that effect, but I can't move forward. I've talked to everyone on every map, and I cannot see how to find the tear. The skin golemn's free information did not reveal a new map, did not let me say anything additional to Oethee (hanasi) nor say anything to the Chezchnyama. I can enter bulkwark, I've given blood and bone, talked to the knowledge slave and need a token and do not see how to progress further given where I'm at. Grave wants Nevrohoses mask (which I need a token to win from Bulkwark), Oethee wants the location of the tear to make the Hanasi happy (1 possible token per Pyke in this thread), and the leader of the Chezchnyama want the location of the tear for the tether device (for the 2nd token, I presume). Per the skin golemn on the second floor of the abbey, the tear is located in Vesta, between two very different forms of life. But I see no way to exploit this information into advancement.

Spoiler

The only way to get the toekns is to help eiher the Chiznyama or the Hanasi.

I'm assuming you've spoken to the Chiznyama in their village.

So the Caecus have made a lot of maps (if you remember your conversation with Narchee). Go back and talk to him at the Hanasi fortress. He will tell you who took his transponder to get into the Caecus homeland.

Go and speak to Looselips (the only other Caecus at the Kettle), and she will give you the stolen transponder.

Go to Hometree and speak to Pooch.

If you need any other help, let me know!

 

[agris]

Thanks guys, I figured out that

Spoiler

I needed to talk to bra bones

right after I posted, and essentially covered all the ground in Pyke's post.

Now, I'm stuck at a different stage.

Spoiler

I still have no token, and I need to find the tear. I've been admitted into the Chezchnyama dome, gained audience with Grave and Oothee, been to the Caecus map (where all I was told was that I couldn't enter the BigTree), and told by the flesh golemn on the second level of the Abbey of the tear in Vesta "where two different lifeforms fight" or something to that effect, but I can't move forward. I've talked to everyone on every map, and I cannot see how to find the tear. The skin golemn's free information did not reveal a new map, did not let me say anything additional to Oethee (hanasi) nor say anything to the Chezchnyama. I can enter bulkwark, I've given blood and bone, talked to the knowledge slave and need a token and do not see how to progress further given where I'm at. Grave wants Nevrohoses mask (which I need a token to win from Bulkwark), Oethee wants the location of the tear to make the Hanasi happy (1 possible token per Pyke in this thread), and the leader of the Chezchnyama want the location of the tear for the tether device (for the 2nd token, I presume). Per the skin golemn on the second floor of the abbey, the tear is located in Vesta, between two very different forms of life. But I see no way to exploit this information into advancement.

Spoiler

The only way to get the toekns is to help eiher the Chiznyama or the Hanasi.

I'm assuming you've spoken to the Chiznyama in their village.

So the Caecus have made a lot of maps (if you remember your conversation with Narchee). Go back and talk to him at the Hanasi fortress. He will tell you who took his transponder to get into the Caecus homeland.

Go and speak to Looselips (the only other Caecus at the Kettle), and she will give you the stolen transponder.

Go to Hometree and speak to Pooch.

If you need any other help, let me know!

Apparently the trick to me getting un-stuck is to make a post, because this is now the second time that almost immediately after writing up my question, I find the solution. It's good to have the answers though, especially with the game going live soon.

I must be advancing certain plot threads faster than you anticipated, because

Spoiler

after my first conversation with Narchee and going to visit the Caecus, after being admitted into the Chiznyama village but before completing their quest, I had returned to the Hanasi Fortress and Narchee didn't have a talk bubble over his head. I did *something*, perhaps talking to the flesh golem on the 2nd floor of the abbey and being told about the tear, that flagged Narchee as available to have a second conversation with me. From that I learned about Loose Lips and the transponder, and it was easy sailing from there. I feel like I was at an odd mix of progress in the story conditions, and a very non-obvious trigger triggered Narchee's availability for the second convo.

