Games

Interview with Falconia Thomas Sara

Falconia Recently released on November 10th. A new and exciting outlook for rejuvenated aerial combat has been delivered to gamers around the world. This experience provides players with a unique game with unique settings, stories, and engaging gameplay. There is a ubiquity of creativity in every corner of the experience, and the developer behind it, Tomas Sala, has a rigorous and stylized approach to designing games and experiences. Personally, I was happy to interview Thomas very recently to learn more about the development process. Falconia And many Many More.

First, Thomas talked about the experience of launching the game in an unprecedented time when we’re working hard. The launch party has been polluted by the industry for the time being, and he states that “there is no such sense of congratulations,” which is absolutely true. Celebrating the launch of the game represents a great deal of excitement for developers around the world. This is a celebration of communicating our creative vision to the world. In addition, community celebrations. Tomas and Wired Productions take on the launch task Falconia In these times with the utmost dedication and enthusiasm.

A new beginning

I asked Thomas, “What was your inspiration for creating an experience like The Falconeer?”

“It was a very interesting trip. I started this after making some modifications. I always worked in the” work for hire “studio. It burned out and I had a pretty dark time in my life. Falconia was made when I got better. Looking at The Falconeer, the environment and the whole story are really sad and dark tones, There is a bird that is about to fly away. It’s a feeling of wanting to do what I want to do, and I want to be free with what I make. “

I was amazed at the exciting thoughts that appeared in the spoken text. The image of a flying bird is an anthropomorphic of Thomas’ own beliefs, and the connection between freedom and the flowing air that caresses the wings of the Falcon is unparalleled. Falconia is not only a testament to the aerial warfare genre, but also a testament to Thomas’ own health, and above all. He continues:

“I wanted to combine one of the intelligent and artistic ways to make a game with WWI, a World War II aerial warfare game, a love for the game I loved as a kid. Especially what you are not a hero but are playing a campaign, and you have a map and this time you are playing It Ace and other times you are fighting Verdun, and you are someone else because it is historic.

When I was a kid, those games left a huge impression on me. I wanted to reproduce not only the feeling of flight, exploration in those environments, but also the feeling of history, but then it was a fantastic setting. Then Thomas goes on to explain what he wants to read. “I like my fantasy being pretty dark. I read a lot of China Miéville. He is intellectually super-free and not limited to thinking about the” appropriate “things. I’m writing a great story. In that sense, it’s very original. It may be a little difficult to be creative and different, but I love it. different.. I think that was the central thing I wanted to do. Let’s make something different. “

Thomas goes on to talk about the “hero story”, trying to do more than just a “hero” journey or an “antihero” journey.

Falconia is a fusion of his own creative vision, and from someone who developed the famous’Moonpass to Elsweyr‘Skyrim mod; that vision brings the leap and limits of pure imagination emanating from the game Falconia..

Environmental thinking process

I went on to ask and ask Thomas about his time creating a fascinating environment: “Environmental storytelling had such an impact on me, and there was a particular area where my mouth was in awe. That place is” The Maw, “which marks the boundary between the South Sea and the North Sea. Because of this, the water seemed to be sickle-shaped in two. I would like to ask how you came up with the idea of ​​creating this particular element. “

“I usually don’t have a world map I made because I tend to repeat it over and over. I found it a while ago, the same way the player found it. I was flying around and found some towns. And found that I lost a lot because it was a water world. I found it robbed some of the drama by having that flat water One of the themes had already decided that underwater, underwater, caves, or water would open. I was experimenting with these temples, and someone said, “Why do you run a pit? Isn’t it? ” Then I said, “Yes, why don’t I run the trench?” That’s when I noticed — let’s make a big natural feature, I make it as huge as 80 percent of the playable map. It’s a reversal of the mountains. You can navigate with it. It’s a landmark. It is the central part of the story and shows that the world is somehow damaged. All that remains is the relics of the past. Like the sense of tragedy, the beauty of violence, there is also the beauty of tragedy.

The process of creating Thomas for the Falconia environment was enormous. “The Mo” was one of my favorite places and it was a pleasure to hear his thoughts on creating it. Thomas has a keen interest in environmental storytelling and what is better than discussing with the player why the mystery and water are separated?

Combat design and a new era of enemies

Then I went on to ask.The battle feels tremendously fluid, but what was the iterative process of the battle? What was your first core idea about combat? “

“Originally, I love you Crimson Sky, This is a very arcade aerial style, with a World War I atmosphere and not super fast. It’s a very niche genre when compared to the modern genre where every action is always in front of you. It always makes you feel drawn to the right place.

