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It’s been a lengthy wait, but Psychonauts 2 is nearing its August 25 release. This 3D platformer will have players exploring minds and an organization of skilled psychics on Xbox Series X/S, PlayStation 4, Xbox One, and Computer.
The original Psychonauts launched back in 2005. A lot has changed due to the fact then. 3D platformers went out of style … and then saw a comeback. Psyhonauts developer Double Fine went from indie darling to becoming a aspect of Microsoft.
GamesBeat talked with Psychonauts 2 senior systems designer Lauren Scott and lead atmosphere artist Geoff Soulis about the game’s development, how it hopes to attract new players, and what surprises old fans can look forward to.
This is an edited transcript of our interview.
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GamesBeat: Is it tricky getting to catch up players who didn’t expertise the 1st Psychonauts or the VR spinoff, Rhombus of Ruin? I know the game begins with an cutscene explaining the events of these games.
Scott: With that the challenge is constantly walking this line of fans who know the game inside and out, who have been waiting for it all these years, and then also new players, which we’re going to have a lot of for the reason that of Game Pass. We’ll be front and center. You can just download and play, even if you haven’t played the 1st or the VR game. We required some thing that would give sufficient context to be in a position to go into this second game, but also some thing that was punchy and swift and funny, some thing that would engage the lengthy time fans, and would even perhaps reward them with some nods to the previous. But yeah, general I consider it walks that line quite effectively.
Soulis: There are folks who weren’t alive when the 1st game came out.
GamesBeat: It’s been such a lengthy wait for some folks for this sequel. For a lot of peoplem, it is a game they believed they would in no way see, and then for the reason that of crowdfunding, it was announced prior to development even began. Does that boost the expectations or tension? Or is it just like any other development project?
Soulis: I consider more than something it is just creating sure we’re paying the right quantity of respect to the 1st game. Making sure that Raz and the Psychonauts world are presented to folks in a way that has the quantity of reverence and care that the rest of us at the studio have for the game.
GamesBeat: On the similar line there, what does it really feel like becoming so close to the finish line and releasing this issue?
Scott: [Laughs] Sort of surreal. We’ve been undertaking this so lengthy, this is life now. What is life just after this? It feels terrific just to see so considerably of this stuff come with each other. We’re all playing the game proper now. It feels like each time we commence a new playthrough, there’s some thing cool, some thing new from each division. Some new style stuff, a new piece of atmosphere art, a new dialogue line by [Double Fine founder] Tim Schafer. It’s just actually wonderful to see stuff that was conceived 3, 5 years ago now on the screen and realized.
GamesBeat: Setting stages inside of people’s imaginations give you a lot of inventive freedom. What is that approach like. Do you say, I’m going to make a casino level for the reason that it tends to make sense for the story, or do you just consider a casino level would look cool?
Soulis: A lot of it begins with Tim. He will give us the framework of the level. Usually it is what he would contact an elevator pitch for the space. A sentence or two about what the space is. From there the designer and atmosphere artist and idea artist will commence to hash out the space and bring specific themes into it that develop on best of the aim that Tim set forth for us. A fantastic instance, and this is not in the game in any way, but we would get some thing that says this is Coach Oleander’s level, and he has a war brain. It’s a mental battlefield. We take that and extrapolate that across the level.
Once we get the base framework of that in, Tim will come back by means of and create out the narrative for the space. In the final polish phase we’ll go back in and make sure all of that is becoming conveyed effectively, and any more environmental narrative to help the story. A lot of it is creating sure that the wonderful narrative that Tim writes gets place front and center for the game. That’s what we’re identified for, is creating games with stories. The story is extremely critical. And it is not just told by means of words, but also by means of visuals and gameplay and each aspect of that.
Scott: The core idea constantly comes from Tim, but it is fascinating. Every idea just has so several unique interpretations. For the Hollis level we got a casino level. That level has been iterated on so several unique occasions. It appears so unique now than it did at 1st. Even inside that higher level idea there’s a lot of wiggle space, a lot that we can discover in every idea. That’s actually exciting.