Anyway, still really loving the game. For shits and giggles I gave the Hanasi the Caecus maps and nuked all the Caecus drones. Is there any scenario in which you give the Hanasi the map and they don't wipe out the Chiznyama? I liked the idea of them using it to barter with them for herb. Anyway, once the game is released I'll probably give it to the Chiznyama just to see the other plot thread.

edit: found a real bug. The codex bookmark's scrollbar is cut off in 16:10 2560x1600. Not sure about 1920x1200. Also, nice shout out to the 'dex in Bulwark ;D much better than a gravestone..

 

[Pyke]

Thanks guys, I figured out that

Spoiler

I needed to talk to bra bones

right after I posted, and essentially covered all the ground in Pyke's post.

Now, I'm stuck at a different stage.

Spoiler

I still have no token, and I need to find the tear. I've been admitted into the Chezchnyama dome, gained audience with Grave and Oothee, been to the Caecus map (where all I was told was that I couldn't enter the BigTree), and told by the flesh golemn on the second level of the Abbey of the tear in Vesta "where two different lifeforms fight" or something to that effect, but I can't move forward. I've talked to everyone on every map, and I cannot see how to find the tear. The skin golemn's free information did not reveal a new map, did not let me say anything additional to Oethee (hanasi) nor say anything to the Chezchnyama. I can enter bulkwark, I've given blood and bone, talked to the knowledge slave and need a token and do not see how to progress further given where I'm at. Grave wants Nevrohoses mask (which I need a token to win from Bulkwark), Oethee wants the location of the tear to make the Hanasi happy (1 possible token per Pyke in this thread), and the leader of the Chezchnyama want the location of the tear for the tether device (for the 2nd token, I presume). Per the skin golemn on the second floor of the abbey, the tear is located in Vesta, between two very different forms of life. But I see no way to exploit this information into advancement.

Spoiler

The only way to get the toekns is to help eiher the Chiznyama or the Hanasi.

I'm assuming you've spoken to the Chiznyama in their village.

So the Caecus have made a lot of maps (if you remember your conversation with Narchee). Go back and talk to him at the Hanasi fortress. He will tell you who took his transponder to get into the Caecus homeland.

Go and speak to Looselips (the only other Caecus at the Kettle), and she will give you the stolen transponder.

Go to Hometree and speak to Pooch.

If you need any other help, let me know!

Apparently the trick to me getting un-stuck is to make a post, because this is now the second time that almost immediately after writing up my question, I find the solution. It's good to have the answers though, especially with the game going live soon.

I must be advancing certain plot threads faster than you anticipated, because

Spoiler

after my first conversation with Narchee and going to visit the Caecus, after being admitted into the Chiznyama village but before completing their quest, I had returned to the Hanasi Fortress and Narchee didn't have a talk bubble over his head. I did *something*, perhaps talking to the flesh golem on the 2nd floor of the abbey and being told about the tear, that flagged Narchee as available to have a second conversation with me. From that I learned about Loose Lips and the transponder, and it was easy sailing from there. I feel like I was at an odd mix of progress in the story conditions, and a very non-obvious trigger triggered Narchee's availability for the second convo.

Anyway, still really loving the game. For shits and giggles I gave the Hanasi the Caecus maps and nuked all the Caecus drones. Is there any scenario in which you give the Hanasi the map and they don't wipe out the Chiznyama? I liked the idea of them using it to barter with them for herb. Anyway, once the game is released I'll probably give it to the Chiznyama just to see the other plot thread.

edit: found a real bug. The codex bookmark's scrollbar is cut off in 16:10 2560x1600. Not sure about 1920x1200. Also, nice shout out to the 'dex in Bulwark ;D much better than a gravestone..

Thanks man! Nic is sorting that out as we speak. :D

 

[Infinitron]

Kudos to agris and lightbane for diving into Early Access in a story-driven game and making the final release better for all of us.

 

[lightbane]

Thanks, I guess? I wouldn't call it an "Early Access" title though. To start, the game looks good instead of having lazy fake-pixel trite shit, it has interesting gameplay instead of being a copy of Metroidvania classics, looter-shooter crap and/or Dark Souls num. 141561st, it barely has any crippling bugs, it will be released for real soon, and it done from trustworthy devs.

