先在這說明遊戲的子機(Submachine)和子網路(Subnet)兩個特殊名詞。
簡單來說Submachine是一個個異次元空間，然後Subnet是Submachine的總稱。
地下基地0:古蹟
>結尾
你獲得了遠古的智慧水晶…
智慧給了你無窮的力量，使你找到了自我的人生道路…
好好利用它吧。
地下基地1
>日記1
去年夏天，我到肯特的大瀑布下露營。這對我來說是一次意義重大的旅行，雖然其他人都不能理解。確實，我是在旅程中失去了左手，但管他的呢，我發現了自己其實擁有第三隻手，一隻隱形的手。自那之後我便開始學習如何運用我的”業力之手”，並很快地將這股力量運用自如。
當人們開始覺得我像是瘋子或怪胎而疏遠我時，我並不感到意外。不過有趣的是，我無法像他們說明真相，這就像是跟一條金魚解釋太空旅行一樣沒有意義。所以我只好試著…
– What first sparked your interest in making your own games?
There came a moment when my computer skills grew sufficient enough to comprehend the then-emerging game building software for noobs and not-really-programmers, meaning – me. The year was 2001 and the software was ‘the Games Factory’. Though it had it’s limitations, I was able to create my first platformers using my own graphics (strangely enough – it was graphics from my comic book “the Morfs” which resemble Daymare Town. So even back then I was kinda going in the right direction). Of course things got a bit more advanced once I was introduced to the Macromedia Flash software. That was in 2003. Still hooked on platform games I discovered website lazylaces.com which was a hub for escape games, unfortunately it’s no longer active. After playing some of those games I thought: “Wait. I can do this better”. And I created Submachine. The rest is history.
– Is making games now your full-time job?
Yes. It’s been this way since 2008, so for more than half of a decade I’m doing nothing but my games to put food on my table. Best half of decade ever.
– Are you autodidact or did you follow art education? Are there other games or game designers that you feel have strongly influenced you?
The closest I got to actual artistic education was studying architecture on technical university. That actually gave me the ability to look at game design from a slightly different perspective. That’s why I call myself games architect. Other than that – no, I never attended any artistic school nor taken any classes or courses. However it took me 15 years to finally learn how to draw so that it doesn’t look like crap. I already knew how to tell comic book stories by then, so it clicked nicely.
– If you had to name one of your games you’re most proud of, which one would it be and why?
I think that would be Submachine 2. It was the largest leap in my game dev advancement. Of course, each game that came after that was more complex and better, but this one marks that moment when my abilities just blew up. My eyes opened back then.
– Do you have an entire series planned out before you create your first chapter or do you continually expand a series?
No, of course not. That would actually be pointless and kind of stupid. You see, when you create a series, new ideas pop up in your head from time to time, and planning ahead would mean disregarding those ideas. We’d loose a big chunk of content and storyline this way. I create my games the same way I create my comic books. Often I start the story and don’t know where I’ll end up with it. Good example would be Daymare Town 4. Through out almost entire development I had a different ending in mind. But the game evolved is such direction that I found a new ending, the one that;s better suited for the situation we were currently in. Normally a player doesn’t see that, but each game is jumping through countless parallel universes, where in each the storyline takes a different turn. My job is to float with it and steer the story in the right direction.
– What was the inspiration for the Submachine series? Would you love to design actual machines?
The works of Amanita (Samorost mainly), Wada Che Nanahiro (Memory Park, Treasure Box, TCB Museum), also Crimson room, Viridian Room and MOTAS. All of them I learned through lazylaces.com. Those were masterful works, I never imagined competing with them. But besides those there were loads of poorly designed and drawn games – that’s where I stepped in. The actual machines? No, I don’t think so. My thing is drawing and telling stories really. Not creating installation art.
– Is submachine 10 going to wrap everything up or is it just going to leave us with more questions?
The tenth Submachine wraps up the main storyline. Which is – us following Murtaugh and Liz through time, space and dimensions. Will it explain everything? I doubt that. That’s almost impossible. If it was to explain all questions then it would be a book, not a game. And that’s why I leave door open for possible submachine standalone games after finishing the main run. Those standalone games would try to answer some burning questions left out from the final game.
