The Gaming Blender
Welcome to the Gaming Blender Podcast, the Game Design podcast where hosts Matt and Scott combine random game genres and elements to create exciting hypothetical games.
Join us on a creative journey as we blend puzzle-solving with action-adventure, strategy with role-playing, and more. Each episode takes you through our process, discussing gameplay mechanics, captivating storylines, and immersive worlds.
Whether you're a gaming enthusiast or a budding developer, our podcast offers endless inspiration. Explore new narratives, intriguing characters, and engaging gameplay dynamics. The Gaming Blender Podcast challenges traditional gaming norms, delivering fresh ideas and thought-provoking concepts.
Join Matt and Scott as imagination meets innovation, forging the future of gaming. Tune in, subscribe, and unlock the gateway to endless possibilities!
The Gaming Blender
Unleash Your Inner God of Construction in 'Builders of Divinity'
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In this episode of The Gaming Blender, Matt and Scott discuss the concept of an open-world physics-based crafting game. They imagine a game where players take on the role of an architect or mason in different historical eras, tasked with building grand structures using basic materials and techniques. The game would require players to navigate the laws of physics and overcome challenges specific to each structure. They also discuss the idea of gamifying the learning process by incorporating RPG elements and allowing players to learn different building techniques. The replayability of the game is discussed, with the suggestion of adding free DLC to introduce new buildings and challenges. Builders of Divinity is an open-world game where players take on the role of gods of construction. The game is set in a world where the human race lives for a certain period of time with its gods, and when civilization reaches its end, the world resets and new gods are born. Players play as Barry/Susan, a newly appointed god of construction, who must learn on the job by building things for the human race. However, they soon discover that the ancient gods are trying to break the cycle and come back to power. The game combines physics-based building mechanics, crafting, and an underdog story.
00:00
Introduction and Funny Sidebar
00:57
Memorable Moments on Stage
03:03
Discussion of Genre and Mechanics
04:22
Scott Leads the Creative Process
05:57
Genre: Open-World Physics-Based Crafting Game
08:59
Mechanics: Physics-Based and Crafting
10:25
Building Grand Structures in Historical Eras
13:01
Gamifying Learning and RPG Elements
14:28
The Protagonist as a God of Construction
15:24
Replayability and Free DLC
16:01
Introduction to the Concept of Building and Construction
19:02
Exploring the Narrative and Character Development
21:11
The Underdog Story and the Plot Twist
22:07
The Race Against Time and the Battle Against the Ancient Gods
25:13
Balancing Open-World Exploration and Plot Progression
26:33
The Importance of Gathering Materials and Unlocking Abilities
27:21
The Challenges of Mining and Sculpting Marble
28:29
Minimal Hand-Holding and the Tutorial Experience
30:01
Choosing a Captivating Title: Builders of Divinity
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!
there we go. We start with a laugh because I forgot that I was hosting. Ladies and gentlemen, welcome back to the well-prepared gaming blender, where I completely forgot that I was meant to be hosting and had this moment of staring at scott going. Uh you, and he stepped back at me going you, it's not.
Speaker 2:It's not my line.
Speaker 1:It's my line. Whose line is it? I mean, there's a very sidebar. Anyway, this is the gaming blender. By the way, I'm Matt and this is Scott. But just to throw in a very, very funny sidebar of before, I jumped into the thing of when I watched a school play that we weren't in but we were watching it, some of our friends were in it, and one of my favorite moments of all time on stage happened where two people forgot their lines and stood on stage, realized they've forgotten their lines, were surrounded by the rest of the cast and went mr danforth, I believe we should discuss this matter in private. Yes, we should and walked off stage to then go and read the script to see where they were up to leaving. The entire rest of the cast on stage sat still going, and this happened for about 10 minutes before someone went. We require your presence, mr Danforth. Before the shout from behind the curtain was just a minute.
