![]() Then the game is filled with a lot of small references and inspirations from many action and martial arts movies, such as John Wick (Chad Stahelski), Fearless (Ronny Yu), The Blade (Tsui Hark), Kill Bill (Quentin Tarantino), and such.Ĭan you walk us through how the combat system works in Sifu?įelix Garczynski, Sloclap Marketing & Publishing Manager: Building on our experience working on martial arts gameplay with Absolver but focusing this time on a single-player game, we wanted with Sifu to offer a unique player experience, heavily drawing from kung fu and martial arts movies. ![]() ![]() Jackie Chan’s movies were references for the one versus multiple enemies and use of environment: Police Story (Jackie Chan), Dragons Forever (Sammo Hung), Miracles (Jackie Chan). Layani: The Raid (Gareth Evans) helped to define the feel, more precisely the balance between realism and tension of combat, and the unrealistic fancy aspect needed to have something cool on screen. Were there any particular films, directors, or actors that helped shape the look and feel of the game and its fighting style? Kung fu also, of course, has a rich cinematic history. We tried different things and in the end we designed what we called the Structure System which is heavily inspired by the posture of Sekiro. We wanted to reflect the concept of “opening the way” to “finish” your opponent told in my Pak Mei lessons. Oddly enough Batman or Sleeping Dogs were not part of our references in terms of combat design, even if they are closer to the cinematographic experience we wanted to have compared to the Platinum games. ![]() So the design decisions were often influenced by movie references and character action games like MGR, Bayonetta, God Hand, and such. Layani: We wanted to have the kind of feel you can see in movies like The Raid, with a deep combat system that lets the player be creative. I’m curious, what games influenced your design decisions when building out the combat system in Sifu? What you seem to be doing reminds me a bit of what Jet Li tried to create with Rise to Honor back in the early 2000s and the fluid combat found in Batman: Arkham Asylum. Video games have a long history of trying to capture the kinetic feel of hand-to-hand combat in games. I’m fascinated by the game’s combat system. We are especially fond of martial arts action movies, both old-school and contemporary. Many colleagues in the Sloclap team are passionate about kung fu and martial arts in general. Layani: There are three types of inspirations for Sifu on my side a lot of martial arts and kung fu movies the Pak Mei kung fu style I practice and all the cultural aspects associated with it and other video games-mainly character action games like God Hand or Metal Gear Rising. So in terms of controls and fighting mechanics, we needed to make it more accessible, more direct to execute for the players so they can follow the sustained rhythm given by the game and obtain the dynamism we wanted to achieve. It was balanced with more complexity on how to defend and attack well, with a directional parry, different stances, or the gold attack timing for instance.įor Sifu, the goal was to recreate what we can see in martial art movies, with a more agile character and a lot more different actions available. Sifu relies a lot on what we’ve done during Absolver, but the two games have quite different goals in terms of combat design and controls.Ībsolver was mainly made for 1v1 PvP, the combat was more static with a locked camera and no traversal. Jordan Layani, Sloclap Co-Founder, Sifu Creative Director, Game & Level Design Lead: Absolver was our first game, we had to do everything from scratch. What lessons learned during the creation of Absolver were applied to the fighting mechanics and controls used for Sifu? When Absolver came out in 2017, it impressed a lot of critics with an approach to combat that was fluid and dynamic. We chatted with the Paris-based development team about the game’s inspiration, the evolution of the studio’s praise-worthy combat system, and its many influences from movies to video games. The result is a game steeped in praise, earning near-perfect review scores from a plethora of publications. In Sifu, Sloclap’s much-anticipated second title, the choreographic combat of Absolver is honed through the mastery of the real-world techniques of Pak Mei kung fu, and the game is given both a compelling revenge storyline and creative aging mechanic that balances out that liquid-smooth combat with a compelling cost to in-game failure. In just seven years and two games, Sloclap has minted a name for itself as a studio that manages to almost magically capture the flow and essence of hand-to-hand combat in a video game.Ībsolver, released in 2017, delivered poetic, fluid, dynamic choreography in the studio’s debut effort, making good on the game’s taglines that combat is a dance and movement is your weapon.
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