Roguebook classes how to#

But where can we push? Where can we innovate? The overworld, we’re actually really proud of where we ended up, but it was one of the scariest things to develop. Of course we played a lot of Slay the Spire. We wanted to make a game in this genre, this roguelike deckbuilder genre. Morris: That was one of the ways we wanted to innovate. GamesBeat: Why use an open map? You can take different branches, as opposed to Slay the Spire, where you take one branch and then take another branch. It’s kind of like the spirit of the book. But it takes a different form each time you play, each time you do a run. We call the Avatar of Greed and Avatar of Mist. Morris: You’re fighting the book itself, the spirit of the book. GamesBeat: Are you fighting the person who made it, or are you fighting the book itself?

Roguebook classes how to#

It started learning how to create, I guess I could say, because I will say that the character Nadin, who’s basically your guide, the tutorial in the game, the little furry guy who walks around - he is not from the world of Faeria. It has this insatiable urge to continue to tell more stories. It wants to take more and more so it can tell more and more stories. It can only take from the world around it. The book doesn’t know how to create things. The book itself doesn’t create these things? GamesBeat: All the monsters, characters, items, and areas inside the book have been sucked in by the book or written by the book’s author with the magic. When you’re in battle you’re fighting things that would normally be “good guys.” So really, the book ended up as the solution for that goal, for getting ourselves into the same universe but a different story. The idea was to have a place where we could have a reason to have all these Faeria characters in one place, working together and teaming up when they normally wouldn’t, because you have good guys and bad guys working together. It wasn’t always this way, but it has this will of its own, and it starts sucking things into it and creating its own universe inside of it, its own unique story, a never-ending story kind of thing. There’s this book that starts getting a will of its own. It’ll take a cup or a painting off the wall or even eventually a person. If you put it in a room, it’ll start absorbing things from the room. How do we connect these two things? We ended up with this concept of a book that, long story short, absorbs the world around it. We said, OK, we’ll make a new game, a brand-new type of game.

Gary Morris: We ended up deciding on a book because we we wanted to find a way to connect this game to our other game, which was Faeria. GamesBeat: Why frame Roguebook through a book? This is an edited transcript of our interview.

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