Fancy setting us a gaming challenge? Get in touch here!
Ready to level up your gaming knowledge? Matthew and I boldly envision a horror game featuring an asymmetrical multiplayer system, inspired by elements like Dark Souls bonfires. Additionally, we delve into the power of narrative in horror games and the bone-chilling impact of first-person play. We even draw parallels to the adrenaline pumping chase scene from Bourne Ultimatum. As if that wasn't enough, we also brainstorm on designing a tense vampire quest, dissecting possible player choices and their impact on gameplay, and even throw in a moral element. Tune in for a captivating exploration of game mechanics and design that will leave you eager for more.
We also plunge into the mesmerising world of Baldur's Gate. We openly geek out about the game's impressive build that made a downgrade for Xbox impossible, turning it into Sony's unexpected exclusive.
Thanks for listening and please leave us a review and subscribe if you enjoyed it. It really helps us out. https://podcasts.apple.com/us/podcast/the-gaming-blender/id1597738101
Also please get in touch with us at @gamingblendpod or thegamingblenderpod@gmail.com with your ideas for new games and challenges.
We have begun to update our YouTube channel with video playthroughs and we hope to put more up there soon https://www.youtube.com/channel/UCZTPuScm5BTf8DdwvaCj0jQ
Keep blending!
Fancy setting us a gaming challenge? Get in touch here!
Ready to level up your gaming knowledge? Matthew and I boldly envision a horror game featuring an asymmetrical multiplayer system, inspired by elements like Dark Souls bonfires. Additionally, we delve into the power of narrative in horror games and the bone-chilling impact of first-person play. We even draw parallels to the adrenaline pumping chase scene from Bourne Ultimatum. As if that wasn't enough, we also brainstorm on designing a tense vampire quest, dissecting possible player choices and their impact on gameplay, and even throw in a moral element. Tune in for a captivating exploration of game mechanics and design that will leave you eager for more.
We also plunge into the mesmerising world of Baldur's Gate. We openly geek out about the game's impressive build that made a downgrade for Xbox impossible, turning it into Sony's unexpected exclusive.
Thanks for listening and please leave us a review and subscribe if you enjoyed it. It really helps us out. https://podcasts.apple.com/us/podcast/the-gaming-blender/id1597738101
Also please get in touch with us at @gamingblendpod or thegamingblenderpod@gmail.com with your ideas for new games and challenges.
We have begun to update our YouTube channel with video playthroughs and we hope to put more up there soon https://www.youtube.com/channel/UCZTPuScm5BTf8DdwvaCj0jQ
Keep blending!
Hello, hello everyone, and welcome back to the Gaming Blender, the podcast of hypothetical games. First off, an apology for my bl my blurry visage. I'm currently away from home and on my laptop, which has a less than acceptable webcam, so anyone who's watching on YouTube and I look slightly blurry, I apologise.
Speaker 2:If I look better then you know you're welcome, why enjoy as you've come as dressed as your wall?
Speaker 1:Yes, no quite. I thought it'd be sort of fun for me to just blend into the back. It's just a floating head, quite. I'm obviously here with. Sorry, I forgot your name. So have I. I'm, of course, here with Matthew. How are you, matthew?
Speaker 2:I'm very well. Good afternoon, good evening, good morning, good night everyone.
Speaker 1:Good night. Okay, well, that's the podcast, aren't you?
Speaker 2:I know it's a shit. If you are going to bed, sleep. Well, catch up with us tomorrow.
Speaker 1:It's a shit. How have you been? How was your gaming? I've been very well.
Speaker 2:I've been going on continuing on with the Railroad's online live stream, which is which was going well, until I realised that I got halfway through a build and an exciting episode and I'm new to live streaming. So I got to a stage where I realised that I wasn't going to achieve anything of the episodes. I kind of went we're going to have to stop there because I'm not even close to where I need to go. I need to get you involved. But the other thing I have been investigating Baldur's Gate and I have heard something very, very funny about it. There's nothing to do with the game itself.
