Beacon Pines is a brand new sport from Hiding Spot Video games, and it combines a cute, fable-like aesthetic with a creepy storyline that entails conspiracies, sci-fi components, and extra. This indie sport took over 4 years to be completed, and the small group of three at Hiding Spot Video games needed to juggle the roles to optimize the event course of and likewise streamline it. Very similar to different indie releases, Beacon Pines thrived due to a Kickstarter marketing campaign that was fully funded fairly early, offering the group with funding that allowed them to complete the sport.


Oddly sufficient, even though Beacon Pines is now a full-fledged story-driven sport the place gamers can discover the varied branching paths of the narrative, the early prototype consisted of a rhythm-based RPG battler. The concept in the end didn’t click on with the builders, however among the characters did keep, together with Beacon Pines‘ protagonist, Luka, an anthropomorphic deer who ended up buying and selling jeweled attires for a extra trendy outfit. Sport Rant spoke to Hiding Spot Video games’ Matt Meyer and Ilse Harting, who talked concerning the challenges of an extended improvement course of, setting deadlines, and extra. This interview has been edited for brevity and readability.

RELATED: How Trombone Champ Turns Guitar Hero Ideas Right into a Viral On-line Spectacle

Q: What’s the origin story behind Beacon Pines?

Meyer: It’s an extended, unusual origin story. The unique prototype for the sport was a rhythm-based RPG battler form of factor. We really had a working prototype of it, it was fairly cool, it seemed cool, and it additionally had Ilse’s superb artwork, however we by no means discovered it seemed like a fantastic thought. Alongside the way in which, Ilse created these actually cool characters, like Luka, the primary character in Beacon Pines, who began off because the character you’d play on this rhythm-based RPG battler sport.

Ilse had these stunning illustrations for Luka and different characters within the sport, they had been all much more fantasy-looking again then, however that’s the place the characters got here from till we came upon all of the issues we preferred about them. It turned out that the rhythm-based battler half we didn’t actually like, so we dropped that, and we leaned into the exploration and the characters. In-between these battles within the prototype you’d discover the world and meet characters, and that’s the half we actually preferred.

So we had been like “It sort of stinks to do away with the hooky-sounding a part of it,” as folks hear rhythm-based battler RPG and go “It sounds cool!” however once they hear it’s a story-driven sport with these characters you strive laborious to promote it feels daunting. However I feel we discovered some hooky methods to do the branching tales and the characters with Beacon Pines, ultimately, so we’re fairly comfortable about it. Ilse is engaged on an artwork e-book for the Kickstarter backers, and I feel she’s going to embrace the early Luka artwork.

It’s mainly Luka, however with a extra fantasy wardrobe, like jeweled apparel. There are wands, and the enemies carry weapons you may use to forged spells. Everyone seems to be like “So, are you going to make the opposite sport?” and we tried, that’s the entire level. We tried, but it surely didn’t fairly click on. Perhaps we’ll return and do one thing like that, however I wouldn’t spend six months engaged on that solely to seek out that the issues we like essentially the most are characters and exploration.

Q: Did you make characters that did make the lower in Beacon Pines, or had been there characters that didn’t match primarily based on the fantasy aesthetic?

Meyer: The unique prototype had Luka and Luka’s gran, and they’re those that caught round for Beacon Pines, finally. There are a few enemy characters, these cool fowl folks that Ilse had created, however they didn’t make it into Beacon Pines. That’s actually why the sport has the aesthetic it does, although, because it began as this fantasy factor.

We pivoted the sport, and we pivoted the artwork fashion a bit. I say “we,” but it surely’s largely Ilse’s doing with the artwork and the characters. Ilse does the artwork, after which Brent is my co-writer on the sport. We each wrote all of the dialogue and the textual content within the sport. All of us met a bunch to speak about every part concerning the sport, so there’s not one individual getting all of the credit score, besides Ilse on the artwork as a result of she’s superb.

