Wireframe – Issue 20, 2019

08 / wfmag.cc

Interview

Attract Mode

 Although you’re largely defenceless, there are

later stages where the boy’s catapult can have

an explosive effect if you aim it in the right place.

The premise behind El Hijo is really

unusual, especially for a stealth

game, which normally has military or

far-eastern themes. So what came

first, the western premise or the

stealth mechanic?

We wanted to tell the story of a little boy‘s

journey in the wild west. Stealth felt like

the natural interaction kids would have if

they found themselves in an intimidating

and dangerous setting, relying on wit and

smarts rather than strength. We also felt

that using the unconventional western

setting allows players to come into the

game without the expectations of the

usual stealth tropes.

Did you always plan El Hijo to be a

larger, multiplatform title, or did

you initially envisage it as a more

contained mobile game, like Impossible

Bottles (see boxout)?

We started developing El Hijo with the idea

for mobile and PC. However, we always

tried not to restrict ourselves. Keeping the

bigger picture in mind, we wanted to leave

as many doors open as possible.

I read that El Hijo was inspired by

El Topo; there can’t be many game

developers inspired by Alejandro

Jodorowsky, so what was it from the

movie that first planted the seed for

the game?

The strong visual language of the film

was very inspiring. We wanted to try to

translate this visual language into the

game. Therefore, we opted to not have

any verbal dialogue and mainly use visual

storytelling by creating a sense of story

through settings, characters, animations,

environment, development in gameplay,

music, and so on.

Does the game get as surreal as

Jodorowsky’s films so often did?

Initially, we had dream-like sequences.

These were quite surreal, in which monks

were throwing wine barrels resembling

the ape in Donkey Kong. We also intended

to implement a giant sand octopus in the

desert that El Hijo had to outsmart, and so

on. But as the game developed, we moved

away from these scenes to focus on the

main story, which was challenging enough.

El Hijo’s also described quite specifically

as a ‘spaghetti western stealth game’;

what is it about that particular sub-genre

that appeals to you? Is it the cinematic

style of, say, Sergio Leone’s films?

The atmosphere is drawn [from]

Sergio Leone’s westerns and the

aesthetics from Saul Bass and German

Expressionism. We were fascinated by

the contrast that spaghetti westerns

have: defenceless characters, trickery and

deceit of opposing gangs, humour, and

even surrealism.

The slice of the game I’ve played didn’t

use any dialogue, or didn’t appear

to. Is that something you’ve stuck to

throughout the experience?

In El Hijo, we are translating the verbal

dialogue into a visual language by

allowing the environment, character

animations, and their encounters, as well

as the music, to tell the story without ever

having the need to actually talk.

What’s the process of developing a

stealth game like? Is it a long, iterative

process designing stealth levels that

are challenging but entertaining at the

same time?

We think that it’s very similar to any other

game development.

Initially there’s a concept, there

are some tests, maybe a prototype.

Then there are new tests, adjustments/

balancing and even more tests. New

features are added, which require –

guess what – tests again, before we

actually start to visually design the levels,

implement animations, music etc.

Overall, it is a very iterative process.

It’s very challenging at times, but also

very rewarding when it works out.

Do you have ideas sessions, where you

come up with the different NPCs and

hazards for the player to encounter?

We started with a bunch of ideas for

different NPCs and puzzles, however,

as the game develops, ideas change.

We tried to keep this as tangible as

possible; giving space to explore and

test. Giving us the chance to adjust or

exchange ideas that make more sense

while you develop, and that could not

be predicted when [we started].

On that note, what’s been the

biggest challenge so far in El

Hijo’s development?

 Each area is essentially an isometric
puzzle, as you figure out what objects
in the environment can be used as
hiding places or useful distractions.