Before any real work on the project such as the Riftbreaker can begin, you need to have at least some idea about what you want it to look like. Using only words to describe your concept is not enough. You leave room for misinterpretation and don’t set clear goals for the rest of the team. In order to avoid such occurrences, we spend a lot of time looking for references in other games and art pieces. Combining the elements that we like with our own ideas creates concept art that allows us to get down to work. We’re going to show you a couple of such pieces today.



This is one of the first concept art pieces for the game. We always knew that we wanted to make The Riftbreaker an isometric strategy/shooter with a giant robot as the playable character. However, we didn’t know what the environment should look like and what we can do to make Galatea 37 look and feel alien. This is what our artists came up with and it became the reference point for the space jungle biome. Now, let’s try to show it in isometric view.



Roy*, this doesn’t look alien to me. Can we dial up the alien-ness a little?



Muuuuuuuch better. We used the model of the Juggernaut Mecha from X-Morph: Defense as a placeholder for what would eventually become Mr. Riggs. Such experiments are important, as they show you what level of details you should be aiming for to make the environment come to life. With a reference like this, you can finally start preparing the assets and the tech for the rest of the project.



Naturally, there was a lot of concept art that was made before the production of the game began. Some pieces were scrapped entirely, while the others had useful elements that we decided to incorporate into the game. Here you can see one of the elements that didn’t make the cut - the portal (blue thingy in the middle). The fact that I had to add the parenthesis to explain what that thing is should tell you why. ;)



And the 'final' product - the result of months of design and iteration (it will probably change a lot before we release the game, though). You can still see some of the elements from the pictures above. The hours invested into preparation of concept really pay off in the long run.

That’s all for today. Hope you enjoyed this short dive into The Riftbreaker history. You can always learn more on our Discord - www.discord.gg/exorstudios.

See you next week!

*Name changed on purpose. We don’t have a Roy in our studio yet.

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Another topic that the Discord community (which you should totally join - www.discord.gg/exorstudios) wanted to know about is concept art. For those of you unfamiliar with the term, concept art is what our artists produce as a base for their further work. It is created in order to visualize the artist’s ideas to the other members of the team. Then, the artist iterates on their first draft in order to achieve the quality we expect. Today we are going to show you a couple of these ‘first drafts’.



This was the first iteration of Mr. Riggs’ appearance. There were a couple of problems with this version - it looks very heavy and incapable of handling anything but flat terrain. The arm extensions - energy sword and drill - are excessively big and disproportionate to the rest of the body. Moreover, the drill doesn’t look like it could mine anything at all. All these issues have been corrected, and now Mr. Riggs looks much sleeker and agile. In the art, you can also see a drone that was supposed to accompany Mr. Riggs, but we ultimately decided to change the character of drones in the game.



Next up, we have our concept art for Ashley. Admittedly, this is not the first version - we spent a long time figuring out what kind of features we would like to give her. It is, actually, quite close to the final version that we used to create the 3D model. The cybernetic elements stand out a bit too much, and the uniform looks a bit too baggy. Another aspect that required correction was the color scheme of the uniform - we wanted it to fall in line with the main colors that we use in the game - orange, blue and green. All of these issues were fixed in the final render. Now, let’s put Mr. Riggs and Ashley together.



This is one of my favorites (it’s me, voidreaver, the guy who streams!) when it comes to concept art. We wanted to feature Ashley and Mr. Riggs on one piece to show that they are inseparable and both are the protagonists of the game. This scene feels powerful - the giant robot is towering over a mound of slain beasts, while the pilot relaxes after a job well done. The position of the sword seems a little awkward, but that could have been easily fixed. This piece was not chosen to be the key art for the game, however. It suggests that The Riftbreaker is all about fighting, while there is much more to it, but it will remain #1 in my heart forever.

Next time we are going to show you the concept art for some of the creatures and biomes found in the game. We’ll also tell you where the inspiration for those came from. Until then you can find us and ask questions on our Discord - www.discord.gg/exorstudios

We're a serious company, promise.