Speaker 2:So I remember being in not to sidebar too much, but I remember acting in a certain play where they kept changing between diner scenes. It was like one table at a restaurant and then another table at a restaurant and me and the girl Kat who was playing my wife when it was the silent moments for us we would whisper to each other am I saying about the lobster next? And she'd go yes, okay, good, and we'd act it out as though it was like polite dinner conversation. Actually we were just asking what our next lines were. What's?
Speaker 2:the line line please it worked very well um but anyway, yes, welcome to the gaming blender.
Speaker 1:Uh, this is a. This is a podcast where we make hypothetical video games every episode, where we will mesh together a wonderful genre with some mechanics and create whatever our beautiful minds can export out the other side, and hopefully we won't fit our lines. Scott, you're with me, you're here, you're looking forward to this. We've made some good games of late. Are you excited?
Speaker 2:I'm always excited to make hypothetical video games that hopefully at some point someone will make.
Speaker 1:Someone will hear them one day. I would like to give a little shout out for the person who left a five-star review on our podcast, on Apple's podcast. I would like to give him a shout out, particularly because it's my favorite review ever, because this gentleman wrote and again, thank you very much for the five-star review. But the review did say thank you, I have an idea. How about you cover my game? I did, I did to be fair, to be fair. If you make, if you have made the game 100, we will, we will chat about it. We're more than happy because I I believe some other people had been making games and were messaged in saying they were making some games. So again, you make games and you want us to chat about, chat about them and and say we talk about ideas. Be all three, send them in, but please do yeah, or leave five-star reviews and make the request, because everybody wins. Then that's excellent.
Speaker 2:This is true. This is true Everybody does win.
Speaker 1:But this is your week of leading, Scott. You are leading this particular creative chariot charge into the unknown territory of Gameville. How are you feeling?
Speaker 2:Panicky noises. Panicky noises. Yes, We'll see how it goes. I think Dating Sim I'm feeling Dating Sim is going to emerge.
Speaker 1:Well, I've already done the draw, I know what it is and I will never forgive myself for leaving Dating Sim on there. I really, really struggled when it came up and it wasn't appropriate. We lost a lot of listeners. People left in their droves, they stormed out.
Speaker 2:Not appropriate no please. I am prepared for whatever there is to come.
Speaker 1:I think that was said very seriously. Do you want to jump straight in? I feel like this is the vibe we're jumping straight in, we're going straight in, we're playing with it.
Speaker 2:Normally we preamble about nonsense, but let's jump straight in. I feel like this is the vibe we're jumping straight in, we're going straight in, we're playing with it.
Speaker 1:Normally we preamble about nonsense, but let's jump straight in this time. We just told a story that no one would care about and now we're jumping straight in. So what a way to mix it up. Anyway, so we shall jump straight in. What I have done is I've drawn one genre from a randomized pool. I have then drawn out of another randomized pool two more mechanics which we're going to mesh together with the genre. Now, scott is, we're gonna, scott's gonna lead and he's gonna try and put together, put together a rough game based on these mechanics, before I add a narrative in to just screw him over. So, scott, do you want it all at once or do you want genre followed by mechanics? Do you want me to drip feed or do you want a full-on tsunami of pain?
Speaker 2:Do drip feed so my creative juices can start, not flowing.
Speaker 1:Your creative juices, sir, are exactly the same as most Ubisoft employees because you have got open-world sandbox as your genre. Okay, doesn't really help the creative juices Doesn't really give you much to go on, does it? It is planet generic at that.
Speaker 2:So do you want?
Speaker 1:your mechanics or use it. The creative juice is boiling away and I'm just gonna start. No, no, I would like to start. I'm gonna start and hope that everything goes well right.
