Author Archives: Enol

Boss animation timelapse, assembly lines and more levels

Hello everyone! In the previous update, our main topic was the design of the Symbiot, the robot boss sketched by one of our top tier backers. Following that work, we continued developing the rest of the bosses that were still in a premature state. We took this opportunity to record and share with you some of the key sequences of the Hybrid, the human-plant mutation appeared at the end of the Paradise Lost reveal trailer.

We also added new decorations for the backgrounds and finished entire areas of the map that required a new set of mechanics. We’ll get into detail about the assets designed and the challenges faced to create this stages.

The task that we are struggling the most with is the creation of cutscenes. They are complex and rich in animation (multiple characters talking and doing gestures to recreate dialogues, monitors with interfaces, and so on). They also require a lot of FX to represent specific actions, and the assembly process inside the cutscene editor is long and tedious. It is being one of the most time-consuming labors of the development.

For those reasons, they’ve been set aside so we can focus on finishing the art for the levels and the boss sprites. Hopefully, after the final boss is done (which is massive and needs two different sets of backgrounds, huge animations, and effects) we’ll be able to speed things up.

Without further ado, let’s check some of the content we’ve been working on.

New levels

While doing bosses we also worked on new mechanics for chapters that were half cooked. Here are most of them:

Assembly area

Two of the chapters of PLFC are focused on the platforming of assembly lines where players have to test their skills, avoiding presses and welders while moving on top of conveyor belts.

Still working on the FX for this area, sorry!

First of all, we needed to define the basic gameplay patterns to obtain a coherent level design that also avoided the production of a massive quantity of assets (one of our main problems developing this game).

This is the draft for the basic elements that will be implemented into an assembly line.

Finding the correct balance was no easy task since we didn’t want to end up with repetitive patterns over and over. Luckily, the iterations between all of the elements and the variation of their properties (speed of the conveyors, dimensions of the surfaces, and timing of the presses) gave us a wide range of situations to play with.

After this, we started testing the different elements composing an assembly stage on Unity with some basic graphics like presses, welders, interactive platforms, and conveyors. We made sure that everything was robust enough and all assets were able to interact between them without problems.

Each element has a series of components that can be altered in the main script in order to modify its behavior in the game.

For example, a press has starting and ending points, and we can choose the type of movement it can perform between them: constant (can’t be stopped) or activated (depends on a panel’s button to make a movement). Loop time > represents how long does it take to go from one point to another. Time between loops > how much will it stay still in each position.

With all the tools in hand, we started to define the dimensions of every object and its variations into our vector grid (the script properties and times are assigned in the mockup for every object). Here we make sure that the player is able to jump, interact, and move freely within the level’s space before building assets and moving into the engine.

As stated in other updates 10 pixels equal 1 square in the design grid, so it’s easier to assemble a raw level here and then adapt vector units to pixel art assets knowing the scale in detail.

Sometimes, like in this case, we start making early concepts of levels until some assets are finished/tested, just to have an overall idea of how a mechanic could work and what elements can be sidelined. We try to maintain most of the original concept if it looks interesting, but we can’t avoid the simplification of designs based on the limitations of the final interactives.

This method also helps us see if we need to change the pixel assets, their scale and everything else before moving into the game engine and start assembling and testing the levels.

From top to bottom: platforms + sliders, presses + welder, interactive panels, and conveyor parts

The solid blocks serve two purposes: hide the graphic of a press or a slider inside their structure and work as a platform. All of the sizes have two front decorations to avoid graphic repetition

Another advantage of working with modules is that we can do multiple iterations with different elements. In this case, the head of the welders can be attached to a beam or inserted inside a block

This is a sample of the previous draft without details, ready to test. If everything works as expected we dress up the room with the decoration sprites:

Some of them are created to spice up the conveyor belts or add more depth to the backgrounds with blocks in front of them.

At last, we add the objects that are transported through the assembly lines showing the products manufactured by G.E.R. in each section. To create a pattern that can be replied multiple times these elements are looped along the conveyor animation before being exported to the engine. This way if the conveyor needs to go faster we only need to change the fps rate of a single element. In gameplay terms, the box collider that acts like a mobile surface it’s manually adjusted to the width and height of the belt, ignoring the objects on top.