– What prompted you to choose the two-color design for the Daymare Town series of games? Is the design process for these games very different/faster than your full color games?
The main idea for the Daymare game was this: how about a game that’s so damn hard – no one will be able to say it’s too easy. How about making it in sketches only. By then I also already knew Nanahiro’s work, and Daymare is kind of derivative from his Treasure Box. Is it faster? No, not at all. On the contrary – when making a color drawing I can just fill some spaces with color and not bother with them anymore, while here – I have to render each surface, each nook and cranny with just lines, shadowing, pores, structure and so on. It’s actually harder and takes longer than, let’s say, creating a submachine view.
– Will we ever see something photography inspired like the 10 gnomes series again? Do you do a lot of photography?
Well, 10 Gnomes are not dead. It’s an ongoing series, since the main project ended in 2008, I’m creating one additional game yearly. Not sure if I’ll be able to keep it up, but for now – it’s going well. Do I do a lot of photography? I don’t think so. Right now everyone with a smartphone is a photographer. It’s nothing uncommon. I am not a photographer, I’m just a dude with a camera.
– Are you planning to bring your games to mobile? Is it helpful when we buy the HD versions of your games?
The mobile market is very unpleasant and unforgiving. When you’re not backed by a large promotional campaign, you’re toast. We learned that the hard way when Pastel Games went mobile in 2008 and in less than a year went belly-up. But – we might try again, this time with a better plan. I can’t really talk about this, but something is brewing. As for HD games – those have literally nothing to do with mobile versions. Buying HD versions is very helpful though. Thanks to those purchases I’m able to live, feed my family and work in peace not bothered by some additional work that I’d have to do for somebody else for profit. I’m self-sustaining entity and that’s something very important to me. The creative freedom that comes with it is priceless. Big THANK YOU goes out to everyone who bought a game from me. Or a comic book. That’s also possible, you know.
– Can we expect more Pastel Games from other artists or are you mainly concentrating on your own games now?
Well, that’s a good question, but addressed to a wrong person. You’d have to ask the creators of respective series. We’re not pushing anybody to work with us and we don’t actually manage those people. Once they do something and it lands on my desk for me to program – then I do it and the game is out. It was always like this, lately those people probably have something more important to do. From what I’ve heard, the Fog Fall 5 is in the works (and has been for the last two years, so there).
– Are you playing a lot of games yourself (web/console/mobile)? What recent games did you enjoy?
Not really. I don’t have a time. Especially since the beginning of 2014 was jam-packed with work (Submachine 9, new comic book, now JayisGames game). I didn’t play anything since January and that saddens me. I have a backlog of games waiting in line for me to play them. They’re even installed on steam, just waiting, updating from time to time…. This line includes second season of the Walking Dead, Metro: Last Light, Hard Reset and lately I added Transistor… The only exception is “the Child of light” – I’m playing that with my daughter in co-op on our PS3.
– What can we expect from you in the (near) future?
In the near future – let’s talk the remainder of 2014. You can expect the entire Submachine series in HD, as well as Daymare Town in HD. That’s plan A. Besides that – probably new Gnomes game and for sure Where is 2015. Besides that – another update to the Submachine Universe (reaching for the 100th location). Comic book wise – I just released a book, but I’ll be making another one this summer. It should be out in October. That’s another book from my Revolutions comic book series. This time it’s entitled “Revolutions under the snow”. That’s all I can say for now. So, busy spring, busy summer and busy autumn. I’ll rest in the winter. No biggie…
by: Bart Bonte
written by Ida Larsen-Ledet
Welcome to the Submachine
An odd welcome. A cubic wooden room with an art-like construction of undeterminable origin on the wall. In the cubic wooden room next door, a vertical pipe with a hole in it. In the room adjacent to that, a grandfather clock without a clock face. Every room you may enter looks the same and contains seemingly arbitrary objects. The only word of welcome or explanation you got was the title menu.