Speaker 1:So for your mechanics, you have a physics based game. So by physics based game I mean something, a game that is reliant on uh, physics and order. Quite often this is done in puzzle solving. Good examples include half-life 2, which has the gravity gun, and quite often there'll be um one. One particular favorite of mine is a human fall flat which you can find on the playstation store, which is just you flailing around as a sort of floppy human, and it relies quite heavily on physics base as a sort of floppy human, and it relies quite heavily on physics-based. And the other one you've got is crafting, crafting. So that leaves you with an open-world, physics-based crafting game Crafting, where you put together, you just essentially, it's building roughly, he says as he drops his pen out of excitement. Okay, it's quite open-ended, and I feel like this is one of the ones where we need to set ourselves a challenge to make sure we are as different as possible.
Speaker 2:So I have a, I have a sort of idea, okay. So, uh, I am. I'm so, as an aside, um, you know, you have a lot of people who, who claim that you know, the pyramids were built by the aliens and and and all this stuff. And now, how do they possibly do that? I'd like to stop you there and ask where is this going? Just just just bear with me, okay. And people have a sort of a, a, a what's the word? Sort of a misunderstanding of maybe how intelligent you know people were in the past and how that with physics you can overcome such.
Speaker 1:Oh, I see, I see, it's. It's. You see what I'm going. Someone said some I had this conversation with someone while they were cutting my hair. Well, I never had my hair cut again there because it scared me quite a lot.
Speaker 2:Yeah yeah, but anyway. So crafting and physics obviously go together quite well, especially if you think about building, and especially if you think about building where you're not in the modern age, where you're not, you're not you the modern age, where you're not being helped by computers, you're not being helped by fancy electronics or anything like that.
Speaker 1:You are reliant on your ability to navigate the laws of physics I think I know where you're going with this and I like it so.
Speaker 2:So what I'm thinking is that potentially, you could have a game that could be set. You could see, you could set it anywhere really in human history, as long as it's not within, probably, the modern era, okay where you play essentially a, not like a builder, but like almost like a um, how to put it?
Speaker 1:architect architect.
Speaker 2:Yeah, like an architect, or or a mason, or do you know? I mean like someone who, someone who, whose job is to build grand structures or to build difficult things that require you know it, you're not building a mud hut. You know you could have a lord could ask you to come and build an aqueduct or, you know, the king could say I need a new castle, I need you to build it. And actually what it comes down to is it comes down to you having to work out and at the early stage of the game it can be like trial and error work out, and at the early stage of the game it can be like trial and error working out how you build stuff with very, very basic, not just basic materials, but also like basic well not even machinery, basic sort of techniques.
Speaker 1:I'd like to push this idea even further because I really like this idea. I feel like you should be in a world where you are. It could be like even a hypothetical world where you are literally instructed to build the hardest things that humans have had to build and you are surrounded, you have to go and gather up all your materials. All the materials you need are in this world, and that's where the open world thing comes out. And you go out and you get the building blocks literally and they say build the pyramids, and you have to literally overcome the problems that they had and unless you google the limit and and you, the game gives you the limitation. So if you're building the pyramids, you're like, literally, you have to be able you have this to be able to get the rocks up and it just kind of leaves you.
Speaker 1:So it's a bit of an educational game in the sense of you have to understand how these things are put together. Obviously, if you're asked to build a skyscraper, you're not going to be held up massively on the electronics or they're not going to say, well, you built it really well, but you didn't nail the plumbing. It's going to be just generic, can you make the shape, and that's where the physics base comes in. So you literally just trial and error and go, oh, that's not how they did it, and then that would be quite small scale. Um, ironically, because I think, but I think. Have you ever seen the? Did you ever remember the game show? Classic british game show called scrappy challenge.
Speaker 1:Yes, this is the kind of world I imagine yourself in, where you are. You are based in this world that's surrounded by parts and you have to go and gather up the relevant parts and work out what goes with what I mean like an early example, because everyone knows how the pyramids are put together, with their block, block, block. But that would like be an early one. And then you'd advance and you get more and more complex structures and start to be having to build them. You'd have to go and go out and get the resources.