RELATED: Trombone Champ Doesn’t Take Itself Critically, and That’s Nice

Q: Why the identify Beacon Pines?

Meyer: Oh boy. Names are so laborious. The prototype we simply referred to as Luka, initially, which I kinda preferred, it’s distinctive and it’s the primary character. It’s simple to recollect. Once we began pivoting the designs to this extra narrative factor, the city began to grow to be a personality by itself – Beacon Pines is the identify of the city within the sport, so, it felt extra indicative of what the sport was. Beacon Pines has extra the vibe of the sport. It’s about this city and a few unusual issues happening in it. Beacon Pines the identify has a few double additional meanings when it comes to the story that performs out, so we struggled loads with the identify.

It appears like such an necessary resolution, and it’s, however we gave extra significance to it than we would have liked to. It was really referred to as “Welcome to Beacon Pines” for some time, this was years in the past, after which a sport referred to as Welcome to Elk got here out, and it felt like this was too related, so we simply chopped off the “Welcome to” half, and we simply referred to as it Beacon Pines. They’re additionally very totally different video games, I performed a good bit of it, and it’s a fantastic sport. I like to recommend it. It simply occurred to sound related, the “Welcome to” a part of the identify.

Q: What had been the sources of inspiration for Beacon Pines?

Meyer: The artwork, the city, and every part had been largely Ilse’s doing. This was the primary sport she’d labored on when she began with me on that prototype, 4 years in the past. She simply acquired out of college, and that is the primary sport she labored on. I actually beloved her artwork, so I needed her to make use of extra of her instinct moderately than me giving her course on stuff. We mentioned stuff, and I barely wanted to say what we would have liked, and she or he created this complete world. Making a online game is such a tough factor to do, particularly if you’re a small group of three. It’s by necessity that everybody must share several types of work, however the design too, I needed everybody to really feel like that they had possession over it and we’re part of creating it from scratch.

Harting: For me, it’s largely a mix of a number of issues that encourage me. One of many earliest issues we considered is the miniature factor, a diorama, these tiny issues the place you’ll be able to take a peek and see folks or environments. The theme sort of caught, so we went with it. As soon as we established that Beacon Pines was meant as a form of storybook, it felt prefer it made a whole lot of sense, style-wise. All these puzzle items got here collectively fairly naturally whereas engaged on the sport itself. For us, so far as the characters and the environments go, it’s a mixture of our childhood reminiscences and our personal cities. It’s a little bit of a mixture between childhood in America and childhood in Europe, the place I’m from. It’s not one particular place that I took inspiration from, solely the issues that appeared to suit, that seemed cute or good.

Meyer: Yeah, I feel we all the time favored vibe over consistency. If it feels good, then it’s in all probability the higher selection.

Harting: Yeah, I didn’t need to lock it right down to a selected place and time or period and really feel like “Oh, that is my time, it’s my childhood,” moderately extra issues that may trace in direction of a selected childhood and a timeline in the actual world, or a spot in the actual world. So far as different media, I’m not a lot of a movie-watcher, however I do like indie video games. At first, I had video games like Undertale in thoughts, which sparked a whole lot of inspiration character-wise.

RELATED: One-Hit Kill Swordfighting Sport Die By the Blade Confirms Launch Date in Newest Trailer

To me, it’s extra necessary to write down fascinating characters than fascinating plots. It’s the characters who drive the plots as an alternative of the opposite manner round. I additionally love visible novels fairly a bit, so the entire side of the characters speaking to one another in portrait type and also you following them round is extra dialogue-based, and it comes from these sources. I might say these are the primary inspirations. The remaining is generally stuffed in by Brent, as he has deep information of flicks and whatnot. He’s simply “Oh, it’s similar to this one scene on this one film, let’s play it that manner.” It’s been a mixture of everybody’s experiences with totally different media.

