![]() That was one thing that inspired our game. It felt really awesome, pushing you to another planet. I was really blown away by that, the free-walking VR. You got a full VR headset on your face, but you could walk around. ![]() Reithmann: It’s been a while, but what they had back then was a virtual reality chamber, actually, where you went in and got your headset, and they had somehow installed it so that you could walk around. GamesBeat: What sorts of rides or adventures or whatever did you see that made you think, “What could we do with this?” We were pushing our limits to invent even more crazy things and take it even further. We saw what’s already doable in a theme park. This was really exciting for everyone, and a good inspiration to start off the project. Kicking off the project back then, we took the whole company and went to one of the big theme parks. Then Bandai came on board, and here we are. The team came up with this “impossification” idea that clicked, and that’s how it developed. It was still fresh enough to excite everyone, especially them. It’s still close to what we’re used to, what we’re good at. It was a good one, because it’s not a city-builder, but it’s still a building game, a management game. They travel a lot and have tons of fun with it. Two guys from the team are real-life theme park enthusiasts. Fairly early we had a small group who came up with a theme park builder. ![]() There were a lot of internal discussions about what’s next. If we pushed our programmers to do another city-builder, I don’t know what they would have done. After almost four years of working on a city-builder, the team was very happy to not directly do another city-builder game. Stephan Winter: When we came to the end of the production of Tropico, we had to come up with something fresh, something new. GamesBeat: Considering your development history, why make an amusement park simulator? This is an edited transcript of our interview. I had to ask them about throwing up on rides, too. We talked about getting into the amusement park frame of mind, their approach to designing for fun, and how what they’ve learned in other games carried into something new.Īnd puke. Intrigued, I set up an interview with Limbic and chatted with studio CEO Steve Winter and creative director Johannes Reithmann. A roller-coaster may shoot a car out of a cannon across an empty space, and the Kraken dunks your submarines in-and-out of the water. A carousel rises from a sedate ground-level ride into the air to become a three-story attraction. A standard Ferris wheel may spawn three or four wheels … or nine or 10. One of the hallmarks of Park Beyond is how you “impossify” rides, making them twist and transform into bigger, louder, and flashier versions of themselves. “Moreover, Limbic Entertainment’s expertise in storytelling and tutorial crafting makes us very confident we can onboard a brand-new audience that will get acquainted with the genre through a fun storyline and player-tailored missions during our campaign mode.” “When Limbic Entertainment approached us with this bigger-than-life concept for a park game built on solid management foundations, we immediately understood we had a clear path to offer players a very different kind of sim, one that could bring together diehard management fans and creative ride designers around a unique ride impossification feature. “We don’t just want to publish any amusement park sim we want to publish an impossified one!” Tartaix said. Join gaming leaders live this October 25-26 in San Francisco to examine the next big opportunities within the gaming industry.Ĭonsidering that management sims are outside Bandai Namco’s catalog, I wondered why the publisher decided to pursue this project, and what market opportunity it saw here.
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