Speaker 2:I thought that'd be quite interesting I think, I think you could, let's say, you take the example of pyramids. Um, it's the right, okay, so we've, we've this bit. But now we're further into the structure. You know the pyramid is starting to take shape. How do you get to the blocks from what is now the bottom of the pyramid to what is now the middle of the pyramid?
Speaker 1:Yes, and these are the exact challenges that they face. And also you could start throwing in the seven wonders of the world and stuff like the Colossus of Rhodes. You could throw that in.
Speaker 2:Oh, yeah, no of the world and stuff like the Colossus of Rhodes. You could throw that in. Oh yeah, no idea how they did that.
Speaker 1:How do you gamify it? Though I like the idea and it feels very sandboxy, I don't know how much of a game it feels like. Do you know what I mean?
Speaker 2:I think you'd need to sort of lead it into the open world element of it, in that I think the players would need to have a choice about where they went and what sort of building they pursued. In that perhaps you make it that there are a variety of different um, variety of different sort of um avenues that you can pursue. So let's say um, let's say, let's take the example of seven wonders of the world, the um, what you, the skills you require to build the pyramids, is probably different to the skills you require to build the colossus of roads, because one is made of metal and the other is made of stone and so we're also going to skirt around the old slavery thing.
Speaker 1:Are we for the pyramids?
Speaker 2:well, we'll, we'll say that. Well, I mean, you could make it authentic and you could say sir, you have 50 000.
Speaker 1:Yeah, I think it's best, or you?
Speaker 2:could say don't worry, they're all getting minimum wage. Um, I don't know. I'm not the ethical manager of this that's not.
Speaker 1:We're not with it. Yeah, I see the world. I also see the world, maybe somehow, as did you ever play Lord of the Rings Lego.
Speaker 2:Yes.
Speaker 1:Do you remember the way that they set up that map? It was like a miniaturized version of Middle Earth so you could get everywhere in like 10 minutes.
Speaker 2:Yes.
Speaker 1:That's the way I kind of see this, and maybe it is like a global map, but you could walk through like the UK in a couple of minutes, kind of thing, yeah, and you and you could go and okay, okay, the you know, the ancient celts want you to build stonehenge.
Speaker 2:Yes, but they want you can make it quite funny but they want the stone to come from wales and you're like, um, um, but wales is all the way over there and we're here.
Speaker 1:Wales is there. We're here.
Speaker 2:I've read the contract yes, so I think you do it like that. You maybe divide it into streams of types of types of construction, perhaps, maybe, and then and then, and then people could start, people could start getting good at one particular type. Um, yeah, and then just let's say, for example, in the case of the pyramids, there are loads different types of pyramids all around the world and you get the, the ziggurats, and in in in other places like cambodia and central america, and you know, perhaps you, you branch out and you learn about new, new ways to to build.
Speaker 1:Maybe that's it. That's that's the really exciting thing. You can gamify it by by simplifying it. What you can do is you can sort of move forward modern inventions, like, if you help the egyptians, the egyptians give you this building technique that is only found out later in the egyptians existence. Then you move on to this next bit and you end up building, and that's how you get. Essentially it's a bit of an RPG system almost built into it, so you learn things.
Speaker 2:Yeah, I'm not sure how you'd work it sort of like historically in the game, like your character lives for a thousand years and is able to travel the world.
Speaker 1:I don't feel like we can work that in with a plot. I feel like I feel like we can work that in with a plot. I feel like I like the idea. I mean, if I was to write the plot now, yes, at this early stage, I would write it and say that, um, your character is essentially a god and he is a god of construction, and he just flirts in between. But the irony being is, maybe, maybe he's the son of one the god, so he's actually going I'm the god of construction. How do I do this? I don't actually know. So he goes down to earth to work out what he's the god of and he's like oh. So that connects to oh sorry, yeah, yeah, and they're like building, they're building it going.