Speaker 2:I'm waiting for it to come out on PlayStation because my computer might die, yeah, but so it was built by, if I'm not mistaken, the Common Bureau of Xbox. But sorry, sorry, this is the thing. This is the thing. So what it has done is they designed it for PC and I think they originally wanted to release it on Xbox, but they either haven't been able to release it or they've just been able to release it on the higher console because it is too complex for the Xbox series, whatever the smaller one is. So they built it, yeah, and they can't downgrade it. So, accidentally, we're having no control. Playstation Sony has got an exclusive because they can't downgrade it. So they had made all this push to get it out there on PC quickly. And you show, microsoft and now accidentally, have created an exclusive PlayStation.
Speaker 1:Isn't it fantastic that they've managed to? I mean, it's a phenomenal game and if anyone who's thinking about buying it, please do buy it. It's fantastic. But isn't it fantastic that a studio has managed to make a game that's so good?
Speaker 2:and so, you know, graphically and mechanically and all that sort of that, it's actually too good for I just double checked my fact that it hasn't been released on Xbox at all, so it just says 2023. So Sony have a massive head start now. That's fantastic, so PlayStation probably was brilliant.
Speaker 1:I mean, I'm of course I'm very much a Sony PlayStation person, but that is. I find that quite funny.
Speaker 2:Oh, it's very funny. It's very, very funny. I mean it's not really a boo boo, but I can imagine that when you release something on PC I don't know about this weather because we're more entwined with it and we understand more the sort of intricacies but I immediately associate that game more with Microsoft, just naturally. But this game will shift, especially because there's been such a big gap between the PC release and the console release. It's going to become a PlayStation name. I think to be sat outside People who are waiting for Xbox players. They'll be like oh, it's that Sony game. I can only see it on Sony. Yeah, just your casual viewer.
Speaker 1:Yeah, that was. That was very funny. Yeah, and you know it is. You know, and you know. To the game itself you know, I'm many hours in now and it's, it's absolutely phenomenal, and you know. So the way I, the quality that I assign to video games is in the small things. Okay, so you can have excellent mechanics, you can have a great story and all that stuff is obviously phenomenal if you can do it right. But you know, for me it's the little details. So, for example, you'll notice, you know, and people have noticed, that they got the game or they ended up buying the game, and you know, you'll see it when you eventually purchase on PlayStation, when your character is having conversations with people and there is a moment where one of the characters or your character, whoever, is meant to react to something facially or in their body language, something like that. Normally in video games there's like this weird pause before that happens.
Speaker 2:They're always delayed because it's like almost the camera needs to shift. Yeah, or the scene needs to shift to register the reaction.
Speaker 1:Exactly, and so it's difficult, and I appreciate that it's very difficult to line those things up so it looks natural In this. It's very rare that I've seen that not be timed perfectly. So if something happens, something shocking happens, your character reacts almost like immediately with the right expression and with the right sort of body language, and it's just. It makes it a lot more real for me and it's a lot more immersive because I just look at it and go, that's exactly the reaction I would have if someone just turned into a monster in front of me. I'm like, oh my God, you know, and that's what they do. Like the character goes, ah, so, rather than some stony face like, oh, you've turned into a monster, I must fight you now you know, it's just a bit.
Speaker 1:Yeah, it's just a bit. So, yeah, yeah, it is. It is and you know, as a as a Dungeons and Dragons, you know, player. If you're interested in playing Dungeons and Dragons, it's sort of a thing that is very easy to get into and understand the game and then progress on with that If you so desire.
Speaker 2:Although I'm going to have to put a ban on the speaking about this, or yes?
Speaker 1:Yes, no more Baldur's Gate chat.
Speaker 2:All the other one which which I've, the name is escaped me Bethesda the Starfield. The ban is now active.
Speaker 1:We're going to try and speak about new things. The Starfield isn't out yet. We haven't chatted about it.
Speaker 2:No, we're going to leave it. We're going to leave it, we're going to ditch it, we're going to throw it to the roadside and we're going to run over it several times. Okay.
Speaker 1:That's fine.
Speaker 2:Anyway, for a bit.
