![]() I wasn't aware of the change in direction during development which is interesting to hear about. I stumbled upon the early videos of Moonrider that Joymasher put up all the way back in 2018, so I've been eager to see how this would turn out. They're more task oriented and it feels like I'm doing more in less time while in large 3D games, it feels like it takes hours to get any satisfaction. For me, there's a certain feeling with those old games. In fact, Shinobi 3 is a game I replay often. I guess I appreciate working within tighter limitations. I just like simpler experiences now that are designed as games rather than worlds. Of course that's just a matter of taste and those things are fine. ![]() I love that they mentioned open-world and crafting systems, because I just don't find those appealing anymore now that the novelty has worn off. There’s not a lot in our games that gets in the way of the gameplay, like crafting systems or open worlds there’s nothing wrong with this, but we wanted to try something different.ĭanilo: The idea is to try to simulate the arcade experience that older games used to present. ![]() We prefer to make short games that can be replayed many times rather than longer experiences. Retro games had many limitations applied to them, so they had to be more to-the-point and direct and it makes for a more immediate and direct experience. Thaís: Yeah, it became an art style and a genre in itself. What role do you think retro-style games play in 2023? Why do you think they remain so popular?ĭanilo: Well I think it became more of an art style than anything else. We’re not just pixel artists, we’re just 20 years late with everything else! We’re always looking to experiment, and right now, Danilo is currently experimenting with 3D visuals, like from the PlayStation and N64. Thaís: I don’t know about RPG, but we’re definitely thinking about what we could possibly work on next. Would you be open to branching out into other genres in the future, like RPG for example? You’ve focused a lot on action games so far. The idea was for each boss to have different abilities like in Mega Man and then you would gain these abilities when you defeat them. ![]() How did you approach the design for the boss characters?ĭanilo: Well the idea for the bosses was to try and create characters similar to Moonrider who are essentially guardians themselves. I forgot about that, thank you for reminding me of that nightmare!ĭanilo: Yeah we had to change the level layout a lot along with the mechanics, but we thought the original idea was just too simple, so we changed it up to be more open-ended. ![]() When you already have stages in place, it’s incredibly stressful changing up the main gameplay again. Thaís Weiller: Yeah the game was working in the first prototype and we thought “hey, this might be cool with more stages”, and then you actually put more stages in and think “hmm, maybe not that cool!”. That caused quite a bit of stress for us! Originally, it wasn’t supposed to include so many weapons, so during the development, we had to change everything and put the new abilities and weapons in place. That was a challenge, because you have to rethink a lot of the aspects of the game. We wanted to change the game to have a more open style like Mega Man Zero so you can choose the order of the stages that you want to play. What kind of challenges did you face during the development of the game?ĭanilo: We changed the game quite a bit during the development, it was originally supposed to be more linear, like Dracula X. Those were a big deal in Brazil when I was a kid, so there’s a lot of that in Moonrider as well. In terms of style, there’s a lot of influence from Japanese Tokusatsu, like Kamen Rider and Kamen Rider Black. It’s definitely a ninja-focused game, so there’s a lot of Hagane from the Super Nintendo as well. Nintendo Life: What were your influences for Vengeful Guardian: Moonrider?ĭanilo Dias: The direct influences for this game are titles like Mega Man Zero, Strider, and Shinobi. ![]()
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