Speaker 2:We praise the god of construction, we go, yeah, we do, he's great, oh dear yeah, so maybe, maybe, maybe said god become mean we don't have the narrative yet, so it might not work. Maybe said God at the age of 16 is granted a. It's a gap year. It's a gap year or this is your. You get given your niche as a God at the age of 16. Oh I see, yeah, come on war, come on war.
Speaker 1:And then he's like construction, he's like oh no, you gave construction is like oh no, you gave construction to barry.
Speaker 2:Yeah, barry, barry got lost in ikea. Yeah, I, I think you could have a good tongue-in-cheek time of that that would be quite funny or quite entertaining.
Speaker 1:Then you could just like building and then you could make education. How so you get the rpg elements learning for different building techniques and stuff? How do you make this more replayable, do you? You come back, because it does feel like once you've completed it, there's nothing else. I suppose there's DLC you can add on new buildings and stuff, but you've already gone so far. In the future you'd have to restart. I don't know.
Speaker 2:As this is a game produced by us, it would be free LC, of course. Free LC, yes.
Speaker 1:Free LC. You do realise that's FDLC. Yes, because D stands for downloadable. I don't know what free LC stands for Free loadable content.
Speaker 2:I don't know what your problem is. All I'm saying is that people get it for free and you're jumping on that.
Speaker 1:Have you heard of free LC? No, I haven't heard of free LC because it's gibberish. That's why.
Speaker 2:It is, you're not wrong, but I think that could be quite fun, I think, I mean I, I would probably, I'd probably, I think it'd be interesting.
Speaker 1:It reminds me a lot of lego games. There's a lego world, I think, at the moment, where you can go around. You literally build. It's like you build a bridge and your character has to walk across it and then, if it collapses, it collapses. Um, I like the idea of you having to build. Oh, it'd be really funny if you built alexandria and you didn't know what happened to it and you went. What do you mean? It's on fire.
Speaker 2:I was looking after it, I mean, it's it.
Speaker 1:I mean if you, if you make it quite hard in the sense that you don't get warnings if it's about to collapse, like oh yeah, yeah, I know I feel like it's one of those ones where you can watch it and you can go all of my hard work down the drain. You could spend hours on it.
Speaker 2:Let's say, if you're doing the Colossus of Rhodes, it's got this almost like a skeleton underneath to hold it up, this sort of metal understructure that keeps it up, and you sort of think, yeah, that'll do. And you sort of think, yeah, that'll do, and then it gets to like they're putting the shoulders on and then the whole thing just goes and it all falls over.
Speaker 1:You're like no, or you get the person who commissioned it standing next to you going I don't know, it looks nothing like Steven. Start again, yeah, yeah. So you get to the top and it's the Cristiano Ronaldo face at the top.
Speaker 2:Oh yeah, well, top, that was bad, wasn't it? But yeah, I think you could have a good.
Speaker 1:I think you could. You release new bits, and maybe the way you do it, the way that Dark Souls and the Elden it sounds like a tangent. This does make sense the way that the those kind of games do that.
Speaker 2:When I went off on a tangent earlier, you jumped on me and were like where are you going with this, matthew? Where are you going with this?
Speaker 1:I'll tell you where I'm going with this. So in Dark Seasons DLC, they're very specific about the way you get access to the DLC. So if we get our way and we are a god, maybe you say that if you unlock a certain building, you have to rewind to a certain point in time. So if you were adding extra buildings, you're like, okay, well, this is built in the 1500s. X wasn't available yet, so you have to go with. I mean, you could make it, you could. Actually, this is quite a fun way of doing it. There is the narrative mode where you go through and you work your way through, but there's also free play where you can take any building, but with all of the tools you've used. So it'd be quite funny coming back to the pyramids with all of the 21st century technology and seeing how much quicker you could do it. Yeah, because it might be a case you're like, oh, it'll be so much easier, and you go back and go. Actually, this is, this is potentially even harder yeah, it's.