The chemical area was one of the featured chapters since the inception of the game (you can see a prototype of a storage full of jars in our trailer), but its final design took second place since we prioritized on main levels and certain parts needed to be finished (like the assembly lines and biohazard scientists). The conveyor belts are used in both engineering (presses and welders) and chemical sections (here instead of welders, you’ll have to avoid acid dispensers).

To reinforce the toxicity of the tanks and elements that appear all over this sector we decided to tint the friezes and walls with a vivid green palette, and add a subtle bevel effect to the warning signs of some of the set pieces. Glasses show strong gradients composed of green, blue, and yellow colors while some details preserve the orange branding used along the facility to create a strong contrast.

Each wall has a composition of multiple color-adjustment layers, in order to obtain a certain metallic look. Finding the right balance of tones was no easy task since Subject W and the scientists with biohazard suits have to be recognizable.

The climbable platforms like machines and tables are drawn with a neutral grey scale to distinguish themselves from the background (the LUT effect applied to the camera will equalize all elements despite its color with a slight blue tone).

Welcome to G.E.R.  

This is the entrance of G.E.R., where Dr. James Warren will meet Dr. Aaron Selten, the head of the facilities.

For this background we went with a clean, restrained look for the back pieces with light glasses and clear walls, allowing other elements like the sign, the desk, the couch, and the info objects to stand out.

In the center of the hall, you can see a big baobab-alike tree with blue pigmentation on its crowns, a statement of the achievements made by the bioengineering division of G.E.R.

By the right side, an elevator gives access to the underground facilities, where the action of the game takes place.

Boss animation process

The Hybrid is the last boss that we’ll be able to show because the rest of them enter spoiler territory. This human-plant experiment breaks free after the merge of a parasite with the poor soul locked inside a stasis tube. Confused after the bonding, this creature will try to defend itself from W with its arm-vines and deploy obstacles to get in our way. Players will need to use multiple skills to confront its attacks and force the host to throw out the creature grafted inside him.

An arm with a spiked ball… what were we thinking

Since we needed to complete its animation set based on the final mechanics (the concept anims were made on a dated pixel art program that wasn’t compatible with our current toolset) we took the opportunity to refine its look, making it bulkier and more detailed.

Mixing DNAs doesn’t seem like a good idea

The animation sequences developed for the cutscenes took some time, with all the bubbles, cables, and floating elements inside the pod. Luckily we recorded some of its core movements so you can see how we create this intricate pixel art pieces. They are very long so feel free to speed up even more the Youtube videos!


This boss is based on close combat attacks so you must stay away from it most of the time. For this pose, we decided to create a strong-paced animation with little details like the chest expansion and the arm-vines in constant motion.

Wip attack

The Hybrid will use its long arms to create an extended vine and reach Subject W from the distance.

To avoid the attack we need to give players enough time to avoid the attack with the double jump ability. Players need enough time to escape from the attack so we delayed the hit with a charge (the enemy contours its body before releasing the vine). In the end, the step was too much of a giveaway so we cut the animation a little bit to obtain a faster sequence.

The arm is exported separately so it can be rotated inside the game engine and reach the player in any position while maintaining the pixel perfect aesthetic.

Recharging energy

After some time the parasite merged with the human will lose its grip from the host, forcing it to generate a cocoon and regain control (but leaving its form exposed to W’s attacks).

The first thing that we needed to highlight was the weak point (the human head), facilitating its reach by kneeling the character while creating a “little forest” on its base to keep it rooted to the floor. Its arms get entangled on the body, giving away that it can’t attack while maintaining this form. Energy lights flow through the vines while a glowing effect loops during the time that takes to charge and return to its plant form.

Exposed and stunned

If we managed to hit the Hybrid in the previous state the human body will be exposed for a brief moment, leading Subject W to take control over the situation (literally) by releasing the human host from its parasite. The transformation sequences are very tricky because you have to change from one character to another, blending the limbs, head, and other exposed parts, while maintaining the proportions of both the monster and the person.

