Introducing Scrolling Shoot ‘Em Up Xenoraid on PS4, PS Vita

Hello everyone! I’m excited to be back on PlayStation.Blog to announce Xenoraid, a vertically scrolling shoot’em up with a unique feel driven by a great combination of features.

I’m personally in the driver’s seat of Xenoraid, and the whole concept of the game stems from the fact that I personally enjoy shmups. Or at least the shmups that preceded the bullet hell movement. To me, bullet hell games feel too much about memorization, dodging, and extreme precision. I prefer my shoot ’em ups to be about good old-fashioned blasting enemies to bits!

Xenoraid has minimal bullet hell traits. We set out to innovate on how we’d get the focus on the act of shooting, and make the game about destroying enemies in a deliberate and effective way. The first thing we did in the original prototype was make the starfighters turn lightly when moving left and right. In other words, the fighters don’t always point towards the top of the screen, which in turn grants the player the ability to fire in angles. It felt immediately great, and brought aiming into the mix of game mechanics in an awesome way.

When we had the aiming mechanics down, we took a hard look at shooting. It dawned on us pretty quickly that in order to make shooting matter, squeezing the trigger had to be a conscious decision. This, almost by itself, gives a cease fire a role to play as well.

After trying a couple of things around these ideas, a weapon overheat system was born. This means that in Xenoraid you can spray and pray, but you won’t be able to do that for very long. Constantly blasting will overheat your guns, and they’ll lock down for several seconds to cool down. This instills a sense of pressure on the player to actually aim a bit, to hit and destroy the intended targets instead of keeping the trigger down and counting on hitting something eventually.

The weapon overheat mechanic also works beautifully with the third major idea we wanted to incorporate. In Xenoraid the player goes on missions with four starfighters, and gets to switch between them at will. Having guns locked due to overheat is a great reason to switch in a fresh fighter. Other valid reasons include being on the verge of being destroyed due to taking too much punishment, or needing to bring in the big guns of another fighter to take down an enemy miniboss.

I, and everyone at 10tons, would love to hear your thoughts on this! Xenoraid will be released this year.

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Microscopic Survival Game VEV: Viva Ex Vivo Coming to PS4

Hi everyone! Souha here from Truant Pixel. We’re proud to announce that our indie game VEV: Viva Ex Vivo will be launching this summer exclusive to PS4 with planned support for PlayStation VR.

The Premise

Viva Ex Vivo’s tag line is “survival on a microscopic scale.” The game features a unique take on arcade-style survival gameplay.

The player assumes the role of a busy microbiologist in the not-so-distant future, whose research partner has taken off for the week for some much-needed R&R. Players will find they’ve been tasked with sifting through their partner’s notes, and completing their team’s work: researching biological samples using a nanoscale artificial organism capable of surviving in a multitude of familiar and foreign microscopic environments.

The VEV 1.0 Module

Dubbed the “Virtual Eukaryote Visualizer,” or VEV for short, this tiny, artificial protist acts as a surrogate explorer, similar in many ways to the unmanned aerial vehicles, or UAV drones, that we are familiar with today.

Rather than being a remote-controlled aircraft, however, it is a durable biological machine, remotely-controlled through an augmented reality computer simulation that allows the user to see the surrounding microscopic environment, only on a massive scale. Worlds normally smaller than the head of a pin become vast expanses to be navigated, owing to the technology of the quantum confocal microscope, or QCM, hardware that powers the VEV interface.

VEV Modules in the Calibration Matrix

A drop of water or a drop of blood becomes a vast, open field for players to explore, where they need to collect valuable organic particles and avoid competing and predatory organisms while testing the limits of the VEV module. As players gather organic particles from their surroundings, they will have two options to harness much-needed biological energy:

1. They may choose to absorb each bit of food to harvest the energy as soon as possible.
2. They take a gamble and delay absorption, aggregating the particles on their VEV’s surface. This allows for weak nuclear bonds to form between the compounds, resulting in “molecular crosslinking.” This, in turn, increases the efficiency of absorption, and thus increases potential energy multiplier to a total much greater than would be collected by absorbing said particles individually.

The downside to crosslinking is the risk of losing it all to aggressors in the environment.