Meyer: We work loads with tropes. Like, attempt to seize nice tropes that individuals like and acknowledge, and hopefully do one thing extra fascinating than repeating the trope, utilizing it as a form of contact level for folks. You can begin with a trope after which undermine it deliberately as a result of you already know everybody is aware of about this trope, so you’ll be able to try to do possibly not the precise reverse, however one thing that’s new and fascinating that comes from that trope, but it surely’s fully totally different.

Q: Is Beacon Pines a coming-of-age story?

Meyer: It’s a little bit. We by no means talked an excessive amount of about it in that sense, although. One of many large themes within the sport is it’s a story about change, which clearly ties each to the mechanics and the story, and that’s form of parallel to the thought of a coming-of-age story. These younger characters need to undergo many adjustments of their lives, however they could be a bit youthful than the standard coming-of-age story, so we didn’t actually give it some thought in these phrases. We considered it extra when it comes to the overarching mysteries and particular characters, circumstances, and the way they’re coping with them.

There are all these totally different plotlines and character arcs happening, and it’s one of many cool issues about the way in which that the branching works in Beacon Pines. Each department is a unique story, so that you’ll get little glimpses into totally different characters and totally different components of the mysteries relying on which branches you go down. It’s a whole lot of the design too. Quite a lot of the branches are designed to be a technique to serve the entire story. So yeah, not precisely a coming-of-age story in the way in which we considered it.

Q: What do you consider the parallels drawn between Beacon Pines and Stranger Issues?

Harting: I do see the parallels fairly a bit. The seemingly coming-of-age story and the darkish undertones, however once we designed our characters and environments I hadn’t even seen Stranger Issues, so I’m unsure how a lot of an affect it had. I wouldn’t say we primarily based Beacon Pines in the identical realm as Stranger Issues.

Meyer: It’s humorous as a result of Stranger Issues is likely one of the issues we used to raise our pitch to folks. The unique line we used to attach with folks, though sure folks had been too younger to get the reference was “Winnie The Pooh meets Twin Peaks“. It was a one-liner to inform folks what’s happening right here as a result of it’s an fascinating mixture, then we found not many individuals in our viewers are sufficiently old to know Twin Peaks, however Stranger Issues remains to be alive and kicking, so we converted that, which I feel remains to be simply as applicable to speak that bizarre mixture of Winnie The Pooh‘s cute and lovable characters in a fantasy world, after which the horror and creepiness from Stranger Issues. For those who get the reference to Twin Peaks that’s a greater one-liner, however lots of people picked up on Stranger Issues as a reference.

Harting: I feel at first it was laborious to explain the viewers. Like, what the viewers for this sport was. I had bother saying what the viewers was as a result of it appeared very area of interest, so having a one-off sentence to say “These are issues we’re making an attempt to hit, and in the event you like them you’ll in all probability like our sport as effectively.” Even when it’s not fully correct, it helped us within the advertising division.

RELATED: We’re OFK!: Thanks for the Reminiscences Trophy/Achievement Information

Meyer: It does assist to border the viewers fairly effectively. It’s the factor about making an attempt to border your viewers as an alternative of the alternative. We have to ensure that this isn’t a child’s sport. It would appear like it at first look, but it surely’s undoubtedly not. There are a whole lot of grownup themes and creepy stuff. It simply occurs to be Ilse’s stunning artwork and lovable cities because the framework for telling the story.

Harting: I just like the juxtaposition of getting this cute fashion after which the story being much less cute in a way. However we do have to inform folks “It’s not simply cuteness, I swear!”

Meyer: Stranger Issues additionally has a vibe that’s fairly imbued in myself and Brent, as we had been born within the 80s. Perhaps it’s extra of a trope or only a theme that was used loads within the 80s, and it was children being in command of saving the day. That’s nonetheless a theme you get loads today too, but it surely’s form of a timeless theme that everybody can relate to as a result of everybody has been a child and felt like generally it’s as much as them to do stuff, as no grownup trusts you to do something. That maps to Stranger Issues fairly effectively too.