Speaker 1:We shall. We shall crack on with the, with the podcast. So, for those who are new, welcome. For those who are not new, welcome back. And to be clear, we are the, the podcast of hypothetical video games. What we do is we, we now we roll. We roll a lot of dice that correspond to certain numbers, that correspond to a genre and two mechanics. We will then try and squeeze these, this genre and these two mechanics, together, and form a game out of them. As it's a dice draw. They might be mechanics and genres that don't necessarily go together, and then, once we've sort of etched together an idea, we will then roll another one for the narrative and try and sort of shoehorn that in as well. So I have, in the background, while we've been chatting, I have rolled these dice for you. Yes, I have.
Speaker 2:You're hosting today, so I feel I feel like a loss, so so I'm just sat waiting.
Speaker 1:You are sat waiting, so what? No, no, no.
Speaker 2:I like to. No, no, I you know. I like to hear, have everything at once.
Speaker 1:Oh no, no, I've got everything. I've rolled everything You've learned. You've learned how I like things. Thank you. Yes, I know, I do listen sometimes and, ironically, what you, what you have today, is a horror game with interactive movie mechanics and standby caller assassin target system.
Speaker 2:Right.
Speaker 1:So interactive movie mechanics.
Speaker 2:Note. This is interesting, this is very interesting mechanics just to just to go over interactive movie mechanics actually already been done as a horror game. A good example of this is until dawn, where you just have the. You're sort of selecting which path to go down, let's say the big time events more so, where you can make a character, make a choice. There's a good examples of way to do this. It means it means that people are essentially writing a bit of a film, and you see this as well when they have the pass around games now where the I think the same is either super giant or super, super crash or super I can't remember the name of the developers, but they have now the pass, the controller one where you make the choice and, like you can see it play out. So yeah, the movie. The first thing that yells to me targeting system is the. You know what. I'm going to do something, I'm going to ask for something and this is off the book. I want to know the role, please, for mechanics.
Speaker 1:As in, you want a third one. No, I want a third one.
Speaker 2:I want a third one, because I feel like I'm just operating at the moment with the assassin base system. I have a good idea for that, but I want something else. I want something to push it.
Speaker 1:Okay, stand by, caller. I'm going to re-roll that one because you've had that one recently.
Speaker 2:I'm going to immediately regret this, aren't I? You probably are.
Speaker 1:No, we can't have that one, because you've had that one recently as well. Okay, yeah, okay, you have as your third mechanic. You've never done this before. Your third mechanic is Dark Souls bonfires.
Speaker 2:Oh, yes, so by that we mean the checkpointing system that causes everything to come back to life. Yes, so, to sort of display my thinking and rattle my brain before you, what I was thinking is horror, interactive mechanics been done until dawn. I think is just that, that is just a thing. I don't think there's that much need to prod away at that. I'm going to try and retain that within the other two systems, because then you assassin base system. My first thought is some sort of thing where you're hunting down the players because you could have an asymmetrical multiplayer game. You could be the monster, you could be the way you can play with that. But Dark Souls bonfires flips out slightly on its head because what you've got to do then and then are we playing with a narrative to the sense of, is a horror game because it's in the horror genre, or do we want it to scare you? Because if you're playing as the monster obviously you don't you're not going to find it particularly scary.
Speaker 1:No, of course no. And unless you have, unless you, unless you were to make it first person and you make it so that there are other players playing monsters. Yes, then it makes you. It makes you less scary. Obviously, you're still scary to other people, but it makes you less. Oh, I'm the monster. Because there are other monsters out there. Do you know what I mean? And because it's first person, you, it's a little bit more. Do you know what I mean? I don't mean, I don't know how you do that.
Speaker 2:Do you know what I'm thinking of? And I've been reminded about this recently Do you remember the Bourne Ultimatum films? Do you remember? And it may be not scary, it's maybe sort of leaning into tense. I think the Bourne Ultimatum has one of the tensest scenes in cinema, which is the scene shot in Waterloo with the Paddy Considide playing the reporter. I think that's phenomenal.