Turning into human

This was the initial transformation pose, developed to see how the boss turns from plant to human. After designing the sprites, the animation was cut into pieces to transition to multiple states (stunned, recover, etc.).

Transformation and QTE

In order to release the human after using the host skill, we created a little QTE mechanic in which the players need to press the action button repeatedly to free him from the parasite. This was a tricky one since we needed to make it work forward and backward, with all the keyframes designed to move from one stance to another while avoiding sudden jumps or strange positions.

Creating traps

This is a clash based on the use of the double jump so the boss will create new traps on the floor and the roof for each routine. As you can see, this animation also has the energy patterns seen on the recharge stance, this time releasing the energy from its arms into the stage.


We didn’t record this animation either but we wanted to show the enemy puking at the end of the third hit. It is just fun, isn’t it?

General progress

To be as transparent as we can about the development process we decided to represent the percentage of progress made in different departments so you can see how the game is coming along and what are the parts that are taking more time.

User Interface elements

  • Vector art > 75% done | Basically all things related to menus, tutorials, tips, and pop-ups (non-pixel art graphics). Most of this content is waiting in the shelf to be implemented at the end of the development (possible changes to the description of skills, relocation of photos to obtain experience points, etc).

Pixel art

  • Animation for bosses > 75% done | The final boss requires a lot of work and is composed of different parts. After finishing it we can speed up things in the animation department.
  • Animation for Enemies and the rest of the main characters > 100% done  
  • Animation for Cutscenes > 50% done | This part is the easiest to develop because most assets for NPC’s are very simple or need few tweaks from the ones already made to represent certain actions. Elements like monitors or background effects can take more time, aside from the last two bosses that need dedicated animations.
  • Backgrounds > 80% done | Our game, like Castlevania SOTN, has a second version of the entire map with an all-new set of assets that will be overlapped above the original stages -Sorry for the SPOILER dear backers (not sorry, muahaha)-. We need to create elements that can be applied to different levels without changing their original structure, and also match with multiple aesthetics. With the help of color-adjustment tools and patience we are managing to obtain great results, but it’s a slow process.

Game design

  • Bosses > 70% done | Some of them still need a lot of testing (they have way more different mechanics than a regular enemy) and the final boss is still in an early stage until all of its graphics are done.
  • Cutscenes >36% done | One of the slowest tasks of the development. Creating animations for them is going well, but adding them to the engine, estimating the time of each sequence, matching dialogues with poses, inserting FX… work overload.
  • Assembling levels > 65% done | An entire sector needs to be done, another one has the structure without enemies and, for the final one (the SOTN gameplay change), we need to add a new layer of decorations, modifying the whole map and including a new set of enemies (luckily they are already designed). This part will go faster after finishing the bosses, having more hands on the level editor.


OST and Fx > 40% done | Most themes are done and others need the cutscenes to be made. Besides this, our composer is not fully working on the game so he has to carve out time in his exhausting schedule to create the pieces and making compositions right off the bat is very difficult. A song for an entire chapter needs to work at multiple levels: match the type of enemies, aesthetics, and gameplay pace (while playing in a constant loop) so it’s no easy task.

Finding and recording Fx is another time-consuming labor, that needs a lot of testing and editing. The low percentage of this part is due to the need of cutscenes to decide if some FX can be left aside or recycled from other in-game elements.

_ _ _

As you can see a lot of things need to be done, but the percentage of some tasks will rise faster with the implementation of stuff that is already made. In any case, and as always, we’ll keep you informed about every detail concerning the development.

Hope that you like how the game is coming along.

See you around!

New boss, new areas and new logo

Hello everyone! We are back from the update hiatus to show you how things are progressing and take on different areas of the development. We’ve had some setbacks the last months regarding the bosses since they needed a LOT more testing and fixing than we previously expected.

