A Coffee Break with: Chris Bischoff, BEAUTIFUL DESOLATION
When you hear about a new THE BROTHERHOOD game, you already know what to expect. In only two entries — STASIS and CAYNE — Nic and Chris Bischoff have created a strong identity for their studio: Quality writing, jaw-dropping isometric scenes, a cinematic approach to storytelling. Feats made even more exceptional given the small size of the team.
Originally thought to become a short film, BEAUTIFUL DESOLATION’s concept evolved to be their new adventure game. From long walks in their area came the post-apocalyptic tribal environment, the family dog morphing into the canine robot companion. Gone was the horror from their previous productions, replaced by the stunning, brimming-with-life landscapes that compose this dystopian South-African setting. And at the core, two brothers, leading you on a journey of wonders across the not-so-foreign world they’ve created.
We’ve had the chance to share a Coffee Break with half-of-the-duo Chris Bischoff, and learn more about the development of their latest commercial game.
Grab a mug, get comfy, and spend a few minutes in our company :)
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.
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.
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.
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 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!
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!
BEAUTIFUL DESOLATION releases on February 26th on PC, Mac and Linux.
It will be available via Steam and GOG.
You can follow THE BROTHERHOOD’s updates via Chris Bischoff’s Twitter account, Facebook, and/or subscribing to the newsletter.
And finally, follow us on @GOFIG_news for more indie games’ news ;)