Speaker 2:What I'd love to do, if you've stripped back all the layers, like the real, there is a certain horror to that in the sense of being chased and not knowing where an assassin is. And you take that assassin based system. Say, if you're in the modern world and you were just being chased by some sort of serial killer and you had to make it across, you had to make it across a city or something, a package or whatever it is, and you could rest at various bonfires and if you got to, oh, that's an idea, that's the way it could work. So let's say that you are a person, you're dropped into a modern city and you're being chased by some sort of assassin. You know you're being chased by assassin, you've got a package to deliver, but you obviously it's one of those ones and this is the genius thing I thought that assassins create never quite tapped into. You're surrounded by NPCs, so you've got to make yourself look like you're an NPC, just walking through, and you can't give off the fact. You know when there's a joke about human players, like running into walls, because that's how the end of just make doing things. So you've got to slowly make your way through under the knowledge that someone is chasing you the entire time and hunting you down. And every time you get to a bonfire we'll decide what they maybe are later.
Speaker 2:It reset. Not only does it save your progress, it resets where the assassin is. So, in other words, getting to a bonfire is a respite. It doesn't kill them, it does bring them back to life, say it does heal them. So say they'd sustained some injuries. It heals them, but it gives you that breathing space. So they go, they respawn a local checkpoint themselves. So they, for the, say that they set up a trap for you and they're getting. Then you got to a bonfire and that it should send them flying back. So it's very irritating for them Also healing them to have the element of do I?
Speaker 2:You have the cat and mousetrap. I know the killer is really close because I saw them recently. He's very injured. So do I want to rest at the bonfire. Because I rest he does go away, but he gets fully healed, so do I want to. It's a bit of a risk reward system, I think. If you set this at night, add a sort of, you can really do up the sort of serial killer element to the serial killer. You don't know who the serial killer is either, so it could be anyone. I could be any of these PCC, npcs and NPC and PPC, and then that could add a real Scare to it as well. You can make it scary from that building block so I think it's an excellent idea.
Speaker 1:I think you can really build some, some suspense and some good, some good jump scares and some good sort of, especially if you're setting it at night, especially setting in. You got so much you can work with in a city. There are so many. There are so many things in a city that you can make scary, such as you mentioned train stations. You've got things like hospitals, you've got sewers. You know there's loads in a city you can work with. I think one thing you have to work out is and this is and it work as part of the narrative is worth. The key, can you know, lean into this bit as well is you have to figure out Reason for why the person is being chased. Can't simply go to the police. Yes, yeah, because that is a whole, because in the modern world, if I was being chased by an assassin, I would go immediately to the police.
Speaker 2:I think that's a narrative hole. I think the design hole is how do you get the players to speak to each other? So how do you have you say, how does the killer have a rough idea where you are but not know exactly where you are because otherwise everyone's just gonna be flailing around the city? So the killer's got to have a trailer, breadcrumbs some yeah, again, that could be narrative. Say that you, the person wandering through the city, is making a change that's safe. For example, I still can be this, but putting up posters. So say, your job was to put up posters and zones and by that way you could essentially be tracked by the killer. Who be like right, I know they've been here, I'm gonna follow this round when, and then that's check further on. I don't know how that would work. I don't know what you do because I'm posted. This doesn't really work. Narrative, it's not really the same.
Speaker 1:Maybe that's what one thing you could do. You could make it, setting the modern world set in the city, but add some sort of, and this would lead into making it slightly more scary as well. Is you if you add a slight, slight supernatural element to it? Where by what you could say is I'm not saying we do this, but, for example, you could say that the character that you play works for some sort of clandestine organization that guards against supernatural entities, for example, and the things that hunt you down are Monsters of the wrong word, but more sort of humanoid things that can hide in plain sight. And scary monsters are things like vampires, were wolves, shape shifters, you do you know the sort of thing.
Speaker 2:That is a good one, because you can.
Speaker 1:You can look exactly, got to look like npc something that's that you could feasibly, if it existed, fit into the one world, but not like you're not being chased by the giant scorpions. Do I mean like is that's not, but something that you can quite easily make quite Insidious and feel like you're being stalked? Do you know? I mean?