Our main problem with the “human” ones is that we wanted them to perform as realistic as they can (reacting to the player, activating traps, taking countermeasures on Subject W’s skills and more) so they prevented us from progressing with other parts of the game until they worked fine. Hopefully the new ones will take less time considering all the experience learned from them. In any case, let’s have a look at some of the stuff we’ve been working on.

The Simbiot

This is the boss designed by one of our top tier backers, Yannis Tanopoulos. It is an hybrid robot that combines the organic properties of a bio-engineered seed with the dangerous AI programmed by the G.E.R. specialists, resulting in a non-stoppable machine. Players will have to discover how to take it out and retrieve the shell ability generated by its core.

Click on the image to enlarge

The design process for the Simbiot took a little while, and it evolved from an animal-focused robot to a human-like prototype (an upgraded version of the cervids). We know that some of the quadrupeds look rad, but we faced two problems with their appearance: 1) this design required problematic animations and 2) the level design of the boss stage was created to match a more platform focused confrontation -the assembly line-, so we decided to go with the biped concept.

The armour idea was there from the beginning, but Yannis realized that we should give it a more organic look since the metallic plates didn’t match the shell effect created by the skill of the Simbiot core. With this in mind we decided to integrate the spikes from Subject W’s shell design, developing that peculiarity on the game’s script and giving it a narrative purpose.



One thing that makes it stand out is that it has 3 different animation sets. After receiving an attack the shell that protects it will broke, showing less pieces of armour with each clash until exposing its core.


New designs for backgrounds and color grading

Areas under construction

To avoid repetition on some locations we decided to include new sprites to represent work-in-progress sectors of the facility. This designs show structural building materials such as pillars, wall plates, ladders, and cables.

Other levels have one set of wall sprites and for this area we created two: one composed of darker pieces -for the raw background- and a second one for the metallic frame and the plates without painting.

Click on the image to enlarge

To emphasize the isolated feeling we avoided to put lightning inside this corridors and added darker Hue/Saturation layers to give an additional somber tone to it.

Click on the image to enlarge

Following this concept we created more elements for abandoned elevator shafts where players need to do some platforming and find the correct path in order to advance.

 Click on the image to enlarge

Click on the image to enlarge

The lightning bulbs serve to identify the gaps on the floor connecting each height.

Cold chamber redesign and chemical area

A graphic overhaul has been made to this stages since we released the demo. We felt that the grading layer (or LUT) applied to the camera killed the tones of Subject W, the enemies, and the interactive elements, so in order to fix this we touched a little bit the color palette. Now the background pieces have a brighter/more metallic look, the strong blue lightning contrast of the friezes has been reduced and the color grading is lighter (the old one looked over-saturated on certain screens).

Click on the image to enlarge

The sprites remain practically identical with the exception of the pipes that now have a more volumetric effect accompanied by a parallel shadow effect.

They are also connected to the higher part of the wall instead the low part of the frieze (it was a little odd since this element doesn’t have depth).

The old storage wall plates have been reused for an area where the chemicals of G.E.R. are stored. For this section we can apply a stronger LUT than the one used to the cold chambers, reinforcing the visual sensation of chemical processing (plus most of the enemies of this sector are hazard-suit scientist / cervid robots which stand out more than other enemies on strong RGB LUTs, so it ended up being a win-win situation).


Surveillance area

The corridors connecting the surveillance sector now have the same frieze design of the server/control rooms, giving more continuity to this area. A different blue-ish LUT has been applied to the camera to avoid color overlapping / desaturation of certain tones such as orange, yellow and green (maps, signals and even UI elements were affected by this).

Click on the image to enlarge

New game logo and menu

It’s been a while since our last UI / graphic design update so we wanted to show you the all new Paradise Lost: First Contact logotype.

Some time ago we abandoned the narrow font style used in multiple UI elements because they have readability issues in long paragraphs (problematic in lower resolutions or smaller screens like the Switch one) so we decided to implement a more rounded font on the logo, following the same design lign of the menus.

Besides this, a lot of games and sci-fi movies use the same kind of aesthetic defined by a stretched height font with fixed-width between letters akin to  A L I E N   (see what I did there with the spacing? XD).