 

[HoboForEternity]

1 week left

 

[DeepOcean]

but don't expect Fallout 1 levels of reactivity! Maybe next game, with a slightly larger budget. :D

That is fine, most codexians are closet storyfags anyway.

 

[Pyke]

Cloooooooooooooose.

 

[ScrotumBroth]

Mom's spaghetti.

 

[Lyre Mors]

Cloooooooooooooose.

A Wednesday release, eh? Strange.

This just means you're releasing it on Tuesday for backers only, right? RIGHT? (I'm very excited to play your game.)

 

[Pyke]

Cloooooooooooooose.

A Wednesday release, eh? Strange.

This just means you're releasing it on Tuesday for backers only, right? RIGHT? (I'm very excited to play your game.)

We are limited by Steam and GOGs release windows, so its late Afternoon (ZA time) here on Wednesday, and then I believe GOG will be a few hours after. This is platform specific - we get to choose the day, but the platforms choose the time. So the Wednesday was chosen to make sure that everyone would have it by Thursday to play on the weekend. :D

 

[Lyre Mors]

We are limited by Steam and GOGs release windows, so its late Afternoon (ZA time) here on Wednesday, and then I believe GOG will be a few hours after. This is platform specific - we get to choose the day, but the platforms choose the time. So the Wednesday was chosen to make sure that everyone would have it by Thursday to play on the weekend. :D

Interesting. Just found it odd because almost every other major release seems to come out on Tuesdays. Thought it was the Steam standard or whatever.

 

[Pyke]

We are limited by Steam and GOGs release windows, so its late Afternoon (ZA time) here on Wednesday, and then I believe GOG will be a few hours after. This is platform specific - we get to choose the day, but the platforms choose the time. So the Wednesday was chosen to make sure that everyone would have it by Thursday to play on the weekend. :D

Interesting. Just found it odd because almost every other major release seems to come out on Tuesdays. Thought it was the Steam standard or whatever.

You can release any day between Monday and Friday - but all releases are set to the same time (I believe its morning at Valves offices, and then morning at GOGs offices. Makes sense, because if something goes wrong you have people who will be there to help). Lots of indies do *before* Thursdays to get the weekend players. We are doing that, but timed it to Thursday for GOGs release.

Release times are pretty much a crap shoot. I would say that as long as its after mid week you're good. Monday you'll get lost in the shuffle, and Tuesday people may forget you until the weekend because of all the bigger AAA releases. Honestly it all sometimes feels a little silly trying to psychoanalyze when a customer will purchase your game. There are hundreds of blog posts and videos about it, but its all a little pseudosciencey. Like, if its a few days early or late, the game is still gonna be out there. If someone didn't buy the game on Tuesday, there's no promise they will do it on Thursday.

Most important I would say is perhaps to aim for a payday weekend when people have some extra cash and are looking to wind down after a long month. But I don't even know if games in the sub $60 range are susceptible to that. Hell, that may be counter productive. It may be best to release your lower cost game mid month, when people wanna play something new but dont have a lot to spend. Its enough to drive a person mad!

We pretty much just picked our date after we knew we had a good solid build, and could give reviewers enough time to play it to get some well thought out reviews. We probably could have gotten it out a month earlier this year - but I'm glad we waited because we got to spend some extra time on things like our storefront pages, and doing extra work on the art book and wallpapers and stuff.

For indie games, your day one purchases aren't where your success lies - its more about how long AFTER release people will buy your game. We still sell 2 copies of Stasis a day (which blows my mind).

 

[Norfleet]

Interesting. Just found it odd because almost every other major release seems to come out on Tuesdays.

Tuesdays are mainly popular because that's when the medical staff and tractor beam get installed. Also, because it gives them Monday to package the entire thing up and then the rest of the week to manage the ensuing fallout.

 

[Pyke]

https://medium.com/@gofig.news/a-coffee-break-with-chris-bischoff-beautiful-desolation-d6706ba85400

Hi Chris, and welcome to our Coffee Break!
BEAUTIFUL DESOLATION -your latest game since Cayne- is launching on Feb 26th, after 3 years of development. It’s also a complete departure from the horror setting of your previous games.
How does it feel? Is it the same mix of stress and excitement as for the very first time?

