Apr 6th 2017 by mychildgame • 16 Questions • 1822 Points
I’m Rusel DeMaria. I’m a writer, game designer, and narrative lead for Starfighter Inc. Come join me and I’ll tell you why narrative is so important in games and why our approach is like nothing you’ve ever seen in a team-based combat game. I’ll tell you how we’re going to get you involved in our world. We’ll surprise you. We’ll let you in on the secrets of The System. Ask me anything.
I remember in "Tie Fighter" some optional goals that helped develop some sort of "Sith special agent story" happening in game. Will we have this kind of stuff ? In a more general way, will there be briefing sessions separated from flight sessions ? Will there be some roleplaying elements (like interactive dialogs), and dramatic background with developed characters (I thought that people like Paladin, Maniac, Angel was what made the Wing Commander series really shine to me) ?
Hehe, I always like to pretend to not like Sweden (like teasing a little sibling). Sweden is way ahead of Norway when it comes to the game development industry. And Denmark has cheaper stuff.
I'll go with Denmark XD
(Sorry guys please let me still come to the Nordic Game Conference in Malmø)
We fully plan on creating secondary goals and splinter off side stories. In our stretch goals, we have the ability even to spin off single-player bonus missions, but that's pretty far away right now. As for cut-scene types of action, that's again something that requires more funding, it's not currently in the play, but we do plan on including at least one graphic novel and lots of fiction related the game as it goes forward through our website. Some players who do really well, might find themselves as part of those stories. Character development is trickier in a game like ours, but through our ancillary fiction, we hope to fully flesh out the fiction.
How have you done research on this project? There have been several studies on the subject, but have you also spoken to surviving children of german male soldiers and norwegian women (there were, of course, also children of norwegian men and german women, but these were not singled out for abuse in the same way)?
Hi ! I really enjoyed the differences between mission briefings and what really happened in flight, and the hard decisions to make. Will we have something like this in StarFighter Inc. ? Will there be something like mission plan maps updates happening in flight, like some sort of emergency change of plan (I'd really love to see something like this) ?
The start of this project was actually with Teknopilot co-producing a documentary film about the Lebensborn, where we interviewed several of the "children". We've also had several meetings with the Lebensborn associantion in Norway. In addition to this, we've read scholarly studies, interviewed researchers and historians, read books from Lebensborn children and official reports on the topic of the Lebensborn children and the "German children" - the wider group including all children with German soldiers from WW2 as fathers. We're also in contact with the global research network called Children Born of War, who study the wider topic of children from enemy soldiers.
Hi Gehroll. Yes, there will be mission briefings in the form of the contracts you sign as a mercenary. These will give you the basic mission parameters and the amount the mission pays. There may be changes in the mission primary or secondary missions during the battle. You'll be in communication through your DSS, which is your support system during flight. Currently, your after-mission summary will basically consist of how much money (credits) you gained and possible charges for repairs. And we want the hangar experience between missions to be very immersive and dynamic.
What is the main purpose of your game? How do you want your audience to feel or even learn from playing?
I have a very, very simple question, to which I'd like you to answer as honestly as possible.
Why do you like your job?
Great question! The main purpose is hard to put into one thing, but we'll try. It's to show the stories of the Lebensborn in an engaging, immersive way, so that you really feel what it's like for a kid who is seen as an enemy and doesn't understand why. We are making Karin/Klaus as "real" as we can, hoping you'll get the feeling of "being there together with the kid" as the true events are unfolding. In this way, we want the history to come alive and the player to really understand and feel the unfairness of punishing a small child for something others have done - to become aware of the ethical blindness it is to take hatred out on others because of their genes. And I guess this identification and ethical awareness is really what we're aiming for.
"As honestly as possible." That kind of makes me laugh. I can't imagine why I would not he honest in answering that question. So...
I love being both a writer and a game designer primarily because it is a license to be curious. It is permission to keep learning and being interested in just about everything. Two of the people I learned from, both directly and indirectly, were Will Wright and Sid Meier. They were to people of boundless curiosity, especially Will. As a writer, I was mentored by Theodore Sturgeon, whose motto was "Ask the next question." For me, this is the main reason I love what I do. I have written fiction, history, and earth science. For David Perry on Game Design, a book for which I was the principal researcher and writer, I looked into a staggering number of subjects as part of the development of this 1000 page tome.
The other reason I love what I do is that, despite the uncertainty of the next paycheck, I am not beholden to anyone else. I make my own time and schedule, and I pick my projects. I also have the time to practice and teach tai chi and travel without having to ask permission. It's not always easy, and this kind of freedom can come with a cost. Without self-discipline it's easy to fail. But because I love the work I do, I never really get tired of it or want to sit around doing nothing. I get up and figure out every day what to work on. And still have time for other activities.
Tell us more about the music in the game? Is there music and what style of music was chosen for the game and why?
Thank you for the question. Disclaimer: I am writing, as a none-musician.
There is music in the game. It is actually quite tricky to work with as we need something that fits the style of the genre while at the same time both being able to convey the vision.
We are working with film composers who use aucustic instruments true to the time period the game is centered around. We are going for a simplistic style that is based on the child's emotion. So childlike, careful but playful and warm, homely.
As the animations and dialogue in the game adapts to the feelings of the child, influenced by the story and the input from the player, we want the music to do the same. So the music will change slightly based on the childs emotions.
Why do you have the same name as a energycompany? (wind-power company)
Sarepta studio? Well we probably took inspiration from the same mythical tale.
There is also a florist and a baker called Sarepta. It's all good I like flowers, cakes and clean energy _^