There will be powerlines on the next roof.įrom the next checkpoint, CAREFULLY make your way through the chimneys. Be careful, there is no railing to keep you from falling. Zigzag through the crates after you land on the next roof, and turn right. You will roll along the power lines and into a long gutter, which takes you along to a sloped roof that drops you onto a flower bed. Instead of going left, go straight after the checkpoint. There is a long power line here, with a piece of bread. You will land on a flower bed, and go around the roof to the left. Head across the power lines, and take the next 2 lines. Go to the LEFT of the tiny flower pot to get onto the power lines, If you go right you'll hit the flower pot and bounce down onto Route 1 again. From here, you'll take another power line to the check point where you will meet up with route 2 and 3. The 2nd piece of bread is in the middle of this 2nd line.Īt the end of that roof is a gutter, which you'll roll down. You will zig zag your way through the crates and boxes and go left.Īt the end of the roof is a power line, you will go down it, and it crosses with another line at the end that you'll fall onto. Now there are three directions you can go:ĭrop down the roof onto the mattress below and make your way to the check point. But we understand the business of games not just the design side of it, so we embraced this aspect of our partnership as much as our creative role.The first level is pretty easy, since it's teaching you the basics.įirst, you want to roll around the shelf, drop down onto the lower shelves, and then to the floor.īehind the desk is your first bread pieceĪfter that, you roll onto the balcony and across your first powerline to the check point. This was especially important because we were on a tight timeline and the budget was set. Ensuring every request was accounted for, progressing at the right pace and delivered on time – and to our high-standard – meant meticulous project management. In many ways, the scale of the project meant our challenge was logistical. For example, we designed a handful of house plant props that could be adjusted in small ways to allow level designers to make distinctive environments without the client paying for dozens of nearly-identical assets. We were also asked to find efficiencies that would rationalise the production process. They needed us to break down the concepts and create the elements in the artwork. The client could hand down whatever requests they wanted to whenever they wanted to, knowing we’d catch every single one and prioritise it correctly when we fed it into the workflow of their dedicated team.īossa had a clear idea of the levels they wanted to make, with detailed concept sketches of what they looked like. Of course, we then delivered on our promise. This attitude inspired their confidence and earned us the go-ahead. We were able to point to the wide range of work we’d delivered for an incredibly diverse roster of international studios as a way of illustrating the reliability of our team and our professionalism. Ultimately, this was the reason Bossa Studios opted to work with us. Fortunately, the team at Bossa was upfront about their concerns, so we established regular communication through Slack, email, and calls to reassure them and keep things moving forward. We knew from previous experience how quick to worry clients can be when they aren’t used to working with an external partner. It was the first time Bossa had worked with an external partner at this scale. We work closely with all of our clients, but this was a next-level collaboration – and we loved it. Our producer even attended their daily standups to provide status updates, overview the other disciplines, and stay on top of dependencies downstream. Collectively, they functioned as an extension of Bossa’s team.
I AM FISH LEVELS PLUS
Hundreds of assets were generated for this project by five of our team based in Serbia, plus a UK-based tech artist and producer. Later, we created background characters and even one of the playable fish. We helped bring the game experience to life by creating the environments and props their team used to build out the levels. In it, you play a fish rolling around the world in a little bowl getting up to all sorts of mayhem. Bossa Studio invited us to collaborate on their ridiculously fun game, I Am Fish.
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