Soulis: There’s so considerably of every group that worked on these levels in the level itself. It’s wonderful. Lisette Titre-Montgomery is a amazing art director in that she manages to retain it all sewn with each other.
GamesBeat: Did Double Fine make an outline for the entire game? Or had been issues more in flux? Is there a lot of stuff that gets reduce or place back in? I wonder how clean or how messy the approach is.
Soulis: That has stayed quite considerably set in stone from the starting. Tim will do an outline for the complete game. We will essentially take that outline and he will say, OK, these are the minds I want you to go into. We’ll go from there. That approach gets broken down additional and additional. In terms of cutting issues, we actually didn’t. The only issue we reduce had been bosses. When we got acquired by Microsoft, then we had been in a position to place these back in for the reason that we had been in a position to have the additional time.
GamesBeat: That was one more query I wanted to ask. How did the Microsoft acquisition influence development? It’s fascinating to hear that boss fights had been thrown back on the table. Was something else impacted by that?
Scott: It just helped the group general to absolutely free up a lot of head space, not getting to be concerned about all this other stuff that is taking place, and focus on just creating a terrific game, which is what we all want to do.
Soulis: The acquisition gave us the freedom we have to develop this game to its utmost.
GamesBeat: Did you get more folks to work on it?
Soulis: Yes, we had been in a position to get some more contractors. We’re a reasonably smaller group.
GamesBeat: We’re seeing 3D platformers creating some thing of comeback. Many of them are focusing more on mechanics and exploration. Your game has a narrative focus that you do not see as considerably in this genre.
Scott: We’ve constantly been an wonderful linear narrative. This is what we want to help. This is the core of the game. This is what tends to make us unique. We’ve constantly created about that. But we also have attempted to make sure that we do include things like features that enrich the game and that make it really feel more complete. We bring back a lot of the stuff that you currently loved from the 1st game, like figments to help in ranking up and also give you small narrative tidbits in the brain you are in, and vaults you can open to get an even deeper dive into the secret memories of a individual. And then we added on some new stuff. We have these products referred to as pins you can equip to customize your powers in cool methods. Even although we’re not an open world game that is focusing on feature soup and attempting to cram in as considerably as achievable, we do attempt to judiciously choose the features that are going to help the powerful components in a linear narrative game.
Soulis: And also, even though Tim was writing the story, the only issue we could focus on was platforming and energy interaction. There’s nonetheless a lot of that in the game. We just have the added bonus of Tim and his writing. We want to focus on that as considerably as achievable.
Scott: I absolutely consider that is a strength and a standout. I consider that is a fantastic issue.
GamesBeat: There are a lot of skills you can get by means of these upgrades, and other ones are doled out even though you play the story. Was it tricky to choose which of these would go exactly where?
Scott: Things are quite reduce-and-dried as far as upgrades and skills. The issues you just get handed to you throughout the game are the powers, psychic powers. You get your 1st 4, and then clairvoyance, and then you have the 3 new ones, projection, time bubble, and mental connection. Those are issues that you just obtain passively by means of the game. But every little thing else, as you rank up, you earn upgrade points that you basically have to opt for to devote to customize your powers and energy up stuff that you care about. And then the pins additional customize and give you more gameplay utility or cosmetic funny stuff exactly where you want it. We attempted to develop in fairly a bit of player selection in this game. If you recall in the 1st game, all of your upgrades are just a preset list. You acquire them passively. We wanted to make sure that there was a bit more player investment and acknowledgement of Raz’s progression and journey.
GamesBeat: Another issue I noticed was how so several of the collectibles relate to player energy. So several of them boost your strength and aid you unlock new upgrades. Was that a deliberate selection?
Scott: Yeah. We absolutely wanted to make sure that each single collectible we introduced in the game in some way was critical to the player, and it elevated energy. Either energy or gave them some utility along some vector. We have the figments, the nuggets of wisdom that aid you rank up for upgrades. We have the half-a-minds that you can gather and boost your mental power to make you hardier in combat. But then we also have collectibles that are just absolutely narrative-focused, like the vaults that you have to run about and punch to come across these actually cool illustrated memories. We in no way wanted something that was just going to be filler, just run about and gather these issues for the reason that we want you to gather them. Even each last figment was thought of and the lore and the background of the character’s brain went into what ever image is drawn. They’re ordinarily some thing to do with the character’s character or their previous or some thing like that. Even these small issues that you are collecting nonetheless have so considerably believed going into them. We wanted to make sure that every little thing was extremely intentional.