Gameplay

Gameplay progression in Viva Ex Vivo is straightforward: explore your environment, find food, and avoid predators. Your ultimate goal is to gather the maximum amount of potential energy possible, and maximize your VEV’s functional lifespan within the time limit. Everything you do, from your swimming speed to your encounters with indigenous organisms, affects your base energy consumption rate.

Players will find themselves in a race against time and a race against entropy as they explore each sample, harvest energy, stay alive, and build that elusive high score.

Though we present VEV as a decidedly laid-back experience (players cannot harm or direct hostile actions toward other creatures), the game is by no means easy. All elements within every biological sample, including composition of the environment as well as placement of food and indigenous life, are randomly generated with each level load. Small ecosystems, including creature behaviors, tend to occur sporadically within each sample. Organic particles have a tendency to spawn within caves and other nooks and crannies, though they may also be found floating about in the open should they be displaced by a wandering microbe. In Viva Ex Vivo, feast or famine may be around every corner.

Stages

There are two kinds of stages in Viva Ex Vivo — “in situ” and “ex vivo.” For our purposes, in-situ refers to those samples in which you are viewing indigenous organisms in their native environment, such as a drop of pond water or a dollop of mud.

Ex vivo samples are samples of organic tissue taken from a larger organism, such as a drop of blood or a sample of cerebrospinal fluid. Between the two sample types, ex vivo samples will prove to be the more challenging, as elements of an organism’s immune system carried within the sample will see the VEV as a foreign invader and attack it.

This occurs because VEVs are created by hybridizing molecular machinery of common cellular species (such as staphylococcus and pseudomonas) that are infectious in larger organisms. These derived elements still contain antigenic potential which may activate a host tissue’s residual immune responses.

In Addition

Viva Ex Vivo holds additional content for those players skilled enough to unlock hidden “research goals” with unique bonus levels for added value. Beyond these four sample types, the game also features added simulated calibration and challenge modes, based on the popular system software themes that your team has currently installed on their Quantum Confocal Microscope hardware. These modes will also provide players insight into the personality of their lab partner, known only as “S,” whose disarrayed notes cover their mutual workspace.

Viva Ex Vivo features a professionally composed mix of ambient electronic music, designed to fit the mood of each individual stage. Each song features evolving and dynamic elements based upon proximity to key elements within each stage, from the amount of accrued mass on your VEV’s surface, to the ominous drumbeats which signal approaching enemies

Viva Ex Vivo has been designed from the ground up for easy transition to VR. This includes everything from the control scheme to the 3D interface which is presented to the player at all times. VR mode will be offered as a free upgrade once it is available.

In Closing

We appreciate the chance to finally share our game with everyone. As a first-time effort for our tiny company (Really, it’s just the three of us!), it has been a truly educational experience. We have other, larger projects in the works which we hope to bring you in the near future!

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The Drop: New PlayStation Games for 3/1/2016

Ladies and gentlemen: freedom is at stake. But not to worry, because an unstoppable troop of bros has arrived on PS4 to protect it. It’s time for Broforce.

Command a variety of bros as you battle enemy soldiers, aliens, and even demons in this over-the-top, side-scrolling shooter. Unleash devastation across fully destructible levels with explosive weaponry and razor-sharp melee attacks. Be the bro you were meant to be.

If you’re not feeling bro-ish, have no fear — there’s a huge lineup of new games coming to PlayStation this week. The branching thriller Heavy Rain launches on PS4 alongside the gory and grotesque fighter Mortal Kombat XL.

For the full list of new games on the way, head below. And enjoy the Drop!

New Releases: March 1st, 2016

Alekhine’s Gun

PS4 — Digital, Retail

You are Agent Alekhine, a highly skilled Russian assassin working alongside American CIA agents during the Cold War. As the tension of a nuclear standoff grows with each passing minute, the fate of America — and quite possibly the world — lies within your hands.

Broforce

PS4 — Digital

When evil threatens the world, the world calls on Broforce — an under-funded, over-powered paramilitary organization dealing exclusively in excessive force. Battle alone or online with four-player co-op and bring down anything that stands in the way of freedom!

Croixleur Sigma

PS Vita — Digital (Cross Buy with PS4)

Wielding magic blades, four girls fight back successive waves of monsters in this exhilarating hack-and-slash action game. There are various battle styles and you can mix and match, and four weapons to form your own play style.