The leaf graphic used on the HUD and other menus was added to close the A / E gaps and decorate the lines of other letters, giving a more distinguishable and original look to the font.

Game menu

Click on the image to enlarge

The main menu has been redesigned too. The list of options and the new logo have been moved to the left, giving more space for the animations to stand out and allowing us to add new lines if needed. The leaf selector and the font follow the same UI design used on the Skill tree, Pictures/Bios and other options, giving more cohesion to all the game menus.

Click on the image to enlarge

Some of you might prefer the old design but the non-pixel font inside the monitor seemed out of place and everything looked too similar to the Super Metroid menu.

Animations for cutscenes

Creating a dialogue sequence

The other big obstacle to overcome as of now is the big amount of animations that need to be done for the cutscenes. On most cases the characters require multiple animation sequences with the start, loop and stop states to read a paragraph.

The first and last states are designed to move from one action to another without cuts, and this is multiplied by the number of poses needed to reflect the mood of a character while doing a scene (hesitant, angry, frightened, etc.).

Only one member of the team takes charge of this so it is taking a while to complete all of them :-/  We try to recycle as much dialogue animations as we can, but sometimes is easy to lose focus on what is needed/what doesn’t worth the time, so planning is essential before we start working on a cutscene.









Some of the conversations between important characters take place via videoconference. For this purpose a lot of graphics were designed to show the other person on a big screen, so players can see who the speaker is and what is doing. They are also used to show maps or other info related to the events of a scene.






A lot of scientist appear on cutscenes so a big amount of animations have been prepared for them. Since we are still waiting for some backers to fill their bio files they are mostly bald until the final images are sent 😀





Guards needed additional actions outside their gameplay routines like use objects, salute, run without pursuing or get frightened.

Leonard White  





White is one of the main characters of the game and the responsible of the Robotics section of G.E.R. He will be tracking us down and following our every step in order to stop us. He also works with the engineering labs, where they developed his prosthetic arm.

Fixing things up and tweaking some mechanics

Besides level design, boss development and cutscenes we’ve been upgrading some mechanics and doing an exhaustive work of testing to fix key areas of the game. Here are some of the things done in the last months:


We worked a little more on the cervid behaviours. This enemies are able to rotate half of their body to see if Subject W is on their surroundings, causing problems in the way the body turns if we are near them and interact with their patrol. They also had problems shifting from an attack state to the uncovering action at the moment W entered a hideout, launching their electric whip instead of kicking the plant out of it.

Another fix was related to the way multiple cervids reacted inside a room and how they electrocuted the conducts if W was inside one and suddenly exited from the same trapdoor they were using to generate the electric current (doing it too fast broke them and they didn’t attack us after pursuing the plant).


The original saws had their patrol area outside of them, which occupied the entire floor of a room. This made them extremely dangerous because when players touched the ground the saw came right after them from any point of said room. Now this area is within the saw and covers a shorter range, giving more time to maneuver.

In addition there’s a new script called “first avoid” to force them to go in the opposite direction of players when they enter a room regardless of the direction (it was nerve-racking to see them coming after you while crossing the door).

Recovery time before blocking them with a decoy is a little longer too, allowing players to reach safe platforms easily.

Pushable boxes

This elements move twice the distance that they did before. Some parts of the game are based on moving boxes from one place to another and this make the mechanic less stressful.

Gas grenades with a timer

The grenades dropped on conducts by guards have a time before extinguishing, giving players time to re-enter it again from a trapdoor without the need to respawn the level.

Falling from corners

Subject W’s running and falling actions have been altered in order to properly recognize a platform’s corner (running transitioned so fast from one state to another that it jumped states and showed the plant falling with the run animation instead of the slip one).

Persistence of collectibles and room swapping

Now pictures and skill point containers work on both versions of a room. In PLFC a room can change its status while maintaining its current position on the map (for example: from regular lab to lab on flames > both rooms have the same collectible to pic, independently of the state of the level). Essentially, they are different rooms that change from one to another when a trigger is activated. Now this elements detect if they are being collected in any room version in order to disappear on the rest of them (we needed to reesctructure some levels too in order to let players come back for this objects regardless of a level state due to narrative events).