Soulis: Yeah, every little thing quite considerably feeds back into the story as considerably as we possibly could do it, from all elements.
GamesBeat: With 3D platformers, a lot of players like see and gather one hundred% of the game. Do you have that in thoughts when you style?
Scott: Yeah, absolutely. In designing the economy you constantly have that in thoughts. There are so several unique pieces, and you want to make sure that they’re all doled out and presented in a satisfying progression curve, constantly. But we want to make sure that all of that constantly serves a goal. One goal it absolutely serves is acquiring players to go to each small teeny tiny corner of the environments that Jeff and the level style group make. If you are a completist and you are one hundred percenting, we want to make sure we place figments in spots that you may not usually ever go to, but you are rewarded for going to them by seeing some cool small secret or some thing.
GamesBeat: Then there are the incompletionists. The game also has a mode that lets you be invincible. It feels like there’s some reaction out there you may want to address.
Scott: First off, I’m basically, regardless of becoming an economy designer, also an incompletionist. I ordinarily barrel by means of stuff. But one of our objectives that is been constructed into the fabric of the game for all of our development was wanting the game to be playable and accessible by as several folks as achievable. It appears like a no-brainer, but we want as several folks to have exciting with the game as achievable. We constructed in help features like the invincibility and no fall harm and stuff like that to our program, in addition to some handle remapping stuff that you can do, vibration intensity handle, even issues like subtitle size and colour blindness compensation. All of these issues had been issues we believed about. We wanted to make sure that we just brought in that pool of players as considerably as achievable.
Soulis: We’re all extremely confident in how wonderful the story is. Getting as several folks to expertise it as achievable is some thing we want to share with everybody. Why gatekeep that?
Scott: We’re not taking something away. An accessibility feature does not imply that a super-hardcore version didn’t take place. Everything is there for everyone, and everyone can play the way that they want to.
GamesBeat: We’ve all discovered a lot more about mental well being due to the fact the release of the 1st Psychonauts. Did that influence how you approached designing this game and it story?
Soulis: Much like the 1st game, none of us on the group are mental well being specialists. We attempt to method every little thing with as considerably empathy as achievable, but we also have a lot of outdoors consultants that come in and take a look. Microsoft supplied us [contacts at mental health nonprofit] Take This, with a lot of that more data. All the feedback we get from that, we work it back into the game to make sure we’re treating every little thing with as considerably respect as we possibly can.
GamesBeat: I was impressed that about the casino level, there’s this entire notion of altering a person’s thoughts. Maybe that could have just been a exciting mechanic. You alter a person’s thoughts so they do this as an alternative of that. But you establish it as damaging issue. There’s repercussions there.
Scott: I absolutely heard Tim say that the Psychonauts are not going in to mess about with people’s brains, or to force them to do issues or what ever. They’re there to aid with healing and aid to with challenges. They’re not attempting to manipulate anyone. Showing the repercussions of an outright manipulation was critical to him as aspect of the story.
GamesBeat: Diversity also stood out to me, in particular amongst the intern characters. Was that an critical philosophy in the game, to have a diverse cast, even with everybody type of hunting like Tim Burton monsters ?
Scott: I think so, although I’m not the authority on that.
Soulis: Psychonauts are an international spy organization, so one would hope that they would be a extremely diverse group.
GamesBeat: What else is going to surprise players?
Scott: There’s some new stuff that is going to be actually cool. Combat is hugely expanded, with some of your favored classics coming back, like the sensors, but a entire new cast of enemies to fight, smaller and massive, that all represent a core mental idea. And then the new products you can get, from healing products to the pins. There’s just a lot of new stuff to play about with.
Soulis: There’s nonetheless a lot of crazy stuff to discover in the game.