Gunscape

PS4 — Digital

Gunscape provides easy-to-use tools based on a block-placement interface everybody’s already familiar with to create all types of maps. Don’t like building stuff? Then just blast your way through hordes of monsters or duel with other players!

Heavy Rain

PS4 — Digital

Heavy Rain is an ambitious project that tells a complex story through contextual actions and realistic visuals. Embracing the idea of “interactive storytelling,” the game is built around an emotive and compelling proposition: “How far would you go to save someone you love?”

Ironcast

PS4 — Digital

Ironcast is a game of steampunk mech combat, set in a fictional version of the Victorian Era. Players take control of a 7 meter tall walking vehicle called an Ironcast. You must face off against an invading force of enemy Ironcast in order to defend 1880’s Victorian England.

McDroid

PS4 — Digital

McDroid is a combination of tower defense and action. You’ll have to build your base and defenses, harvest resources, and discover numerous sci-fi weapons as swarms of alien enemies come at you. Stay on your toes all the time!

Mortal Kombat XL

PS4 — Digital, Retail

One of the best-selling titles of 2015 has gone XL! Komplete The Mortal Kombat X Experience with new and existing content. Includes the main game, and new playable characters Alien, Leatherface, Triborg, and Bo’Rai Cho. Previously released playable characters include Predator, Jason Voorhees, Tremor, Tanya, and Goro. Also includes the new skins pack Apocalypse Pack and all previously released skins packs.

Pirate Solitaire

PS Vita — Digital

Outwit the old sea dog and seize the pirates’ gold! Play solitaire right on the deck of the reavers’ ship. Levels of varying difficulty promise several hours of exciting gameplay, and unique golden cards make the game even more interesting.

Royal Defense: Invisible Threat

PS Vita — Digital

The castle needs a hero as hordes of trolls are surrounding it! Build towers, save money, learn spells, and keep the enemy away. Follow the exciting story of the dwarven kingdom’s eternal struggle against the troll hordes, who want only to crush the dwarves and claim their territory.

Screencheat

PS4 — Digital

Screencheat is a split-screen, first-person shooter that centers around the conceit of screen cheating/peeping/looking (looking at the screens of other players to locate their position). In Screencheat all players are invisible, turning this controversial tactic into the core mechanic of the game.

Square Heroes

PS4 — Digital

There’s nothing more satisfying than mowing down your buddy, hearing them curse, and then doing it again just to rub it in. Square Heroes has been driven by a desire to recapture that feeling and share it with others. It’s a great party game: easy to pick up, but hard to master — and most fun when played with friends.

• Bas – Too High To Riot
• Mike Snow – III
• Violent Femmes – We Can Do Anything

• Alvin and the Chipmunks:The Road Chip
• Carol
• Legend

• Gotham- Feb. 29 at 8/7c (FOX)
• Blindspot- Feb. 29 at 10/9c (NBC)
• Ink Master- March 1 at 10/9c (Spike)

The information above is subject to change without notice.

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Friends, Foes, and Sellswords: Salt and Sanctuary Multiplayer Detailed

If you’re not yet familiar with us or our game, hi! We’re Ska Studios, a husband and wife team that’s been making deliciously bloody indie games for like eight years now (what!?). We’re working on a game called Salt and Sanctuary, an insanely ambitious platformer that aims to capture the “Soulslike” genre, faithfully reimagine it as a mechanically solid 2D platformer, and explore and develop the interplay of wonderful mechanics and themes like difficulty and danger, stylistic action and complex combat, and diverse, branching, and versatile character building.

One of the coolest things about RPGs is the party dynamic, but up until about a year ago Salt was purely a game of solo exploration. We wanted to explore cooperative multiplayer, and perhaps some PvP, but how? Online multiplayer was (and is still) a crazy dream of mine, but trust me: online gameplay is an absolute nightmare to implement anywhere, and PS4 development is still pretty new to us. So we settled on the idea of sellswords.

Salt and Sanctuary centers around sanctuaries. A sanctuary takes on the role of a bonfire, archstone, Hunter’s Dream: it’s a place of rest, replenishment, and — when things go south — respawning. In Salt and Sanctuary, sanctuaries can be populated with NPC villagers. Tiny statues are scattered throughout the world, and placing a statue on a sanctuary’s altar permanently summons a villager of that type to the sanctuary.