In aerial combat, everyone is trying to hide behind you, so in that sense you have no access at all. It requires situational awareness. I love it, but I can’t access it. When I first thought of doing it, I had a bird. I felt there was something in this. There must be enough people enjoying the gameplay and no one doing it..

When I started, I first came up with the idea of ​​birds and diving and getting energy. Then I was told that I needed to dive and roll, and I saw people playing such Rocket League enthusiastically. You’re physically flipping it over, I’ve added a roll feature that allows you to tap it on a joystick and get the idea of ​​throwing it around a bird at 180 °. It was then that the battle really began to shine. Suddenly, something impossible with a fixed-wing aircraft happened. It can change the battle. “

Thomas created his own spins based on genre constraints and not only spun them, but shattered them to take the genre to new heights. Pretty literally. Then I asked about the enemy’s design: “In my opinion, the designs of enemies, from pirates to flying beetles, dragons and manta rays, are absolutely amazing. What do you particularly like? What do you want to make for your players? feel From all enemies? “

Thomas said: “My brain is often distracting, and even when I’m at work, for example, I don’t get regular rewards every two hours. I’m distracted. It’s the world that doesn’t bore me. To make something, or to make something visual. One day, I wake up and say, “The eel is flying.” Is that cool? I’m going to make it! I need something different, flying eels, okay! I first made a razor beetle, it makes sense, you go through all the flying creatures, there may be bats in future expansions. Reptiles, we have dragons, we have insects, and you have birds.I make a giant sea eel, it’s actually the coolest creature I know, I added some guns to it, animated the tail, and it looked Whimsical It’s cool! That’s what I really like.

There is also a huge crab that fits there. It’s what I woke up to “a giant crab with a gun? A blockbuster? Yeah!” I want to make more of those giant enemies, and I made some more, how many in the world are you? You can find that Mosasaurus. At the moment, they’re just snapping to you, but future content updates will probably attack shipments when escorting it. I wanted each chapter to have a unique sense of enemy.

To be honest, in this game you can put whatever you like and put it there.

Thomas’s enthusiasm is refreshing to hear. I replied: “I think it’s great. Some might call it a” wacky “idea, but the aspect of integrating these ideas with yours into one fusion of the game is by having all these different elements. , Can really attract players. I think it’s great for you. Come up with these ideas and put them into practice. “

Final idea

Thomas hasn’t made any concrete plans for the future, but he said: “There is a specific area I want to see. There is a quality of life that people are looking for, such as pinning on a map or map-based fast movement. I have quite a few enemies to get into the game. I made it. One was Kraken. Every game requires Kraken. The world itself will expand.

I hope there will be more games if I go there six months later. “

I’m excited to know what’s waiting for The Falconeer in the future.

After discussing his exquisite previous Skyrim remodeling work, I left Tomas with the last question. His favorite moment is creating an airship.Moonpass to Elsweyr‘.

“”Creativity is often seen as a guide to self-expression in our world. Creativity is very important in the gaming industry. What does it mean to be “creative” to you? Do you want to have a creative impact on the world? “

“I want to be different freedom. Be aware of where you want to go and visualize it. I think it’s a great gift. I work for others and hone their skills I developed it, but Now i feel free.. I have the ability to act on it, and I am very grateful for the trip. It’s creativity for me, the complete freedom to take your mind to some interesting place and hopefully someone. We enter into these mental landscapes.

After all, for me, what I tried to do with The Falconeer was making games before, but I think it was 100% for the players. They were about the player’s journey, you made them for the player to give them the best experience, but for Falconia it’s a much more shared experience.You are stepping in when you are playing a game mine world.I want you feel It’s still there, that you are in the creation of another human being. It doesn’t always work, but if you want to do art, that’s the problem. But for those who somehow connect and get that little emotional trigger, it’s actually a form of communication.

It’s a shared experience, I enjoy it, I think it’s different.

What kind of mark do you want?

I ….. I want you to know, you always want to be seen, we are anxious and hurt humans: all of us. Especially artists. We want people to see the game, love the game, and love the vocabulary, violence, explosions, heroes, and power fantasies of the game. Still, you can not only criticize it, but also create artistic expressions. Unique solo developers and artists have these creative visions.

That is wonderful. Some people may procrastinate when playing a game that isn’t an easy entry adventure in popcorn style, but they know a very personal experience and hope that the marriage will actually work. I want people to see it. Fun, and add something.

That’s what I tried to do and see if I succeed.

Conclusion

Tomas has activated the genre with The Falconeer. I am honored and grateful to have had the opportunity to talk to him about the development process. He is a real, very kind, enthusiastic and fun person to be around.

Would you like to experience Thomas’ creative vision? Get a copy of The Falconeer here.

Interviewing the mastermind behind The Falconeer: Tomas Sala

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