Now that you know what our studio looks like and what our responsibilities are, we are going to take a look at how our work is organized. Like every other job in the world, game development has some aspects that can come as a surprise for those who have never investigated what the process looks like. Don’t worry - we’re not going to bore you with unnecessary technicalities, we’re just scratching the surface today. Let’s talk about how our work is organized, what tools we use and what a typical week looks like.


Our team on the stage of PGA Awards.

EXOR Studios is a small company and we have a very friendly attitude towards each other. This allows us to be incredibly flexible when it comes to working hours. The majority of us come to work Monday to Friday and work 8 hours a day. The hours are flexible, though - you don’t have to come at 8 every day, and if you need to leave early that’s fine too. Our core hours are 11 AM - 4 PM. That’s when all of us are in the office - we can hold meetings at this time and consult each other on our tasks. Every Monday we also hold an office-wide meeting, where we share what we did during the previous week and set our priorities for the next one.

We all work on different things at the same time, according to our specialties and current needs of the project. Sometimes these are ‘safe’ changes, completely unrelated to other parts of the game, but others have the potential to cause the butterfly effect (The Schmetterling means butterfly, after all). One small change in code can break the entire game. If we all worked on the same copy of the program we wouldn’t make much progress at all. That is why we use a software versioning system.


This line is not just gibberish. It tells you what version of the game you're playing. You can tell that there have been 9107 versions of game content and the executables have been compiled 2607 times. And we're not in even in alpha yet!

The way it works is quite simple. The current, up-to-date version of the game is being kept safe on our server. We call it ‘head revision’. Each person downloads a copy of the program to their personal workstation. it becomes their ‘working copy’, where they can make all the changes they want - locally, without affecting the head revision. When the task is complete and the changes have been tested (more or less) we can ‘commit’ our changes - send the changes to the version on the server for everyone to download and use. The previous version is not gone - all the revisions of the project are backed up, so if we want to revert some changes, it is possible even years after the change was made. All our data is safely stored in 3 locations.


Underneath the mess of cables and dust, there is a highly automated system of world domination...

Changes to game code require the executable files to be compiled again. If all the programmers were required to compile all the changes they make to the game on their own machines it would take up a significant amount of time. That is why we have 3 powerful PCs running all the time, which serve as build agents. Their only tasks are compiling the code and running benchmarks. Why do we need 3? Sometimes (quite often, actually) we need to work on several things at once, and having multiple agents reduces the potential bottleneck. That allows us both to build new versions of our executables and run our automated benchmarks. Apart from giving us information on performance, the benchmarks also let us know if the game runs without issues.


Performance of the Riftbreaker over the course of the past year. We're making progress!

All of the things we mentioned today keep the studio operational and assure smooth running all the time. That is it for now. We hope you learned something useful, and if you’d like to know more - go ahead and ask us anything on our Discord - www.discord.gg/exorstudios.

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Bonus points if you can find Roger!

A couple of weeks ago we asked our Discord community what they would like to read about in our devlog. We were given a lot of great ideas and topics. Some of them, such as balancing the game elements, need to wait until we are finished with the game, but the rest of them we can start covering right away. They will be featured here over the next couple of weeks. If you have any additional ideas for articles, let us know! It turns out, quite a few people are interested in how the studio works, how our responsibilities are divided and what our typical week looks like. Well, in our line of work, no two weeks are ever the same and the nature of the things we do changes on a day-to-day basis, but we will do our best regardless.


Ready to battle!

EXOR Studios currently has 14 in-house employees. We operate from our cozy office in the center of Szczecin in north-west Poland. We have 4 spacious rooms at our disposal, plus a kitchen and two bathrooms. Setting the space up to accommodate such a number of people can be a bit tricky, but we did what we could in order to maximize comfort and productivity. The graphics designers have their own room, and so do the programmers. We also have a conference room, which doubles as a dining room. The last available space houses the design/management staff. Such an arrangement gives each of the rooms a clear purpose and lets the specialists communicate with each other without the need of leaving their workspace.