Speaker 2:It's actually more complicated than it needs to be. Yeah, I like the idea of a free play should we try and shoehorn in what will probably be a ruining narrative?
Speaker 1:yeah, one final thing I think there should be time trials. How quick can you build things?
Speaker 2:so you can have online leaderboards.
Speaker 1:Like Kevin built the pyramids in 24 seconds.
Speaker 2:I mean I would love to meet Kevin, Kevin's incredible Kevin was kicked out the Legoids in 24 seconds. I mean I would love to meet Kevin.
Speaker 1:Kevin's incredible Kevin, was kicked out the Lego shop in London because he just built everything. He just was unboxing it, building it. Yes, let's try and crowbar the narrative in. So what would you not want, do you think? Narrative-wise, forbidden love? Oh, come on, you can make that work with gods. He's always trying to impress a lady love in the sky by building things to her as tribute. And her name was Rhodes and built her a colossus.
Speaker 2:The riddle. The riddle probably wouldn't work. Yeah, I don't know, I don't know I'm feeling a little bit squeamish about the narrative.
Speaker 1:Well, what you've got is underdog. So this is where a story where someone who's underprivileged or in a poor position fights their way to the top and everyone's rooting for them. Unfortunately, what we wanted was a god.
Speaker 2:I mean you could make that work. So let's say, okay, let's say that, let's say that when, so, taking the idea of you're a god you reach the age of 16, you are given your niche, you go, you cross your fingers and you go please walk, please walk, please walk and you get given construction. Cross your fingers and you go, please walk, please walk, please walk and you get given construction. Let's say that your your childhood rival. Okay, that, let's say you should. Let's say, like in, like, in some, uh, like in some pantheon, so both athena and aries are both gods of war in the greek pantheon.
Speaker 2:Yeah, let's say, in this one, that's, another person is also selected, let's say, a childhood rival ah, so very similar to pokemon's red is also selected as, uh, as the and the, the other god of construction and you, you have a construction off over the course of the of the narrative, instructional, yes, so so you get. Let's say, I mean, you couldn't do it on the same buildings, obviously, that wouldn't work. But let's say you start at different parts, in different parts of the world, and the other, the other gods, judge how well you're doing and how well you've done in comparison to the other. And then we could say that in the, in the narrative, in the past, this, this, this guy or girl who is your rival, um, has always been better than you, has always beaten you everything. So then you start off as the underdog, because no one expects you to be able to beat them maybe okay, so way we can do this.
Speaker 1:I'm telling I like, I like the ride, your idea scott this is don't make me laugh, I cough.
Speaker 1:The way, the way we can do this is that we ditch your idea entirely, entirely. Yes, no, no, no. So I like the arrival idea. However, to make it work from a narrative perspective, how about we have this law built into the world, where the world is actually cyclical? So things start again. After a certain period of time, the world resets and you start again, and the thing is, there are generations of gods and the generations of gods look after a period. Then, when they get old and die, that starts a new cycle. A new generation of gods take over, which is where Brian the god of construction takes over, who we play as, or Susan the god of construction.
Speaker 1:It can be a player, you can make the character, but the thing is, as you are building, you are being compared to the previous god who, literally, because you are redoing the cycle, you have to build the same things he built, but, but through the technologies of the gods, they're able to show you how this person built it.
Speaker 1:Now, to add an extra layer of complexity to the narrative, you're being shown these through um, um, through sort of holograms.
Speaker 1:That's the way it was written.
Speaker 1:You get shown these holograms and you can see that the gods like doing really well and as it starts off he does better than you as you advance through levels and your character and the story is your character is getting upset.
Speaker 1:But then you realise that god, the previous god, is trying is actually ends up communicating you with you, like look, he ends up communicating you with you, like looking, starts making eye contact with you and talking to you and you go hang on, this is a hologram, this doesn't make any sense.
