This was especially useful considering the team only had one programmer. So, everything you see in Q.U.B.E 1, like every red cube, every yellow cube, there’s a sequence we had to manually create for each one, which is just really time consuming.”īlueprint, on the other hand, is class-based, which meant that Hall and the team could iterate on stuff far more easily. “It’s designed for like level sequences, so everything needed to be created over and over again. “The main thing with Kismet is that isn’t designed for making a game,” says Hall. On the first game, the team used Kismet to design the game, but, on the sequel, they switched to the much more versatile Blueprint, which gave them a much faster way of prototyping level layouts. The biggest fundamental change between the development of the first game and its sequel is the move to using the visual scripting system Blueprint in Unreal.
These were later additions, however, after receiving some minor complaints from playtesting the game.
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These include things like button prompts to show players how to delete cubes or interact with the environment. There are certain text prompts that were introduced in Q.U.B.E 2 to ease progress. That being said, the game does break this rule on occasion. I think they are more likely to remember it that way.”
You want people to be able to discover for themselves. And we felt it would be better to do it in game, rather than actually having a set tutorial that kind of has written text telling you what to do. “There’s a way in which most of the game is a tutorial, but definitely like the first four sectors were designed just to introduce the three place-able mechanics and then give the players a bit more freedom. Before you gain access to using the ability, you will need to play through a level featuring the mechanic in a set position, showing you what it does in context before you even get the chance to place it yourself. In the second game, for example, you are introduced to each cube mechanic separately over the course of the first four sectors. Unlike other games that include a set tutorial, Q.U.B.E and Q.U.B.E 2 allow players to experiment with the mechanics to get to grips with them. One thing that the team wanted to keep from the first game was the tutorial system. We thought with a bit of extra experience we could take it further, because we felt like the concept had a lot of potential.” Gleaning the cubes "So, we put the game out, and I think a lot of people liked the concept, but felt it was quite limited as a result of the budget and also because we just got into game development. We’d just finished university and we didn’t have a programmer on our team or an artist, so it was quite limited in what we could achieve," says Dave Hall, the creative director and the person behind the puzzles in the game. I think they are more likely to remember it that way."
" You want people to be able to discover for themselves. The idea for making a sequel to Q.U.B.E came about because the team felt like there was more to explore with the core concept of placing cubes after the initial game. These include a blue cube that propels the player up into the air, a green cube that can produce a gelatinous cube, and a red cube that can be pulled out of the wall to create platforms. Along the way, she will discover the ability to place a number of different cube types. In Q.U.B.E 2 players step into the shoes of Amelia Cross, a stranded archaeologist who must navigate an alien planet with the aid of a special set of gloves that allow her to place cubes. This included limiting the number of mechanics, and keeping the story sections away from the puzzle areas. While working on the follow-up to its successful first-person puzzle game Q.U.B.E, Toxic Games set a bunch of rules to make sure its approach to the puzzle design was an improvement over the original.
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