MVP, Employee of the Month, the Year and the Century

There are 4 graphics designers in our team. Their job consists of preparing all the assets that you see in our games - the character and prop models, the menus, and animations. The nature of their work is varied and changes according to the current needs of the project. The graphics designers can work on 2D concept art sketches, sculpt 3D models, create textures, as well as prepare promotional materials for the game. The lead designer overlooks the team’s progress, giving them feedback and assisting in case of problems. The tools they use are Adobe Photoshop, Adobe After Effects, Zbrush and Blender.


Our conference room, shortly after we moved in.

Next up are the programmers. They are elusive creatures, but you can easily catch one by turning a monitor or a coffee machine on. Especially the coffee machine. They are the wizards that maintain the Schmetterling engine, program gameplay features and make game designers’ wishes come true. All of them are well-versed in multiple programming languages but use mainly C++ and Lua scripting. Programming is a very broad subject that can be quite difficult to understand for a layperson. That’s why we have a lead programmer, who distributes the tasks among people according to their specialty.


Insert programmers here.

The lead programmer himself does open-heart surgery on the game engine. Next, we have the tools specialist, who prepares all the game editors that the designers use later, although he’s great at programming gameplay features as well. Then, we have the navigation/AI expert - the person responsible for the dynamic pathfinding in X-Morph: Defense and the behavior of swarms in The Riftbreaker. Then there are two guys who fix all the bugs we make, program new game features, create shaders and help the designers. The last programmer works on GUI and heavy backend stuff. He gets the tasks that nobody else could do and always starts feature description with ‘it works, but…’.


The command center being set up.

The last room is occupied by designers/managerial staff. The people here are responsible for keeping the studio running on all fronts. They deal with the business side of things, take care of all the paperwork and keep the hardware operational. When they are not busy dealing with all the boring, grown-up stuff they also design the game itself. Before anything makes it to the screen it has to be conceptualized first, and it happens right here. When any other member of the team needs consultation on a task they are working on they can come here and work out the details. I (the community manager) also work in this room. This is where our streams happen (that’s also why it gets quite loud here at times).


No time for hardware upgrades, gotta code!

There you go - our roles and office layout. In the next part of the article, we will describe our workflow and what our typical day of work looks like. As always, you are more than welcome to ask questions on our Discord - www.discord.gg/exorstudios

See you next time!

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Hi there!

Last week we described the combat system in The Riftbreaker in its present form. It’s not overly complicated, but still gives the players a significant amount of options to adapt to the situation on the battlefield. Today, we are going to focus on our plans for the expansion of the system and the features that we are currently working on. There are lots of them, so let’s jump right in! The feature we expect to bring a lot of depth into gameplay are damage types. This is a complex topic and there will be a lot of new information here. We will do our best to tell you everything you need to know, but if you have any additional questions, feel free to ask us in the comment section and on our Discord server.

Please note that these are our current development plans which might change as we work through these features.

Melee weapons will deal damage according to their category. The Energy Sword that we used up to this point will deal slicing damage, that will be highly effective against non-armored creatures. Apart from that, you will be able to craft blunt weapons, such as power clubs and energy hammers. Slower and heavier, they will be a great choice against lower numbers of stronger enemies. We also plan to add pikes into the mix, that will be able to pierce through armor plates that some enemies will have.



At the moment you can wield only a single melee weapon. Actively using one also prevents you from utilizing the item in your other hand. We do not want it to be the case, so the melee system will receive a complete overhaul before launch. Currently we are planning to make double-wielding a thing, as well as adding the option to use melee weapons along with other items at the same time. We will provide more information about this once we introduce the changes. Pay attention to our streams - fresh features always appear there first.



Distance weapons will make use of different kinds of ammo. Flamethrowers will use fuel, rifles and machine guns - bullets, you know the drill. As a result, the use case for each weapon will be slightly different and encourage experimentation. Additionally, we want to give you the option to enhance your tools of destruction even further. You will be able to modify the effect of each weapon by changing the damage type, adding elemental effects, altering the fire pattern or simply increasing the firepower. This way you can either create highly specialized weapons designed to deal with a single type of creature, or make up for the disadvantages of your favourite gun.