The sellsword facilitates cooperative play. Placing a sellsword statue on the altar will summon a sellsword. Telling the sellsword that you’d like to “Hire” prompts a second player to pick up a controller. This player now gets to pick anyone in his or her roster, jump in, and get jolly!

Having a companion present tweaks a few things: enemy health is scaled up a hefty bit, and enemies will do a little extra damage. Prayers of healing aid cooperative players within a radius. A Revive prayer might even make an appearance. The synergy is something I wanted to experience in Salt years before implementing coop, and Michelle and I always tend to balance out our builds like we would in Dark Souls 2: tank and caster style.

But the sellsword doesn’t just connect adventurers with brave companions; he also sells Eggs of Wrath. Crushing an egg in the universe of Salt is a tradition of war, meant to signify the commencement of battle. As such, crushing an Egg of Wrath immediately initiates PvP. Once battle has begun, it cannot end until someone dies. But fear not! Your fallen companion will be found alive and well in the next sanctuary or shrine you visit.

PvP in Salt and Sanctuary is an interesting beast. Not all fights will be fair, but all fights tend to be interesting. Stamina and focus (spellcasting) management, parries and counters, crucial I-frames, and weapon ranges are all super important. And because of the nature of the Egg of Wrath, you can pretty much spring PvP on your ally anywhere. Boss fight? More like three-way free for all! Need a human punching bag to try out a new weapon you just crafted? Crush that egg.

We’ll be letting you know when Salt and Sanctuary will be launching really, really soon. In the meantime, we hope you enjoyed our little foray into Salt and Sanctuary’s awesome multiplayer mechanics.

– James and Michelle, Ska Studios

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Double Dragon II: The Revenge Launches Today on PS4

Double Dragon II: The Revenge is an action game that was released by Technos Japan in 1989. In order to avenge your girlfriend Marian, Billy and Jimmy use their signature move So-Setsu-Ken to challenge mysterious armed forces. In the game, players can use even more skills than the previous entry in the franchise which leads to more intense battles.

The Arcade Archives series has faithfully reproduced the masterpieces of classic arcade games on PS4, while taking advantage of the additional features PS4 offers. Players can share screenshots and video with the Share feature, and can also compete with other players online to improve their standing on the leaderboards.

To celebrate the launch of Arcade Archives Double Dragon II: The Revenge, we spoke with the original Director Yoshihisa Kishimoto. Enjoy!

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Q: Congratulations on the distribution of Double Dragon II worldwide. 27 years have passed since its first release but even now, fans all over the world can play it on PS4. How do you feel about that?

A: Thank you. I appreciate all the Double Dragon fans in the world! We completed the game because the staff worked tirelessly, so thank you to the staff as well.

Q: Did you face any hardships while developing Double Dragon II?

A: Originally we had made plans to change the ROM using the arcade board of the original Double Dragon. So it’s more like “Part 1.5” rather than “Part 2.” Because it was produced in such a short time with so few people (about three developers for three months), we could not change the basic structure and didn’t have time to do all that we wanted. Even still, we made big efforts and added new characters in that limited time.

Q: You’re the forefather of many masterpieces in gaming, including the Renegade series. Amongst all your work, do you have strong feelings towards Double Dragon?

A: Double Dragon is my masterpiece and a precious work that helped spread fighting games and brawlers across the world. If you can be successful in the United States, you can be successful anywhere. Just like the world of film, it’s the same in video games. My first aim was to make a hit in the United States — so this was a dream come true.

Then, Double Dragon was filmed in Hollywood several years later. So my second aim, to turn my game into a film, was also accomplished.

Just as Bruce Lee — whom I respect — spread fighting to the world in Enter the Dragon, I think Double Dragon achieved something similar in the game industry. So I thank President Taki of Technos Japan Corporation and all the original staff.

Q: How did you come up with the unique idea for Double Dragon?

A: I originally had the idea of using items while I was developing Nekketsu Koha Kunio-Kun [the original Japanese version of Renegade]. When you defeat an enemy in Renegade’s first stage, he drops a stick. So I thought I could make a new fighting system by allowing players to pick this stick up. That’s how I came up with the idea to adapt this item system into a side-scrolling brawler.

Q: Renegade was set in Japan, but that changed for Double Dragon. What inspired this shift?

