In practice, all this means is that I need to consider the skills of crew members and the number of crew in each station. “Sometimes in combat you’ll need to dive into your sub interior and make quick changes, and for this we have a mechanic called Captain Time (similar to bullet time) which slows down time so you can make those changes without getting blasted.” In Diluvion, you assign crew to stations based on their stats to get the best bonuses from each station,” Dassey said. Similar to FTL: Faster Than Light (2012), I am able to move crew members around from this 2D view, bolstering different functions of the submarine as required.īut as Dassey explained to me, crew management plays a different role in Diluvion than it does in FTL. “In FTL, you’re viewing your crew during combat, and giving them orders real time. From there I can see which station each crew member is assigned to, performing their designated operations. Although I am technically pressing buttons to directly steer the sub and increase its speed, the game brings up a talking head in the corner when I do, showing my helmsman’s face as he says variants of “Aye aye, captain.” There’s a sense of constant communication between my lackeys and I as we drive around thousands of meters deep in the game’s 3D rendition of a vast ocean.īut it’s not only these talking portraits that sell the effect, as at any time I can press a button to move smoothly from that 3D view and into a painterly 2D cutaway of my submarine. What strikes me first about Diluvion is how it makes me feel like a captain.
His enthusiasm leaks through straight away as I ask him what it is about Verne’s novel that gripped him: “The sense of adventure in the ocean the giant creatures the fact that the Nautilus has a library the creativity behind the submarine design in Disney’s film adaption.” His team’s upcoming game Diluvion is an undersea adventure inspired most of all by Jules Verne’s classic novel Twenty Thousand Leagues Under the Sea (1870). Popular culture’s current output sells the idea that we are infatuated with life and death beyond our home planet.īut Leo Dassey, creative director at Arachnid Games, hasn’t turned his head to the skies he’s looking the other way.
The big breakthroughs in science that wow us are made up there, and so our popular stories follow suit-whether it’s space disasters directed by Hollywood ( Gravity, Interstellar, The Martian) or videogames that promise us the universe ( No Man’s Sky, Stellaris, Elite: Dangerous). Outer space is what currently holds the global population’s active imagination.
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