This time was then used for example for creating bigger levels and more performant results.
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The level streaming system is also improved, and we have largely automated that to free up time for various people in the team. We applied a lot of learnings from our own processes and workflows, and we were able to improve vastly on building destruction, resulting in a better output with less complications. Internally, you always go back to the previous project and identify the issues and complications you had. This character was already present in the very original game and was a good opportunity to use and expand the lore. Player guidance is also an area we worked on to improve, and we’ve implemented a “character” to better lead the player through the game. One major avenue for that was understanding the reception of the first remake’s combat and applying those learnings to modernize the second original game’s arsenal. The community’s feedback has been instrumental in understanding the reception of player-facing features, and we have been working to implement improvements where possible. Stefan Schmitz: Working on a franchise always gives you the opportunity to analyze the previous game’s development and course-correct for the upcoming installment. What did Black Forest learn following the development and release of the first Destroy All Humans remake? How has that knowledge been implemented in Reprobed ?
We always aimed to recreate the good memory of the game in the hearts and minds of the players, which is a much bigger challenge than a straightforward remaster. That being said, it was imperative to treat the remake’s conception with the utmost care – respecting the memories of players and the vision of the original while improving the game’s quality and uplifting it to modern standards was always on our mind when we worked on designs and decisions. After all, as someone who grew up with the games of the era, it was like a dream come true.
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Working on a beloved series like Destroy All Humans is a great honor, responsibility, and a little bit scary, to be honest. My role at Black Forest Games is that of an assistant creative director, and in essence, I am a framework builder, team enabler, and vision preacher closely following and supporting our creative director. I joined the industry in 2007 at Black Forest Games’ predecessor studio Spellbound Entertainment and have been with this amazing bunch of people ever since.
The Escapist: Tell us about yourself, your role at Black Forest Games, and your experiences recreating games that hold such a fond place in the hearts of so many.
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