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PP: The way the animations bring these drawings to life is something that really impressed us when playing Jotun, how difficult was it to bring the drawn concepts to a playable state? How similar was this process to, say, animating a TV cartoon? We really wanted to create almost a fairy tale scene and their work is really reminiscent, in a good way, of the Disney renaissance of the 80’s and 90’s. WD: Fortunately we already knew some great 2D artists from our mobile games background, and we had some great relationships in that area, so we were able to take advantage of that.

PP: Let’s talk about the art style it’s fantastic, but what made you decide to use the presumably painstaking process of creating hand drawn images for everything in the game? So from that we added in ideas you see in the final version like the serpent Jormungandr in the Ice lake, or the Dwarves who worship the cave Jotun and attack you when you trespass in his realm. WD: One thing we found through feedback from level testing was that people found some of the larger areas, in the rune hunting sections of the game, felt a bit empty. PP: Interesting, can you give us an example of something in the game that came out of the feedback? It worked out for the best too the feedback we got was absolutely key to building the game, through that and the closed Alpha and Beta testing.

Ultimately, though, with the funding from Kickstarter and some additional help from the Canadian government, we felt we would be able to adequately finance the project that way without sacrificing any creative control. WD: Not really no, we actually had interest from a couple of publishers around that time and we spoke to them. PP: Was there a feeling that, due to the unique nature of the game, it might be a ‘difficult sell’ to a traditional publisher? The whole campaign really was a marathon month. Having a successful Kickstarter campaign also helped with attracting the right team members to actually deliver the game, as you have a proven product as well as a clear picture of the direction you are heading. It wasn’t all easy though there’s a lot of preparation involved of course, audience engagement, promotion, and so forth. WD: It seemed like the most accessible funding platform for an idea like Jotun and it’s also a way of ‘validating’ your game, so to speak, as the feedback and investment you get shows you whether an audience exists for the title. PP: So what made you decide to use Kickstarter to fund the game, and how did you find the experience? Having said that, the idea was fully formed, so we had a concept and of course the art that we could ‘show off’ to people. WD: We were very early in terms of development. PP: That’s impressive, what stage of development was Jotun in when the Kickstarter launched? When we had the idea for Jotun, we took it to Kickstarter, and before we knew it we had raised $64,000 – which was pretty amazing as we had only set a $50,000 target!
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WD: Well, we started off in the mobile market, making free to play mobile games. To kick us off, and for our readers who may not yet be aware of your studio can you tell us a little bit about Thunder Lotus Games? PP: Bon Soire Monsieur Dubé, we’ve just exhausted our knowledge of French, so hopefully you won’t mind if we conduct the interview in English. Join us below and impress the gods with your literacy skills: Over a traditional Canadian breakfast of Pancakes, Maple Syrup, and Bacon, we managed to get some interesting info from the mind behind the game. We were so enchanted by the art style, mythology, and punishing bosses, that we sought out the comments of the Creative Director of developer Thunder Lotus Games, Will Dube.
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Pure PlayStation was recently enraptured by the skillfully animated indie game that has made its way over to PS4 from PC Jotun: Valhalla Edition.