Q: How was it to transition from the fantasy world you had been constructing to the present atmosphere of Beacon Pines?

Harting: I feel it got here fairly naturally. I’m extra comfy and in my consolation zone in terms of actual life than in stuff like fantasy. At first, I assumed we had been doing fantasy, and it appeared interesting, it appeals to lots of people, however once we shifted to a extra close-to-home setting, it was simple to adapt and make all of the characters extra relatable and allow them to have a set of extra day-to-day issues. There’s a extra direct inspiration to take out of your environment, the folks round you, and the way they work together. I feel it turned simpler to design the position for the characters once we established it wasn’t going to be fantasy, extra like a city atmosphere.

Q: How does inserting phrases into textual content work from a gameplay perspective?

Meyer: It’s the core concept that began the entire manner that the mechanics work within the sport. It was the thought of there’s a phrase lacking versus a number of three, select between two totally different traces of dialogue within the dialog. As a substitute of that, it was “What in the event you discovered phrases on the earth and use these phrases in some unspecified time in the future within the story the place a phrase is lacking?” We explored that concept for some time, then it clicked in some fascinating methods, after which it changed into this entire branching narrative.

One of many selections alongside the way in which was “Does enjoying a attraction (we name the phrases charms) change simply the dialog that you just’re in or the connection with the characters, in the event you’re on good phrases with them or in the event that they hate you? Or, what we ended up doing, there are fewer of those resolution factors the place you play a attraction, however they fully alter the story?” It has a kinda enjoyable attract to it, the concept that a single phrase fully adjustments every part from that time on. It’s sort of a enjoyable thought you can discover within the sport, which additionally changed into the thought of the Chronicle.

The Chronicle reveals you all of the factors, and it helps you to leap at any level as an alternative of staying round that time, strategically reset the sport to discover totally different choices, so we simply constructed it into the mechanic. The Chronicle helps you to leap round and replay selections, and it’s really how we wish you to play by means of the sport. For those who use the Chronicle, you may discover a new attraction in a totally totally different department, and are available again to a department that you just had been caught on earlier to see a completely totally different consequence by utilizing a distinct phrase in a dialog.

RELATED: Extra Footage from Upcoming Horror Sport Scorn Launched

Q: Does the sport have a number of endings?

Meyer: It does, yeah. We solely roll credit on one of many endings. It’s the ending that we form of assume has our preferrred, canonical ending, however the sport has a complete lot of endings. There are faster endings, and there are endings you see very early within the sport, even within the demo, however then the right ending, the canonical department, has a few totally different endings. We talk that, like “Okay, it is a potential ending, for extra charms you might need to see the opposite choices.” So yeah, there are a number of endings, however just one canonical ending. It’s the curse of making an attempt to write down a branching story.

For those who actually need to design a narrative, then you definately may see it as like, “Effectively, there’s a course that I need to take this story, not ten,” however we tried to embrace that and squeeze as a lot juice as we might out of it and say “Each department is one of the best model we will make of that department, so let’s write it because the canonical model of its personal little story path.” We do a whole lot of issues to try to guarantee there’s info you’ll find even in the event you get a tough finish, and in the event you return to a different department you’ll be able to nonetheless uncover issues, see totally different character arcs, and possibly discover charms that you’d use somewhere else.

Q: Was it difficult so that you can develop Beacon Pines? Would you do it another time?

Meyer: That final half is tough to reply. I’ve been serious about it loads as a result of this sport took a lot, it in all probability took ten years out of my life making this sport as a result of it was a lot work and so worrying. I truthfully don’t know if I might do it another time, as unhappy as that sounds. However there have been issues that had been actually enjoyable about making it, and there have been issues that had been actually laborious and troublesome. I can’t communicate for Ilse, however for me writing the story and doing all the opposite components of the sport is not only taxing, but it surely was difficult, and I feel in some circumstances we acquired fortunate with the design as a result of generally issues simply labored.

