“A thing that bugs me in a lot of fantasy work is the idea of pure good and pure evil,” he says. However, he chafes at the typical conventions of fantasy, in which the forces of good diametrically oppose the forces of evil. “That is essentially what the god trees are.” “One of the core concepts was the idea was that in that universe there is darkness, and the world filters that to create life,” Nick says. This being is powerful but plagued by the malevolent force of an entity called the Nightmare, which the player must venture forth to combat. The basic premise is that the heroine has gone adventuring in the north, when she is somewhat forcibly recruited as a champion for a “God Tree” being. Much of the game’s overarching universe is never made explicit, leaving players to fill in the blanks using the details given them in-game, but there enough details that the world still feels rich with lore. It was really important for us to have kind of an omnipresent world.” “Making a setting that was complete and made a lot of sense. “The thing that was really important from day one was world building,” he says. Ian Robb, the other half of the project’s design equation, seconds that, confirming that the game’s cohesiveness was no accident. “Something I’d been working on, because I just love doing it, was building a world.” “Before DigiPen I was actually trying to be a writer,” says Nick Cameron, the game’s producer and one of its designers. Though many of these interactions have no effect on gameplay, the tidbits of story they offer slowly and purposefully flesh out the game’s world. Story is a huge part of The Blade in the Bark - the game is liberally peppered with glowing runes that rest next to interactive objects. “But few are so unfortunate to find themselves trapped at the edge of a sunset, forced to enter a forsaken realm of eternal night.” “Many adventurers have trekked through mountain caves and over frosted fields, searching for secret treasures and magics,” the game’s opening sequence offers. The thing that was really important from day one was world building.” The game follows an unidentified heroine into the “frozen north.” She finds herself conscripted by a mysterious “God Tree” and forced to serve as its champion, armed with nothing but a shock of bright red hair, some magic runes, and a sword that only appears in the circles of moonlight scattered throughout the game’s tense, enmeshing environs. As YouTube indie game reviewer GSDBoxer put it, in a narrated play-through of the game, “I can’t believe this is from students!” Though it’s much smaller in scope, it has comparable polish to those indie hits. The game is a lovingly crafted pixel-art fantasy adventure à la Hyper Light Drifter or Titan Souls, both of which The Blade in the Bark’s creators, Team Isogon, cite as influences. Lots and lots of pixels, put to good use in ludicrously detailed pixel birch trees, menacing pixel wolves, and even gently falling flakes of pixel snow. Instead of uncannily realistic textures and dynamic lighting, there are pixels. The Blade in the Bark is a visually arresting game, but not in the same way that a flashy AAA title might be.
Discrimination & Harassment Incident Report.BS in Computer Science and Digital Audio.BS in Computer Science in Real-Time Interactive Simulation.BS in Computer Science in Machine Learning.Information for Teachers and Counselors.
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