If you need something really custom, you're screwed the engine developer won't deliver custom features for a small indie startup. Secondly, using a third-party engine provides you with certain tools and features but no more. For us, it was extremely important to port the game to as many of them as possible to enable multiple revenue streams. This, however, has some serious drawbacks we wanted to avoid.įirstly, no engine supports all platforms. Indies are often advised to not waste time on the creation of proprietary tools and just quickly go into production on some external engine. He needed only time to prepare the fundaments of the new engine. Fast? At the time, Bartek had over 10 years of experience in engine and advanced tools creation for building graphics and the logic of a game, so the decision to build our own engine was pretty natural - let the guy do the engine if he's been making engines for years. In April 2010, the base allowed us to build the first raw level. The Liquid Engine has been in development by the lead programmer Bartek Brzostek, in consultation with the designer Michal Drozdowski (back then, the only designer, now design director) and with artist Przemek Marszał (back then, the only one, now art director) since December 2009. Multiplatform Development on Our Own Engine In the past we used to work pretty efficiently on our own engines, so at the start we decided to create the base fundaments for a new proprietary engine chiefly adapted to our needs.Īnomaly Warzone Earth (prototype, top final game, bottom) What Went Rightġ. The concept has to be original, innovative, and fresh. Experience prompted us to make a gameplay-driven game. We won't make a story-driven game, because it's not our strong point. The leading theme of the first game will be gameplay. That's how 11 Bit Studios was born.Īpart from business independence, several thoughts were fundamental when the studio was created: We wanted to make absolutely personal games, completely in our own way, and use the blessed opportunity of digital distribution, where the creator is also a publisher. We wanted to become parents, who are the only people responsible for their kid, because we believed - and still believe - that no one would take care of the project better. Awareness of the future difficulties or a lack thereof did not matter. That's why one day we decided to quit the jobs we had at the time and found a new studio to be - from that point - completely independent. (Sometimes the teacher really takes care of a kid, but that's something for a different story.) While we want him to have a lot of friends and not only be given As in school, but also win competitions and awards. Sometimes the teacher takes care of teaching the child how to walk as well as the parents, but later, in kindergarten, he doesn't pay much attention at all, and our kid is left on his own, not integrating with the others, and no one is interested in him.Īnd sometimes the teacher is flat broke or mean as a Scrooge, and he doesn't even get the kid a bus ticket to the kindergarten (well, that's what parents should do, but this is the hypothetical model, right?) Then no one will befriend with the kid, he'll fade into obscurity and end up as abandonware. Sometimes it works fine, but sometimes the kid falls over on its own feet, much to frustration of the parents. If this comparison is applied to the game industry model, then our kid has a teacher or a supervisor (the publisher), who has his own ideas for teaching the kid to walk. Of course, parents (usually) don't celebrate this moment with barrels of beer, as often happens in the game development industry. This pride is some unique mixture of the joy of finishing the work and something that parents feel when their kid has learned to walk or has been given their first A in school. Anyone who has ever worked on a project in the entertainment industry - whether it's a movie, a music album, or a game - knows well the feeling of being proud when the moment of finalizing the project arrives.
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