A: Things like Fist of the North Star, and also Bruce Lee and Mad Max — so I had great variety of influences. I appreciated their sense of violence and action, so I also made a car action game called Road Blaster when I was at Data East.

Q: From the success of Double Dragon, a new genre emerged in gaming — the side-scrolling brawler. Not only did you make a hit game, but you made a new genre!

A: Double Dragon did help create a genre, and I was confident it would be a big hit. I thought I could lead the world for years while producing that game.

Q: I suspect that the work out of Technos Japan at that time spawned many new ideas. Do you agree?

A: I was in charge of planning, and I always settled on themes of something new, novel, and stimulating. I aimed to be the first in the world. One of a kind. So that was our theme; we strove to make the world’s first game systems, settings, and so on.

Technos Japan Corporation had already produced many world firsts when I entered the company. The world’s first wrestling game The Big Pro Wrestling. The world’s first competitive fighter Karate Champ. The world’s first dodgeball and volleyball game.

In-game purchases are popular nowadays, but Double Dragon III was the world’s first game to use that system — 25 years ago. Our company had a strong, challenging spirit.

Q: What was the Double Dragon II development team like back then? What kind of people were they?

A: The members of the staff were new, but they were all cool so I felt good about our work. They were all otaku. The person who wrote the animation we used used to be a top-ranking animation director at his animation company. He also designed the enemy character Brunoff.

Q: Double Dragon has been a huge hit all over the world. Did you expect that degree of success?

A: I was confident we would make a big hit while I was drafting the business proposal. I have been working in games for more than 30 years. I’ve directed more than 50 titles, and produced more than 300. But Renegade and Double Dragon are the only two games I felt would be hits during their development.

The 10 years I spent at Technos Japan Corporation are the most precious years of my life.

Q: Finally, please leave us with a message to all the Double Dragon fans of the world.

A: We are planning to develop new Double Dragon games, so please look forward to them!

This article has been edited for clarity.

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The Church in the Darkness Coming to PS4

Games are perfect for creating complex worlds and stories to get lost in, particularly action games where emotions are high and your moment-to-moment decisions mean life or death. As a developer I like telling unique stories and watching as players change the narrative based on what they do.

I’m happy to finally announce our game The Church in the Darkness, coming to PS4. And it has exactly that kind of thought-provoking world.

The Church in the Darkness is set inside a religious cult in the 1970s. The Collective Justice Mission is led by the charismatic and intense Isaac & Rebecca Walker who preach a progressive socialist agenda. They are labeled radicals, feel persecuted by the U.S. government and fear for their safety.

So they move their congregation somewhere they think they can set up the ideal socialist utopia: the jungles of South America. There they build Freedom Town. But relatives left behind in the United States become worried: what exactly is going on at this compound in the jungle?

That’s where you come in. As Vic, an ex-law enforcement officer, you set out to infiltrate Freedom Town to check on your sister’s son, Alex. The core of the game is top-down, action-infiltration gameplay in the open map of Freedom Town. You get to play the way you want — you can play precisely and avoid detection completely, you can get the guards out of your path using non-lethal methods, or you can kill anyone who gets in your way.

But you’ll want to make those choices wisely, because when you arrive in Freedom Town you don’t know for sure — are these people just separatists wanting to live their own life in peace, or are there darker things happening here? The game is meant to be highly replayable, and each time you play the motives of Isaac and Rebecca will change. You soak up the story through the town PA system, where the preachers share their dogma and beliefs. You find documents and letters scattered around camp which clue you into whether everything in Freedom Town is fine, or if bad things will happen if you don’t do something to save these people.

Long time PlayStation fans may remember The Suffering horror games that I wrote and directed. Those titles blended twisted supernatural horror with an aging haunted prison, a setting that let us deal with a lot of disturbing, real-world subject matter. Though The Church in the Darkness has no supernatural elements, it does look at some of the more extreme sides of humanity. And like The Suffering, in Church I want the player to have to think hard about what they want to do when confronted with darkness.

I’ve recruited several key collaborators from The Suffering working with me again on this project. One is actor John Patrick Lowrie. He played a bunch of roles in The Suffering and was someone I always wanted to work with again. John’s an accomplished theater actor, so I knew he could take on the complex role of the fiery Isaac Walker. You may also know him from his other work, perhaps his performance as The Sniper in Team Fortress 2.