Getting close to the launch of a game is a difficult mix of emotions to describe. Perhaps I could compare it to a runner’s high? Nearing the end of a marathon — feet are bleeding, muscles are aching, but you can see the finish line in the distance. You know that it’s just a few more steps and you’ll make it, and all of the aches and pains will be worth it in the end!

After 3 years of intense development, it has also been a cathartic experience to have our BETA testers and internal testers play and react to BEAUTIFUL DESOLATION. This story is something we’ve wanted to tell for some time now. Hearing other people’s reactions and interpretations of the story, characters and the game is exhilarating.

BEAUTIFUL DESOLATION takes place in a post-apo Africa, which is a very nice change from the usual “ruins of an ultra-capitalist America” setting. We can hear Zulu language being spoken in the trailer, land is not barren but still verdant.

BEAUTIFUL DESOLATION is also a tale of two brothers and their robot dog. Is it your personal take on the Fallout-like games, reinventing them as your own fantasy playground?

From Fallout to Mad Max, we both love the post-apocalyptic genre. When we discussed what was in store for the game following CAYNE, Nic and I both gravitated towards this genre, using our own take on it. We thought the ‘Tribal-punk’ aesthetic would give our world a unique flavor. South Africa’s cultural richness made it the perfect setting.

Our idea was to tackle it more like a ‘post-post-apocalypse’. What happens when the next civilization grows and thrives, instead of living in the ruins of the past?

We live in an age of technology and wonder, and have seen first-hand how quickly new technologies can spread and influence our daily lives. It would be impossible not to have this impact the advancement and stories of those in our game too.

Spoiler

What was the creative process behind this unique vision? How did you go from an existing location, one that is familiar to you, to this strange and abundant world?

As brothers, we have a unique artistic relationship. I tend to favor something harder and grounded in reality, often getting lost in the details of “but how would this actually WORK?”, whereas Nic prefers the stranger side of design where function follows form. He was pushing for more oddities. Mixing these together the result is usually something that’s different — but feels like it just could exist.

Using photogrammetry (building up 3D models using photographs of existing objects) was a part of that process. It meant that my need to have things be ‘real’ was satisfied because we were using real world objects, but we could manipulate those assets with regard to scale and color, to make them feel strange.

One of the amazing things about a post-apocalyptic setting is how creative the survivors are, by taking everyday items and transforming their use. A car becomes a throne, road signs become armor, or garden tools become weapons. We tried to incorporate these transformative elements into BEAUTIFUL DESOLATION, while embracing the artistic side of the new groups in the world; a world full of artists, communities where new objects and technology are still being developed.

I think it gives BEAUTIFUL DESOLATION the feeling of a rich history, as well as a world that’s clearly moving forward from the past.

From picture to photogrammetry, or how to capture the lands for BEAUTIFUL DESOLATION.

Examples of photogrammetry used in the game.

BEAUTIFUL DESOLATION is first and foremost a story-driven adventure game — no stats to handle, no skillpoints or combat (but an optional one). The accent is put on the exploration of this vibrant world and the choices one make.
To which extent the choices will matter? Can they completely alter a play-through, an ending?

Venturing away from a linear experience, with BEAUTIFUL DESOLATION we wanted players to feel overcome with a desire to explore this new world. We took that approach too, when it came to the story line. Giving players the freedom to explore their character, his interactions with the world and people he meets.

Each decision made in the game will affect how the world sees you, and its attitude towards you. A choice to mock someone or speak curtly to them may have a small effect, but the player will also face larger world-altering decisions.

So, without spoiling too much, nobody’s play-through will be exactly the same — and that extends to the ending of the game too!

Recently released Disco Elysium took combat out of its gameplay as well, emphasizing on its universe and choices. I find those gameplay choices interesting, getting away from the traditional cRPG experience and closer to a tabletop one. A game in which you’re not bound by strict rules, but instead in a dialogue with the creator(s).

Was this your approach for BEAUTIFUL DESOLATION?