Speaker 2:I think, yeah, I think the actually that would be the interesting take on it the asymetrical multiplayer, obviously. I mean, I'm thinking, I'm thinking asymmetrical multi players always have it one way around. Where you have them, you have one baddie, lots of helpless Clebs one round waiting to be killed. Interesting way we could do this and obviously it does reduce the horror in general. But when you are playing as the single person, you're one person being chased by, let's say, four vampires. But let's say, for example, the vampires can, let's say they've been depowered, whatever it is narrative, it's been depowered, but they could. They move slower than the person. So they need to set up these sorts of traps. They need to. They can't make themselves known. They have to stay in hiding as long as possible because they can be outrun. Maybe they've got more stamina or whatever. We can think about that later. But then you have this situation where you're setting traps for people and trying to guide them certain ways, and that would be terrifying for that single person.
Speaker 1:I've just, I've just had an idea while you were talking, leading on from what you just said.
Speaker 2:So you weren't listening.
Speaker 1:No, no, no, no, no, I was listening, it was. It was to do with what you said it was. It was. You said I is a problem. I was like I thought so. So what you could do is you could, you could say that within the game if you were the person. If you, if we're saying that the player catch is the person who is essentially running from, let's say, it's vampires, then you can choose how you make your way through the city. But there are consequences to the way you, to the way you go about this. Say, for example, if you say, ok, right, if I go down into the sewers, that means I can, I can cover more ground quickly because I can basically run the whole thing, because no one's going to be down there, so no one's going to be wondering why this man, the suit, is running through.
Speaker 1:Yes, that's, true I can't run through Waterloo Station, for example. You could, you could try more, yeah you give it away.
Speaker 2:It's that choice of do I hide in plain sight or do I and then, on the flip side of that, you've also got work.
Speaker 1:Ok, but if you, if you do that, if you go into a secluded area, the vampires can transform and use all of their abilities to come and get you, whereas I see the NSP.
Speaker 2:Yeah, so if you're with NSP and NPCs, when you're with NPCs they have this vision, so the vampires can't reveal themselves. Yeah, ok, that's.
Speaker 1:That means it's more of them, so they can place a trap. So then the players have the choice of OK, do I, do I leg it and and sort of make the judgment that I have enough time, even with them using all of their abilities, to get there. Or do I take the slow, methodical but slightly more terrifying being stalked approach by going through the city knowing that I'm slowly being chased by these vampires and you can have, you can make it.
Speaker 2:So there's obviously the vampires can go quickly through the. That's an interesting dichotomy because obviously the vampires can go quickly through the sewers and get where they really want to in the city, but when the moment they have to make sure they pop up at the right place, because, imagine, they pop up at the wrong. Bigger eyes over there.
Speaker 1:Yeah, that's miles. You can have lots, of, lots of sort of scenarios where, like you're walking down the street, you know huge crowds through London and you know, in your vision you just see one of them step out from a building, from like the building, oh, and then you just go.
Speaker 2:I'm gonna have to leave that now?
Speaker 1:Oh sorry, I was sorry. Make a mark.
Speaker 2:Make a mark where it is Make a mark, make a mark.
Speaker 1:You know, you know, I mean, because that's how scary it is. Your reaction would be you'd be like I'm making perfect time, oh my gosh. And then you have to think on your feet of you know where you go, and I think that could work quite well, don't?
Speaker 2:you think? No, I think that's what's really nice. Yeah, actually, because it gives it, makes it makes it not game killing the vampires. Game to the wrong section of the sewer, sorry, wrong section of the city as well, because they can get it wrong. They've got the time to get it wrong. I really like that.
Speaker 1:I think, I think, I think it worked out well. Should we do? Should we try and shoehorn in the narrative?
Speaker 2:Yes, let's see what this gets, because this is when we get forbidden love. I have an idea, I have an idea, I have an idea. But let's see what we get.
Speaker 1:Okay, I did already roll this, so it was that number, which is this is we've got an open ended one. It's just quest. It's just a quest. So you are your. You're a person on a particular mission to achieve something.