Opposite John, I knew I wanted someone who was just as strong an actor to play Rebecca Walker, and talking with John we realized who better than his wife, Ellen McLain. Ellen needs even less introduction, as you’ve no doubt heard her singular performance as GLaDOS in the Portal games. The parts were written for John and Ellen from the very beginning. Having a real-life married couple play this fictitious married couple has brought extra depth to their performance, and is one of the best collaborations I’ve ever had.

We’re going to be showing more of the gameplay in future updates. I can’t wait to see what choices you make in the jungle.

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PlayStation Blogcast Episode 198: Plants vs. Paragon

Welcome back! This week, Ryan talks to Jeremy from PopCap about Plants vs. Zombies Garden Warfare 2, while Sid finally faces his fear of MOBAs and shares his impressions of Epic’s accessible-yet-hardcore Paragon. Justin is once again crippled by his inability to choose between Destiny and Final Fantasy XIV, and we can only assume Nick is lost in the wilderness somewhere, because he’s not in this episode. I’m sure he’s fine.

Subscribe via iTunes or RSS, or download here

Stuff We Talked About

• Plants vs. Zombies Garden Warfare 2
• Paragon
• Broforce
• The Walking Dead: Michonne
• Destiny
• Final Fantasy XIV
• Heavy Rain
• Mortal Kombat XL
• Deadpool

Recent Episodes

• 197: Fightin’ Words
• 196: Ranger of a Lonely Heart
• 195: Stranger in a Strange Land

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The Cast

Sid Shuman – Social Media Sr. Manager, SCEA
Justin Massongill – Social Media Manager, SCEA
Ryan Clements – Social Media Specialist, SCEA

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Send us questions and tips! blogcast@playstation.sony.com
Leave us a voicemail! (650) 288-6706

Thanks to Cory Schmitz for our beautiful logo and Dormilón for our rad theme song and show music.

[Editor’s note: PSN game release dates are subject to change without notice. Game details are gathered from press releases from their individual publishers and/or ESRB rating descriptions.]

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101 Ways to Die Launching March 22nd on PS4

101 Ways To Die on PS4 is a physics-based puzzler full of gore and dark humor. It’s been described as “reverse-Lemmings” due to the puzzler gameplay style — and the fact that you as the player are deliberately trying to cause the AI characters harm, rather than save them!

You are a laboratory assistant to a crazed Professor who, despite devoting years to scientific research, has little to show for it. His life’s work is an unsavoury book focused on gore and destruction titled “101 Ways To Die” — which the Professor was certain would guarantee his scientific legacy.

Sadly, in the final stages of completing his work a lab accident resulted in its near-total destruction. The player’s role is to help the Professor recreate the book — completing more than 50 levels, constructing numerous ever-more-dastardly traps to kill poor unfortunate Splatts (strange creatures also created in the lab for the purpose of aiding with the Professor’s experiments).

Players are provided with an inventory of traps and tools to place at the start of the game during the planning phase, and then once the Splatts are released they must activate these tools to cause as much carnage as possible. Many levels already have pre-placed traps that the player will need to interact with and combine with their inventory to achieve even better combinations.

The 101 recipes of death that the players are trying to discover include simpler combinations focused on forcing the Splatts into an accident. These include Blasted Spikes (exploding a Splatt with a mine and forcing it onto a wall of spikes), Ball Point (hitting a Splatt with a cannonball onto spikes), and Hot Love (placing some slime for a Splatt to slip on into a lava pit).

More complex combinations will require the player to exercise both a sense of positioning to get the Splatt into the right place, and timing its misfortune well. For example, consider Airborne — where a Splatt flies from one bumper (a kind of swinging log) to another, then is impaled by a harpoon and shot into a fan that pushes them against a wall.

There’s actually a huge range of tools for the player to harm the poor Splatts, including Death Logs, Spikes, Fans, Lava Pits, Cannons, Bumpers, Bombs, Boulders, Mines, Cakes, Harpoon guns, Conveyor belts, Switches, and Teleporters — so there really is no excuse not to be as creatively sadistic as you like.

During early development of the concept we considered whether the gameplay would be based on the player controlling each character running and jumping to activate the various tools they had placed down (Kind of like a self-destructive Super Meat Boy!), but after playing with the idea we didn’t feel it gave the player the strategy we wanted.

Look out for more information about the game as launch approaches.

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