I only recently started playing tabletop RPGs and it has opened up my eyes to different ways of telling stories. It is surprising how little combat actually comes up when playing tabletop RPGs.

Instead of adding in combat as a core design component, we’ve incorporated it as an addendum to the main game; to add variation to the gameplay. Our mini games are tied into the story in an organic way, ensuring the player has a choice to engage in combat or not — and making that choice is as valid as the choice to pursue it. The combat component is tightly wound into the fabric of the story and the it feels natural and makes sense.

Story, character, and exploration are what we wanted to focus on. A dialog-rich experience, with the consequences of the world coming from your choices, rather than your in-game skill.

To fight or not, the choice is yours!

You use your own isometric framework for Unity engine. I know you’ve switched from Visionaire to Unity between STASIS and CAYNE, is it when you’ve decided to build your own tool?
What does it bring that you couldn’t find?

STASIS was done on Visionaire Studio because it was created mostly by me — one person. I’m definitely not a programmer, so I gravitated towards a tool that was artist friendly, and then designing a game within those limitations.

With Nic onboard, after the release of STASIS, I had my programmer! Nic is great, and has been using Unity for many years and programming for decades. This allowed me to focus on the graphics, while he did what he does best. Overall, it made sense to go with a toolset that would allow us more freedom.

You’ve worked on the creative side of another post-apocalyptic game, the cRPG Wasteland 3, with Brian Fargo and the InXile team. Well, not gonna lie, I’m quite a Fargo fan, so it sounds to me like an amazing opportunity.

Did you learn anything valuable from this experience, any lesson you’ve applied during BEAUTIFUL DESOLATION’s development?

When Brian asked us to work with him and his team on the next Wasteland, it was a dream opportunity. In the early days we worked directly with Brian and his writers to put his specific vision into something tangible.

Something I learned when working with the amazing team at "); background-size: 1px 1px; background-position: 0px calc(1em + 1px);">Inxile Entertainment was to go all out — be weird, be strange! I have a tendency to overthink my design work, and they really pushed us to come up with some truly fun and exciting things. We took that lesson into the creation of BEAUTIFUL DESOLATION, and the world is that much more twisted for it!

Key art made by THE BROTHERHOOD for Wasteland 3, the upcoming and latest game from the iconic serie.
You’ve used Kickstarter for both STASIS and BEAUTIFUL DESOLATION.

What’s been your experience with crowdfunding? Do you use it mainly for funding, for the relationship it creates between you and backers, or even something else?

Crowdfunding has huge advantages for us. On top of the funding that allows us to make these games, it gives us a direct line of communication with the people who actually PLAY our games. We read all of the comments and take to heart what our backers say to us — although they’re quite often happy to trust that we’re making the best choices for the game.

Indie development can be a lonely experience at times, so sending out an update and having backers and fans react to the work we’re doing is a much needed morale booster for us! It’s a great feeling of community… of knowing that we aren’t in this alone.

It also helps to have a set deadline to work towards, with people who are there to hold you accountable. Being in a creative field without boundaries is terrifying, so having supporters can help narrow your focus and make sure that you’re working towards an attainable goal.

We’re now getting to the end of this interview and there’s something I’ve been really curious about. I know it’ll keep bothering me until I have an answer!
I love the title of your game. BEAUTIFUL DESOLATION. An oxymoron.
So tell me: what makes this Desolation Beautiful?

Isn’t post-apocalyptic art some of the most beautiful?

Human at war with nature, and in the end, it’s inevitable that nature will win. Every concrete parking lot or paved over road has a flower pushing through the stone. But humans are resilient. We push on, survive, and even thrive in some of the harshest environments known. The human spirit is an incredible thing to behold. Post-apocalyptic settings can illustrate the best and worst that humanity has to offer. And that makes it beautiful.

Chris, thank you for your time!

Before you leave, here’s our classic bonus question:
Coffee, Tea, or Beer? ,,?

Coffee! Lots and lots of coffee!

 

[Lyre Mors]

Oh yeah, Pyke. I forgot but I was going to ask when backers were going to be getting their key emails? Sorry if it was mentioned somewhere else and I missed it.