It took us a very long time to get to that time. We had a complete RPG battler prototype that didn’t work, however as soon as issues began making sense within the design, then it turned a bit clearer learn how to clear up different issues. The writing turned the largest downside with how the Chronicle works, like “When do you get charms? How do you get them? What drives you thru the branching narrative in a participant that doesn’t fully confuse the participant, however really offers them the suitable info on the proper time?” Ilse was fairly necessary in guiding us towards what we would have liked to trace all of this, like a doc to trace all of the steps.

I’m very a lot about taking every department and following it to its pure conclusion, but it surely was tremendous useful once we created that diagram as a result of it wound up being the one we might monitor the branching storylines and the intricacies of our mechanics. We labored with that, after which the Chronicle was the turning level, and the charms too. It’s all on this large diagram of how the story interconnects. That was one of many hardest components, aside from simply the grind.

RELATED: 12 Issues You Didn’t Know You Might Do In Deep Rock Galactic

Harting: I imply, I might undoubtedly do it another time as a result of it was such a studying expertise. I really feel like I grew loads, and I undoubtedly need to make extra video games. Perhaps not the identical sort, however simply generally. I need to make indie video games. However I don’t assume I had as a lot stress on my shoulders as Matt, so possibly I’m biased and solely noticed the enjoyable bits of the event course of. I feel it was the proper in-between of getting a whole lot of say within the sport, with my opinions being valued and stuff, after which not carrying the burden of the stress that made it pleasing. Perhaps it’s totally different subsequent time.

Meyer: I’m comfortable to listen to that. We talked about different sport concepts that we now have. Ilse’s acquired some cool concepts. We’ll see the place the long run takes us. Perhaps we’ll make one other totally different form of sport, however this was undoubtedly a studying expertise for me too. We had been so fortunate to have Ilse and have any of her time that we might as a result of she’s so good at what she does, however we will’t preserve her without end, we have to get all the great artwork and concepts out of her whereas we will. Though, as I mentioned, I really feel very fortunate that she caught with us the entire time, over 4 years.

Q: What would you counsel to fellow builders seeking to begin a Kickstarter marketing campaign?

Meyer: I might advocate it, possibly not precisely as we did it as a result of we overpromised issues. I feel everybody on their first Kickstarter makes a whole lot of errors. The Kickstarter took a superb a number of months out of my schedule simply to handle and do all of the issues that we promised we’d do. It was by necessity for us, we had been out of cash at that time, and we had a extremely cool begin to this sport, in order that appeared like our greatest choice. I feel it labored out even higher than we had anticipated, so we’re very grateful to all of the backers, and it’s a superb factor we did it as a result of the sport won’t exist if we didn’t do a Kickstarter.

Harting: The Kickstarter was very worrying, although.

Meyer: The distinctive factor of Kickstarter is that it’s all or nothing. You both hit your objective otherwise you don’t, and you set all this work into it for nothing. I’m undoubtedly getting pressured concerning the launch developing, however at the very least there you promote a specific amount of copies of the sport, and there’s no cut-off level the place you both receives a commission or not.

Q: Was it troublesome so that you can put a launch date on Beacon Pines?

Meyer: Yeah, if we weren’t with a writer, it might have in all probability been pushed again loads. On one hand, it’s a superb factor to set a deadline as a result of you’ll be able to’t drag the sport on without end, the event of it. It could have been loads much less worrying for me, however I did additionally simply need to end it. Once I do one thing for thus lengthy I simply need to end it, I need to be performed with it, I need to do one thing else, I need to have this weight off my shoulders. A deadline is nice, but it surely was worrying. After which, each time you set a deadline, particularly with one thing as complicated as making a sport, nobody ever hits it.

Harting: Yeah, some builders had it laborious, and other people needed to be taught that it takes time.


Beacon Pines is out there now on PC, Swap, Xbox One, and Xbox Sequence X/S.

MORE: 8 Newbie Ideas For Toem