Speaker 1:So what you start to realize is the previous generation of gods realized that they were going to pass away, they were going to die off and kill the cycle and they wanted to break the cycle. They didn't want to die, so they left their past histories and the connection is that if they can start a new cycle themselves before your gods naturally begin a new cycle, they will return and reign supreme, which is why your, the, the old god, is actually trying to build as quickly as possible, because if he builds really quickly, he will restart the cycle quicker, because by getting to the end of human history, he resets the world and the cycle starts again. So your character realizes this and it becomes essentially a race to advance the human race as quickly as possible to stop the old gods from coming back.
Speaker 2:Ah, okay I don't know where that came from. No, I like it, I like it, I. I think that would work. It's very.
Speaker 1:It's a bit Assassin's Creed-y in terms of the lore, yeah, but I kind of like the sort of hologram. I like the idea of Do you remember the best moment of Assassin's Creed is where, at the end of Assassin's Creed 2, spoilers for the 20-year-old game or whatever it is is where she directly communicates with the player through the screen. Yes, and I want that feeling essentially being like hang on, they're talking to me.
Speaker 2:Yeah, I remember that and it took me a moment. I was like hang on a minute. Hang on, my name's Scott, Hang on just a second. Yeah, I think that could work. I think that would be quite interesting and I don't think when you start the game, I don't think that you would expect that to happen no, I don't think you hint towards it at all.
Speaker 1:And then you start. The whole point is you start it was a basic construction game and then the sort of twist starts to go in and you realize, hang on, these holograms that I've been told they're put together, they seem quite real or they seem to be advancing. And you can have these little moments where you get told in a cut scene, you get told you have to go off and build the sphinx, for example, or something like that, and you get there and it's already done and you go hang on, I was just told to go and build that. What do you mean? It's already done. And then when you ask, they go oh, the god of god of construction, susan just came through and she sorted that out for us. And then you go Susan's been dead for 400 years.
Speaker 2:Hmm, I quite like it. I think that would work. Have we gotten a bit? Have we drifted from the open world element of it a bit?
Speaker 1:Ooh, we might have done. But the idea was ooh, okay. But then the idea was you had to go and get the materials, didn't you? From where they came from, literally in real life. As you said, if you were doing stonehenge you'd have to go back to wales, and if you were um, I don't know, I can't think of any other examples, but you know what I mean are we?
Speaker 2:are we doing? Are we doing, as part of this, that you've also got to, you've also got to get those, those materials?
Speaker 1:yes, yes, I think I think you do, because I think there's a large part of it which is really cool, which is the way that they got literally got the physical things to them. You can do shortcuts. So, for example, if you know it needs to come by boat, if you have unlocked let's say that boats are an unlock if you have unlocked boats, all you need to do is go and source it, find out where it is, plot the route for the boats and then that gets them there. But you still need to have all the equipment.
Speaker 2:Are we saying that? Let's say they're doing the Parthenon? Let's say and they need lots of marble? Are we saying they need to go and figure out how to mine the marble? Basically yes, because mining the marble, you know what I mean.
Speaker 1:Yes, and also it would be an unlock in terms of how do you refine that marble and how do you put sculptures into that marble? Because there's so many sculptures, you'd have to unlock the sculpture mechanic. You don't have to do it, you just have to have unlocked it by doing something. Well, and maybe, maybe the challenge is you go, you have to have built the pyramid in x amount of time to unlock this and therefore you there's more reason you go. I need to rebuild that again. How quickly can I get all these pieces together to pass the level?
Speaker 2:I suppose there's a few logical things in there as well you could throw in like once you, once you acquire the marble from the quarry, do you cut, do you sculpt the marble? Yes, yeah, that'll depend on how many places going to be and then sculpt it, because then you, if you do it the first time, you're like, oh, hang on, it broke in transit. Okay, okay, lesson learned, let's take.
Speaker 1:Let's take it to how many shopping bags do you have? I don't have many. Well, I've cut it all up. We're in trouble.