Oh, and there is no exit. Welcome to the Submachine.
przykładowe plansze | sample pages | cover closeup | watch trailer
start | finish | ink closeup | sketches | O | best of 2014 award
exhibitions: Bialystok | Birminham
W 2007 roku powiedziałem, że kontynuacji serii Blaki nie będzie, ponieważ wszystko co było do powiedzenia w tej formule zostało już powiedziane. Pięć lat później okazało się, że to kompletna bzdura, a życie toczy się dalej. W środku tego albumu znajdziecie również odpowiedź na pytanie dlaczego pomiędzy kolejnymi tomami serii musiało upłynąć ponad pół dekady. W dużym skrócie – przedstawiamy drugą fazę życia Blakiego. Lata średnie.
format: A4 | ilość stron: 64 | wnętrze: czarno-białe | okładka: twarda
oprawa: szyta i klejona | ISBN: 978-83-63892-31-9
—-
In 2007 I said that there won’t be continuation of Blaki comic series, because everything there was to say has already been said. Five years later it turns out that it’s utter nonsense and that life just goes on. Inside this album you will also find an answer to the question why it had to pass five years since the previous installment. Long story short – here’s the second phase of life of mr. Blaki. The middle age.
size: A4 (21×29.5 cm / 8.5 x 11.5 inch) | number of pages: 64 | inside: black & white
cover: hard | binding: sewn & glued | ISBN: 978-0-9929082-1-8
—-
Recenzje:
Reviews:
Końcówka była hardcorowa. Tak zażartej walki o miejsca w finałowej 15-tce nie spodziewał się żaden z jurorów. O wygranej jednych i przegranej drugich zaważyły setne i dziesiętne! Ostatnie godziny głosowania na zgłoszone do konkursu Indie Basement 2.0 gry to walka nerwów w gronie twórców oraz spory stres i rozterki wśród członków międzynarodowego jury. Dominik Głowacki i przewodniczący zespołu sędziowskiego Johannes Wadin nie mieli łatwego zadania, bowiem w wyścigu o dwa miejsca w finale prześcigały się nieustannie cztery idące łeb w łeb produkcje. Po wielu analizach, TOP 15 konkursu Indie Basement 2.0 przybrało ostateczną formę:
Kolejność najlepszych gier konkursu Indie Basement 2.0 jest alfabetyczna. Już niebawem ujawnimy nominacje w poszczególnych kategoriach. Twórcy finałowych gier zawalczą o następujące nagrody: licencję UNITY PRO, polską i angielską lokalizację gry ufundowaną przez mocap.pl, pakiet wartości 1500zł na udźwiękowienie swojej produkcji od firmy SoundIT, tablety Pentagram Quadra 7 Ultra Slim oraz słuchawki Plantronics. Jeśli chcesz poznać zwycięzców, którym nasza redakcja ufunduje pamiątkową statuetkę i dyplomy, przyjedź na retro imprezę Pixel Heaven 2014 do Warszawy już 31 maja 1 czerwca! To właśnie tam odbędzie się wystawa gier i uroczysta ceremonia wręczenia nagród z udziałem 1ndie World i jurorów!
—- u p d a t e —-
W zeszłym tygodniu po długich naradach wyłoniliśmy wreszcie finałową 15-tkę największego w Polsce konkursu dla twórców niezależnych Indie Basement 2.0. Dziś mamy dla Was kolejną istotną informację – jury wybrało nominacje w kategoriach. Ogłoszoną w materiałach promocyjnych kategorię Fresh Air zastąpiła kategoria Best Art. Już 1 czerwca w Warszawie podczas Pixel Heaven 2014 odbędzie się uroczysta ceremonia wręczenia nagród z udziałem jurorów, redakcji 1ndie World, organizatorów eventu Dominika Głowackiego i Roberta Łapińskiego oraz sponsorów. Wówczas też dowiemy się, która z finałowych gier wygrała nagrodę Grand Prix i miano najlepszej gry konkursu Indie Basement 2.0! Poniżej znajdziecie nominacje: #BEST GAMEPLAY
#BEST ART
#BEST SOUND
#BEST STORY
Wszystkim finalistom redakcja 1ndie World życzy powodzenia!