Speaker 2:So your plan is here to expose vampires, to expose vampire society. You have some sort of written documents, some sort of evidence that they exist, maybe a video or something like that. I know. I know they don't show up on camera but say you've got something that proves that they are responsible for a murder, and they're terrified that if you get this proof to someone which is the end goal then they will expose them. So, which is why they're hunting you down, but also why they have to be subtle about it, because they're still trying to live in the shadows.
Speaker 1:Hmm, yeah, I think, I think. I think that would work quite well. And let's say you could, you can find the entire game to the city of London or Paris or you know wherever you want to do it. And you could just say you know, you have discovered this evidence on this side of London and you need to get to the other side of London and not die, and I'm just thinking. So what you could say is to give a little bit more scope and to add a moral element to it. What you could say is that you're working as part of a small team or a small organisation, that that's that you know have decided that they're going to prove that vampires exist and what you know. You can build a whole, whole narrative behind that as to the reasons why.
Speaker 2:I think it's less scary, though it's less scary. I think you should just be a random person that has come into possession of this because you don't know anything about what you're up against. You just have this horrible evidence you don't know, because if you know stuff about them, it's like what you know is less scary. I think you literally that in this scenario, this person is just an average person who'd fallen on their evidence and goes I've got to get this to someone you go and visit. Maybe this is what kicks off the sort of narrative narrative aspect is you go to deliver it to someone who tells you you've got to get it to this, Mr Mr Val Van Helsing, something like that.
Speaker 1:I don't know, do Mr?
Speaker 2:Van Helsing. Mr Van Helsing, you get it and then they're that person is attacked by a vampire. Just as you're leaving, they see you identify, make the identify who you are, and then you manage to lose this one vampire, but then they report back and that's what the narrative is that they are hunting you down. I don't know how you extend this room, because what we have here is essentially a one mission narrative rather than all. The only way you could extend it was by going to one place use it's completed the mission, but unfortunately he's the other side of the city. Your princess is in another castle, kind of thing.
Speaker 1:I mean, I think, I think you could just make it as it doesn't have to be an enormous game, you know, it could just be a, you know, and one of the you can sort of a very small experience of being hunted and being hunted in the modern world. And you could focus then. And if you made it a very small setting and a very small game, you could then focus on making those bits that are scary, or meant to be scary, scary.
Speaker 2:I was just. I mean, I don't know, I don't know if this would work. Go on, I've been done before. Imagine if you made it first person.
Speaker 1:I think you'd have to make your first person.
Speaker 2:You'd have to be really tight with the animations, though, because you don't know how everybody else is looking, if that makes sense. So you'd have to be very sort of looking around the whole time to make sure you're doing the same things, because the whole reason they have these things is third person sometimes, so you can see what your character is actually looking like.
Speaker 1:So it's not a giveaway, so maybe yeah, you could achieve that by just having a menu where you can look at your character bit like an inventory screen, where yeah, maybe. Yeah, and then you can see what you look like and get in, then sort of go back into it and you can do like a point of view first person. We can look down and see yourself.
Speaker 2:Yeah, maybe without just hearing, yeah, without altering how your character is looking to other people. There are certain giveaways, but you have freedom to look left, right without actually looking like you're going to like looking around like a main.
Speaker 1:You know you had those. Do you play the? I mean, it's not just this, but you don't play the years of war. Okay, no, I didn't. So it happens in a lot of other games. Right is if, if something is happening on the screen that perhaps you're not looking at, you could press R3 and your, your vision would pan to it so you could see what was. It's a player didn't miss what was going on in the background. I think when you're in first person, I think you can have these prompts when your character actually would see some, do you? I mean, like I said, I don't know what it does is it minimizes the movement.
Speaker 2:So your head movement in first person is a full 90s degree tilt to the right, like, oh my god, there's something to my right you're, and you're the character controlling just slightly moves in order to not to aid, in order to not give the game away, because also that you want them to be able to see it, because you want to encourage the fit and also that element of have I given myself away by looking at this? Because, as you said, you do the button prompts and then one person in the crowd goes, looks massively to the left and the van bus go onto you. One thing we haven't really worked out narratively as time ticks down is the bonfires. How do they work into the narrative?