Speaker 2:I yeah.
Speaker 1:Yeah, I like it. I think um, oh, there was I also with the open world. One way we can also confirm is you don't get told what you need to do, so you just get let loose and you just said these are X amounts of contracts, things that need to be built in the early game, and then more unlock as you go through. But you'll kind of get funneled towards certain ones by what things you unlock. Say, if you do the I keep going back to pyramids because it's the only thing in my brain at the moment but say, if you do the pyramids and you unlock something that works for marble cutting, then you might think, great, I can go do the Parthenon now, but you might unlock something that's great for steel working. So decide to go off and do something else.
Speaker 2:So that's where in, and I don't think it should be too difficult to implement our plot over that, because our plot is meant to be a bit of a mystery plot. I think outside of say, like a tutorial, probably do as little hand holding oh yeah as possible, you get a tutorial to learn how the basics work, and then the tutorial could be quite funny as well.
Speaker 1:Where it's like you are to live on earth, build yourself a house and it just keeps falling apart.
Speaker 2:Yeah, do you want to do a summary, and I'll try and do a terrible answer. Let's do a summary.
Speaker 1:So what we have come up with, ladies and gentlemen, is an open-world game based on a physics system, with crafting and with an underdog story. What we have created is a world where the human race lives for an X amount of time with its gods and then, when it reaches the end of civilization, the world resets, new gods are born and the cycle begins anew, and then, essentially, the human race starts again. You play one of these gods. You play Barry slash, susan, who is the god of construction. However, you've only just been given the job, so you've got to learn on the job.
Speaker 1:So you go down to Earth to learn with your fellow man Well, not fellow man, you're a god. Learn with the men and women that are disgusting, because you're a god. So you go down to learn with them and you build things for them, and as you build, you unlock more and more abilities and you can build more things, which advances the civilization, the human race, to therefore reach its end. But what you realize? You realize that the ancient gods are coming back. They seem to be building against you. They seem to be building against you. They seem to be creating stuff, taking away your contracts, because they want to break the cycle so they can come back and retake power, which would be awful for reasons that I didn't have a chance to go into um. And this game, this wonderful building game, educational game, wonderful game everyone's praising it already. It's already one game of the year 2030 is called so I've got and they're all quite different Three seems to be the go.
Speaker 1:We seem to go with three and then we seem to randomly end up with one, like Steam Rally.
Speaker 2:One of them is quite generic and towards gods. It's just called the Divines, the Divines. Okay, it's all about the gods and all that stuff. I'm not going to lie.
Speaker 1:Divines does sound like a 90s girl group. There's nothing wrong with that. The new single by the Divines.
Speaker 2:The other one based on the character that you are and your job as a god. I've got the Hammer, god.
Speaker 1:The Hammer God. These all sound musical it's.
Speaker 2:Hammer Time. Why don't you like musicals? And the last one is Builders of Divinity.
Speaker 1:I like Builders of Divinity. Okay, you pulled it out of the bag there.
Speaker 2:I did a good one.
Speaker 1:You did a good one, I did a good one. I'm not going to lie, still used all the words of the thing. I don't see what the problem is. It's a game about builders and gods. Okay, I'm going to call it Builders of Divinity.
Speaker 2:It works though.
Speaker 1:It's a nice it does. It does. It's a good name. Thank you very much. Well done, so that that was builders of divinity coming to all divine consoles near you. Maybe someone please pick this up. I, I need a job, um, don't we all? Ladies and gentlemen, I hope you had a wonderful time listening to this, as much as we have talking to you, and thank you so much again for listening. We really, really appreciate it. Please drop us a review or get in touch with us if you want to hear us do a challenge or set us a challenge or give us something you want us to create and see if we can make it up in our half an hour. In the meantime, I have been Matt and I have been Scott. Have a wonderful week and keep blending everyone. Bye, goodbye.