so, first of all, this game doesn’t take place underwater.
redder has been my biggest project, both in in terms of scale (it’s the biggest game world i’ve ever built) and time. it began in new york as this basic jumping game, and once i reached california i was working on it continuously. when pigs fly was the product of a struggle with a language i thought i couldn’t control (actionscript), confusion over what was and was not marketable and the need to just get the game done and get the money i needed for my move. i was terrified that this was how every commercial game i made was going to feel: fortunately, redder proved me wrong.
most of my games tie the player to a train track: each player experiences the scenes in the same (or about the same) order every time, which makes it simple to control the pace of the game. i always know what the player’s seen, and overcome, before this situation that i’m designing right now. redder was an opportunity for me to design off of the train tracks. how do you pace an experience whose scenes can occur in almost any order?
as always, a lot of people helped make this game a reality. amon provided the music and eerie space sounds. andrew recorded a bunch of sounds, only two of which found a place in the game. my slut provided the space squeals. my playtests were invaluable. and of course, tom bought it. when i was close to the end, my terrible guildhall computer sprung like a booby trap. it at least had the good timing to be right after i started a donation drive, and thirty-five people gave me enough money to pay my rent for a month. they’ve all earned a special place in my heart, their names in redder, and a pixel portrait i will someday get around to drawing.