"Not everyone even has that particular interaction, but that's one of my personal favorite moments," Kasavin admits. All of a sudden, it becomes just as viable an outcome as success. The taboo of failing is completely discarded. It's a difficult choice and a moment where Supergiant's unorthodox approach to the very nature of failure really shines through. The game presents you with the option to lose on purpose. Despite the bad blood between the two, Pamitha privately begs you to let Tamitha win. But one of the game's best moments occurs when, in a pivotal Rite, an allied character Pamitha is pitted against her bitterly estranged sister, Tamitha. As such, it's impossible to see all of Pyre's content in one run. No two people's experience of either game is likely to be the same, with millions of possible permutations packed into both. Hades and Pyre are both incredibly dense games. Related: Hades Interview - The Beatles, Tom Hiddleston, And Creating Zagreus We make a case for the possibility that they can move past some of their differences." They eventually have to work through their problems in some other fashion. And in Hades, they could kill each other over and over, but it doesn't solve anything. With Hades, we're contrasting that with the idea that you can't help who your family is, you're just born into it. "But they bond with each other to the point where, even if they're separated, they still feel as though they're together. "Pyre's characters aren't related by blood - in fact, the relationships where they are related by blood are some of the worst in the game," Kasavin says. These dynamics almost seem in conversation with each other as both games delve into the nature of attachment, those you form and those you overcome. While Pyre is more of a found family narrative, the family you deal with in Hades is your biological, mythological birthright. In both Hades and Pyre, the ideas of family and togetherness are huge driving forces. I think games have a powerful ability to do that, because you spend a lot of time in their world and you get to explore relationships in a different way than you could in other media." We like to make games where you understand why certain characters made the choices they made, regardless of whether those choices were good or not. "For example, we were interested in presenting Hades as the complicated character that he is, and hopefully, over the course of the game, you start to understand him. "We were drawn to the human qualities of these Greek gods," Kasavin explains.
The focus on relationships shaping the way you play is something Supergiant experimented with in Pyre, but Hades' format allowed the studio to take it further. After each death, you're sent back to the House of Hades, a central location where you can talk to characters and advance side plots that enrich your understanding of the world. Hades soothes the sting of failure by making death a necessity.
And the part where the story advances, after you die - we wanted to make that moment almost something to look forward to."
In a roguelike game, the beauty of it is how it's different every time you play. "In Hades, you have no choice but to die, and move forward. "It's hard to unlearn that and accept that losing is not only okay sometimes, but can even be enlightening and interesting," Kasavin says. Hades and Pyre diverge from this by challenging the idea of what it means to fail. We develop habits of reloading our save files when we think we might fail, to avoid the disappointment of hitting the point where we actually do. Historically, games have been built around the avoidance of failure. It's a philosophy that forces you to relearn your fundamental understanding of how games work. Why do those conventions exist at all? So with Pyre, we said there would be no 'game over' at all, because thematically this is a game about learning from your losses, picking yourself up after the defeat, and seeing something through, no matter what happens." But we like to call those underlying assumptions into question. "You fail and go back to the checkpoint, or lose a life, or something. "It's something intrinsic to most games with any sense of challenge, right?" Kasavin asks. Just as in the real world, you live and you learn. When you die in Hades or you lose a Rite in Pyre, the story continues. There's no punishment for failing at all, actually. There are no checkpoints or 'game over' states. What truly sets Hades and Pyre apart is the way they approach failure.
0 kommentar(er)