When the alert state goes off and the enemy has lost track of Subject W the reinforcement exits the room ignoring the “find and seek” state, making things easier for the player to escape.

We also included a new script that allow enemies to call different types of reinforcement depending on our necessities and the type of level that fits them better (cervid, guard, pyroguard…)


The interactive prompts have been reworked to follow the player while moving near an object and the button/key graphic has a darker fill to help them stand out on any surface.


This useful traps now have lower colliders to allow players perform the double jump easier.

Backer bios

We still need some of the high-end backers data to fill their documentation on the avatar form sent to them through Kickstarter private messages and e-mails.

If you are one of them and don’t send us the proper info in a few weeks we’ll need to include you with a design and name of our own choice (the development needs to move on and the bios section/cutscenes of the game have to be closed). Don’t miss that out!

Reuploading the web

Some of you have written us about a virus that infected our web, so we are doing maintenance labors on it and moving from WordPress to a dedicated space where we can have a better control of anything that involves the site. Sorry for the inconveniences and thanks for keeping an eye on it!


We are still working seven days a week to have the game as early as possible this year, but sometimes unexpected things get in our way and delay the development process. Being a team of three doesn’t help much either since every member needs to do multitasking on multiple areas, but it seems that we are able to handle everything for the most part. If other setbacks appear on the way be sure that we’ll inform you about it and hope that we can dodge any bullet that comes our way!

Some fixes , more enemies and a electric fight

Hello everyone! Here we are with some juicy things that we wanted to share with you and more details about the development process.

On a brief note, we wanted to address the frequency of our updates. We usually keep a 2-3 months gap between them because we collect most of the content created in that time frame, and getting the media together to make an update within our 10/7 infernal schedule is complicated (also, we stated multiple times that we don’t want to post a “hey we are still alive, working hard, ‘kay bye” kind of post and prefer to show a bunch of content). We know that some of you would be less concerned if we posted shorter updates, but at this stage we think that it’s out of doubt our compromise with the game, since we always strive to publish new content on a regular basis. Progress goes slowly but surely.

Last months we fixed a ton of stuff, finished the last enemies, developed bosses, and worked on unfinished puzzles. Bosses are very tricky to create, more so considering all the different outcomes that may appear once Subject W has the full set of skills (does the boss see W camouflaged if we break its equipment? Has to avoid shell attacks so players won’t finish him in 5 seconds? What happens if the spore is at Lv3 instead of Lv2? Headaches everywhere)  >_<

A bunch of enemies have been added too, but we can’t show most of them since they enter spoiler territory. In any case you can check below the rest of human/mechanical NPC’s that will appear in a relatively advanced state of the game.

So without further ado, let’s have a look at the new things we’ve been working on.

Minor Fixes

Guard pursue routine

As of late, this enemies kept their position after the plant disappeared (either by exiting their sight, entering a hideout that was far from them, or using the camouflage skill when they were actively chasing Subject W). This was made on purpose, so players won’t be able to pass through them easily and forcing players to think carefully before facing different kinds of situations. The problem with this behavior is that guards stayed in the last known position of the player, even if Subject W was a few feet away out of their vision path, which looked kinda ridiculous.

Now if the player disappears they stay in the last known position of the player for a brief time in a “tense” state before moving forward until they find the player again or reach a wall.


The only downside about this is that you can avoid them with the camo skill almost instantly (unless there is another enemy called as backup) so we either find a path between both mechanics or keep them still for the same amount of time that the camo skill lasts at Lv1, so players can’t pass through all situations in a blink.

What do you think about this change?

State bubble color issues

We talked more than enough about the enemy’s state bubbles but we wanted to show a quick change made recently.


Now the state icon will be represented in black, indifferently of its background. We realized that on certain spots the negative effect mixed the icon form wile descending, so we decided to tint all of them with a universal color to avoid confusion and obtain an homogeneous look.

Highlighted conducts

One thing that we noticed was that the conducts to connect rooms vertically can go unnoticed because of the dark palette and design, and probably some people will miss them.