To sum up, there is a lot of changes coming to the combat system in The Riftbreaker. We are going to periodically release information about them and push them to our closed test version. If you would like to apply for access to the test version of the game, you will find the link to our form on Discord. See you there!

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Hello everyone!

Combat is a major part of gameplay in The Riftbreaker. Galatea 37 is not safe for Ashley and Mr. Riggs. More often than not, your survival will depend on how well you can handle combat scenarios. Our main characters are not defenseless, as they have an ever-expanding arsenal of weapons at their disposal. We have told about (and shown) some of those tools of destruction already, but never really discussed the system that governs the use of weapons in the game. Let’s make up for it this week.



The enemies in The Riftbreaker come in many forms. Some smaller creatures stay in packs, while larger ones prefer a more solitary life. The dynamic pace of the game requires the player to constantly adapt to new scenarios and situations, and choosing the right weapon for the job is a part of that. We try to give each weapon its own set of characteristics and make it useful in its own way. However, when there are too many options, it can be difficult to choose right every time.



Luckily, the futuristic technology available to Riftbreakers solves some of the problems here. First of all, all the weapons you constructed are available to you all the time thanks to the Rift technology. If you decide you would like to equip something, the item is simply teleported right into your hands. Moreover, it is possible to wield two completely different items at the same time, making it possible to be prepared both for small and large-scale encounters. Last, but not the least important aspect is that there are three quick-access slots available for each of Mr. Riggs’ hands. Cycling between the items in these slots is instantaneous. If you run out of ammo or find yourself struggling against a strong enemy, simply change your weapon.



Some weapons will offer you even more flexibility by having an alternative firing mode. Holding the trigger for a bit longer will charge the weapon up. Shots fired this way will have different characteristics to their regular counterparts. For example, a sniper rifle is usually used to take down single targets, but the alt-fire releases an explosive bullet that can obliterate entire groups of enemies. This way you have access to essentially four weapons at the same time. You can even charge one of your weapons up while providing covering fire with the other, thanks to both hands being operated independently from each other. There is a lot of freedom and possibilities here.



Apart from distance weapons, there are also melee weapons available in the game, as well as items that offer protection and utility. However, we will tell you more about those in the next part of this article that will be published later this week. In part 2 we are also going to tell you a little bit about the features that have yet to be implemented, and those which would be nice to have further down the road.

Until the next time!

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Hello!

Earlier this week we discussed our logo and main art in detail. We explained all the little things and their importance in discovering the game from the perspective of a new user. However, that is not the only job of the logo and key art. In fact, these two assets set the tone for the visual style of the entire game. Today, we would like to tell you how they influence our creative process of creating models, textures and special effects.

We have discussed our building design a couple of times before. You could also see them in our gameplay videos and streams (every Tuesday and Thursday at 3 PM!). Here’s a recap of what we said up until now: our building design is quite futuristic, but also easily recognizable. By looking at the shape, effects, and animations you should be able to guess the purpose of the structure. We don’t want our design to lead players into making mistakes. Having this ruleset in mind we can get down to business - modeling the buildings themselves.


The first and second design phases for the Animal Biomass Power Plant.

Every asset in our game starts as a blockout. It is a simplified model of the building the artist is working on. We make these in order to make decisions about the general silhouette and the characteristic points of a building. After the discussion, the artist introduces adjustments according to feedback, bearing in mind the overall aesthetic of the game. The building must be based on metal and/or artificial materials. No wood or stone - the Riftbreaker technology is far too advanced for those. We also avoid 90-degree angles, as they leave very little room for our dynamic lighting to do some cool work.


The finished product.

The building has to signal that it’s powered up and working - all the effects and animations come into play here. Every building has a unique way of indicating that it is operational. Some - like the Armory, for example - do it by the means of moving parts. You can see that something is being produced and moved to the storage via conveyor belt. Structures that don’t produce such tangible goods signal the player with lights and particle effects - that is the case for the Communications Hub. Either way, they have to look high-tech and clearly make use of energy that the player is gathering.


Here's a blockout of a building that's not released yet. What do you think it is?