Speaker 1:So I think, I think this is where if you, if you had, if you had some sort of organization and you weren't a random person, then you could build an assistant whereby, say, this organization has safe houses which are in some way, but you can still have a random person because you're just getting guided, you go to the safe house and they go right.
Speaker 2:take North Street to get to the next one North Street. So how about? How?
Speaker 1:about you are. What we could say is you are a random guy and you actually bring this information to someone who is part yes, exactly An organization. And then, yeah, and then let's say you get given a list of places that are safe and you can build into the narrative a reason why they're safe, that, let's say, there's some sort of, there's some sort of magic or there's a substance in there.
Speaker 1:that's repelled, whatever it is cross on the door, done, yeah, whatever it is. And then you get all these you know all these places marked on your on your map and you know where they are, and then that resets, that does the bonfire reset, maybe in also the map you can only manually market as well, just to add to the fear elements.
Speaker 2:So it's just you, some we go in and someone goes right okay, it's here, but you don't have like a mini map of you walking around. You have to open the map up every time to check where you're going, which is another tell, so you're open it. You should only really be checking your map when you either there are other people checking their maps around you, because you can send an NPC. One movement is to check their maps, but your map looks visibly different to everybody else is. So it's always a risk to check your map, so you can just remember and just maybe nip down an alley. That would be freaky, wouldn't it be like I don't know if I'm going the right way.
Speaker 1:I don't know if I'm going the right way that there would also be an excellent possibility of players then turning up to what they think is the safe house and then the door doesn't open because actually it's around the corner. And they turn around and the vampires are there. You're like no, you know. So that's like we'll work quite well. I think that works yeah. I think that works. Are we? Are we finished or do you want?
Speaker 2:to add anything. I think we, I think we finished and we're coming up to the half an hour mark anyway, so I think you need to do your summary while I think.
Speaker 1:I will do. I will do the summary. So so, listeners, what we have there is a horror game set in the modern world, with interactive movie, dark Souls, bonfires and oh gosh, what was the other one? And and an assassin target system.
Speaker 2:I have realized that the interactive movie bit fell by the wayside, but I'm too happy with what we've created, so I'm sticking with it.
Speaker 1:I think we could build that in. You know we're going to go to the break. It's half an hour, you know there's only so much, and so the idea being that you would, you would play a random Joe, the average Joe or Josephine, and you would, no-transcript, discover the. You would discover evidence for that vampires exist or that a clandestine group of vampires exist, and you would meet a person who was part of an organisation who was trying to also prove or was fighting against vampires, and they would try and guide you across, we're going to say, london, try and guide you across London during the night to get this evidence to a certain person who would then release it. While you're travelling across the city of London in various different environments, you would be hunted by these vampires. You would have a choice of how you get around the city, but how you get around it there would be consequences. So if you decided to go to a secluded location, then you would be chased that much more vehemently because the vampires don't have to hide. But if you tried to hide in plain sight, then of course they would have to also hide in plain sight. So it adds a little bit of an element there and obviously the narrative would be sort of that quest idea of you trying to get something from A to B and fulfilling a mission, and this game is going to be called Matthew Alone at Night.
Speaker 1:Alone at Night. I like that. That's good, that works, thank you. Okay, so that is Alone at Night coming to you to PlayStation 5, it won't work on Xbox, but big coming to you to consoles in the very near future. I actually really enjoyed that one.
Speaker 2:I think it was excellent. I would play that for roughly 30 seconds.
Speaker 1:But, yes, before you went around the first corner saw the first vampire, it clocked size of you and you're like nope, turn that off. Nope, never play again. So, yes, listeners, we hope you enjoyed that as much as we enjoyed listening to it, as much as we enjoyed blabbing on about it for half an hour. So, in the meantime, I have been Scott, I've been Matt, and please do leave a review. If you enjoyed the show, please do like and subscribe, etc. And we look forward to speaking to you again next time. In the meantime, yes, do keep blending. Bye, bye.
Speaker 2:Bye, bye now.