To help players locate them from any position we added orange arrows to their design, giving them away with a simple look at the stage.

Click to enlarge

Different animations to enter/exit trapdoors

To make the gameplay more fluid and accessible, all interactive elements have an area of interaction bigger than themselves, and Subject W is moved automatically to the point where the animation/action is launched. It may be the case that a solid object is pushed near a trapdoor, so we locked trapdoors when pushable platforms stayed above them. Here comes the tricky part: the interactive area of the trapdoor is way bigger than the pushable itself, so the solid gets in the way while repositioning Subject W, getting the player stucked between both elements and locking the movement.


To avoid this problem we needed to change the animation of W entering from the side and doing it above the trapdoor, reducing the interactive area and fitting it to the sprite so it won’t interfere with the pushable object.


New enemies

So far, all the regular enemies of the game have been created but this is is the extent of the content we can show regarding this part of PLFC without revealing too much of the plot:


The cambot is the mobile version of the security camera. It also has a laser pointer that is moving constantly, so staying unnoticed is more difficult inside a room with one (or more) of these. Once the sensor locates Subject W it will follow the player, revealing its position to other enemies. Cambots are able to cover larger surfaces than a regular camera and sometimes players will need to keep an eye on their routine if they need to take care of multiple enemies at the same time.

Decoys and spores will keep them busy or knocked out temporarily so the use of skills can be handy if there is no hideouts near Subject W

PS: Yeah the FX of the box is way off, it’s just a placehoder.

Hazmat scientist


Aside their look and how they react to certain skills, this enemies can perform the tasks of a regular scientist. Their singularity is that the hazmat suit protects them from the spore and host skills (both long range) so players must find a way to distract them or directly knock them out knowing the consequences of that action if someone is on the surroundings.


Following the same line of design of the previous enemy, the pyroguards are immune to darts and spores. Their weapon of use is a flamethrower that generates progressive damage when they are confronted, so you better keep the shell skill active near them.


Lt. Shyam Ryder

Ryder (whom you probably remember from the demo) will be one of the main characters of the story. He’s one of the subordinates of Captain Ash Galloway and one of the most dangerous enemies that we’ll face inside GER. Electric traps are his specialty and the suit he wears provides him with special abilities to both evade attacks and create an energy field to keep us at bay.

The electric dash helps Ryder get away from direct hits and leaves W defenseless 

His close quarter attack produces progressive damage 

Ryder is equipped with a railgun that shoots long-range lightning bolts. It is also capable of creating an electric current across the floor, so you’d better keep an eye on his attack routines.

Like Clark, Ryder is an expert marksmanship and Subject W will have a small gap to avoid his shot 

After charging the railgun and unloading it under his feet the floor will turn into a dangerous surface

Aseprite Importer

This is not a tool that we developed, but it is worth mentioning since it’s helping us a lot and, hopefully, improve the workflow of other people that reads this post. The Aseprite Importer tool, that can be found on the Unity Asset Store, has been conceived to import animations from the Aseprite animation program to Unity without the need of creating sprite sheets. It automatically generates the texture by itself, preserves the animation speeds in the Unity timeline and even read the tags inside the .ase file, separating them into different animations. Also, when a change is made outside Unity, the data is reimported so it can really save you precious time.

Estimated Time of Arrival

We talked about the release date multiple times in both comments section and previous posts, and it’s always a sensible matter to speak about because we know how eager are you to play the full game, but we can’t compromise the quality of the product to have an earlier release. We are looking to complete all content for the first quarter of next year but if things get complicated with the rest of bosses and the development of cutscenes we could be talking of a summer release. At least all basic content, enemies and most of puzzles and stages have been done, but you must add testing to the mix, so time will tell.

The amount of animations of this game is insane so we’ll be putting extra time on holidays to make additional progress on this department in hopes to reach the coding side and try to blow milestones faster   ᕦ(ò_óˇ)ᕤ

Well, that’s all for now. We’ll continue posting new content as soon as major advances are made or, at least, try to keep you up to date in the comments and show that we stay on duty. See you!