‘How does it all relate to the logo?’, you may ask. Well, if we take another look at it it will become clear. Metallic/energy materials? Check. Futuristic, but familiar design? Check. As few 90-degree angles as possible? We got that as well. The color scheme is also consistent with everything you will see in-game. By sticking to our rules we can make sure that nothing looks out of place, and if we want something to look alien and strange, we have an easy way to do so.


The logo, one more time, for reference purposes.

Here comes the classic question: what came first - the egg (the logo) or the hen (visual design). The answer, in our case, is the hen (fish, amphibians, and reptiles used eggs long before birds). We prototyped the first buildings and kept working on them until they felt right. It was a long process but resulted in an unwritten set of guidelines we tend to stick by to this day. After that, we were able to create the logo and the main art in such a way that it is representative of the overall style of The Riftbreaker.

TL;DR - pay attention to details, because we like to hide things in plain sight ;)

See you next time!

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The animated version of our official logo.

If you ask gamers about the most important thing for them when looking for a new game, you will get a variety of answers. Graphics, gameplay, similarity to previously played games, length of the game… All these things matter. However, before a player has the chance to determine whether any given title fits their criteria, they have to discover the game first. In today’s world, we are constantly bombarded with information. Game developers have no guarantee that whatever information about their game will ever reach anyone.

Luckily, digital storefronts offer discovery queues, where potential users can find new games. In order to make the most of it, the developers have to make sure that their logo and main art are as eye-catching and convey as much information as possible. This week we are going to tell you about our approach to visual representation - creating logos, key art and making sure that they fall in line with the overall visual style of the game.



Let’s start with the logo. It is one of the most important assets for any product. Thanks to a good logo, users can identify the product at a glance. Apart from containing the name of the game, it should also contain something unique. A symbol, that you will be able to use to create recognizable icons. Our logo has gone through several iterations before we arrived at the final version. Let’s take a look at it and discuss its elements.


Look at the detail hidden within the Rift symbol.

First - the font. It is thick and outlined in order to improve visibility and readability when it’s displayed in small size or visible from a distance (this is relevant when you’re attending game shows). In the middle of the logo you can see our main symbol - the stylized letter A. It symbolizes the Rift portal, one of the main aspects of the gameplay and game lore. The rest of the letters are not filled with a solid color, but a metallic material instead to emphasize the building and tech aspects of the gameplay. The tear marks foreshadow that apart from building and exploration, there will also be a lot of fighting in the game. That’s a lot of information packed in the logo alone.


The full version of the art is much larger for the purposes of cropping the image for different uses.

Now it’s time to analyze the main art. Ashley and Mr. Riggs are the centerpieces of this one. They stand on top of the hill, planning their next move on their mission to prepare Galatea 37 for colonization. While Ashley is looking at her holographic HUD, Mr. Riggs stands right beside her, ready for action. It shows you the dynamic between the two characters. One is the brains of the operation, while the other is the protector. You can easily guess that you will be taking control of them while playing. The background elements also convey important information about the Riftbreaker. You can see two moons in the sky, making it certain that the planet you are looking at is not Earth. In the distance, hidden within the lush, exotic vegetation, you can spot the outpost that Ashley and Mr. Riggs set up before their excursion.


Final version of the key art.

When we combine the logo and the key art, your subconscious gives you an idea what the game might be about, making it much more likely that you will check out more information about it. Did we succeed? Would you like to learn more about our creative process and art direction? Let us know in the comments and on our Discord server! - www.discord.gg/exorstudios

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Hi!

Over the past year, we showed you quite a lot of footage from our early builds of The Riftbreaker. We wrote dozens of articles describing the game mechanics and the creative process behind some of the game elements. Numerous streams took place, hosted by us and by our friendly streamers from all over the world, showing you the core gameplay loop of the Survival Mode. However, The Riftbreaker is not going to be limited to Survival only. Story Campaign will be a substantial part of the game. Today we would like to share a bit more information about The Riftbreaker's campaign. The main story revolves around Ashley and Mr. Riggs on Galatea 37. During their mission, they will have to establish a field base and open a two-way portal back to Earth for the purposes of colonizing the planet. Mind you, everything you read beyond this point is an initial vision and subject to change during development. You have been warned :)



In the Story Campaign players are going to establish a main base that they will have to maintain and keep expanding throughout the game. It will serve as the main hub for research and defense. The discoveries you make over the course of the campaign will enable you to build new structures and upgrade the existing ones to better withstand the hazards of Galatea 37. After some time, it will become possible for you to scan distant areas for objects of interest and travel there. You never know what you might find! Exploration of areas further from your main base will be encouraged by resource distribution. You will not be able to obtain all the necessary materials in the starting area alone, so ready your map and compass for a tour of Galatea 37! While exploring the various biomes you will find unique resources and minerals needed to get one step further towards establishing a permanent colony.



Galatea 37 is not the most welcoming place. The wildlife and environmental hazards won’t make the job of resource collection any easier for you. You can’t expect to simply mine the ingredients for your next big invention in peace. In order to succeed, you will have to build outposts. Similarly to your main base, outposts will require you to create and maintain energy infrastructure, build factories, refineries and storage buildings. The main purpose of establishing outposts is to protect your precious mining equipment while it’s working on gathering all the rare minerals you can find. Once you build enough defenses you can leave the outpost running on its own and simply come back to collect the cargo periodically. Ideally, towards the end of the campaign, you will have many bases in all corners of the planet working around the clock.



Many elements of the Story Campaign Mode will be randomized. The maps will be generated automatically and the mission objectives will change. You will never know for sure what happens next, which does not mean the gameplay will be unpredictable. It will be possible to complete the Story in a couple of different ways and you will be able to plan ahead for your endgame. That being said, we hope the randomization and the element of surprise will give the game a lot of replayability. We expect the pace of gameplay to be different as well. While in Survival Mode downloading new blueprints is a matter of minutes, it does not have to be the same way in Campaign. Researching new technologies might take longer, as well as require you to find some additional resources on (or beneath!) the surface of Galatea 37.

That’s it for now. We will reveal more details about the Campaign Mode as we design and develop it. As always we await your ideas and feedback on our Discord server - www.discord.gg/exorstudios. Visit us there and sign up for the closed alpha - the applications are still open.

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Hello!

We’re very happy to see you all again! After a much-needed break, we are back at the EXOR Studios office, full of strength, inspiration, and energy to continue working on The Riftbreaker. 2020 is going to be an exciting year, and even though there is still a lot to do on the horizon, we are optimistic about the challenges ahead.

The year 2019 set the bar very high for us - the reception of the early materials about The Riftbreaker was overwhelmingly positive. Many of you showed your appreciation for our transparent development approach and regular updates on the things happening in the studio. You can expect even more of that this year. Our development streams were popular as well, developing a tight-knit community (and giving birth to some 5/7 quality memes). We are really grateful for your presence there.



2019 also surprised us with another award to add to our resume! Thanks to the engagement from our fans we were voted into the Top 10 of Upcoming Indie Games on IndieDB! We reached the 7th place overall. Thank you for your votes and for placing your trust in us. We won't disappoint you!



We also opened sign-up for the Closed Alpha of The Riftbreaker. The application form received hundreds of entries (and it’s still available through our Discord server - https://www.discord.gg/exorstudios). The beginning of the test is going to be a huge step for us, as we have never done that before. We are currently working on robust solutions to make reporting bugs and giving feedback as effortless as possible for you.

The test version is going to be equipped with an automated crashdump sender. During a large-scale test, it is inevitable that some users will encounter scenarios that will cause the game to crash. The tool we are working on will automatically send us all the necessary information to identify the cause of the issue. This way we can immediately start working on the solutions to the problems you might encounter in the game. There will also be a form for you to give us feedback and report smaller issues.



Developing these tools will take us some time, so we need to ask you for patience. To make the wait a little easier on you we’re going to release an all-new gameplay trailer soon. It will feature some never-seen-before gameplay footage. Moreover, later this week, we are going to share our vision for the Campaign Mode in The Riftbreaker. This mode is our next milestone for the game and it will be our focus for the foreseeable future.

All the best in 2020!

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