Krankel and Hines say the map is about twice as large and the script about twice as long, though giving players more choice over the game's direction means they won't necessarily experience the entirety of that script in a single playthrough. Everybody that goes back and plays the first one now that has been working on the second one, they're like, 'Wow, my mind filled in a lot of gaps in this first one that I thought it looked just like the second one, but in reality, the second one is a lot more ambitious, in terms of effects and sort of depth inside of the game.' There were a lot of things on the table, but this is where we landed and we feel really good about it because they do feel like the two games shake hands with each other in a nice way."īut while they wanted the progression from Oxenfree to Lost Signals to be natural, one thing the sequel does have on the original is a significantly increased sense of scale. This one is in 4K, the original one was not. The amount of parallax that you see in this one is a lot more.
So, if a portal gets opened, trees can get pushed aside and cut in half. "This game, all the foliage, trees, everything's moving and there's a lot of motion at play. "The first game, all the backgrounds are totally static," Krankel says. But, as with the gameplay, they decided to improve upon what worked in the first game rather than drastically reinventing anything, ultimately sticking with and refining Oxenfree's 2D graphics.
#Oxenfree game controls series
They wanted to improve upon that aspect of the game, going as far as to consider taking the series from 2D to 3D graphics. Visually, the Night School founders previously described the game's vibe as nostalgic without being a period piece, accented by a killer score from composer scntfc, who is creating new music for the sequel. And so those time tears, exploring those timelines either through narrative purposes or puzzle purposes, stacks up over the course of the game."Ītmosphere and aesthetic are Oxenfree's other signature. The cast exists in various timelines as well. So, the cast doesn't just exist on Camena in the present day. "Time tears really became this new thing that is organically changing and growing over the events of the night, and that can house anything from a weird puzzle to other characters dealing with their own problems. "Once we landed on the time tears, they became a really nice catchall for a lot of our design aspirations," Krankel says. The mechanic is open-ended enough to have a variety of applications. The other significant gameplay addition is time tears, which allow the player to step through the fabric of time and visit different eras. I think when players share their stories about what they did and how they accomplished it, it's going to sound pretty changed." (Photo: Night School Studio) "We wanted a lot more times when you have clearly two choices of you can either do this and that might help you out, or you could do this and that might help you out too, and to really put emotional space in either of those. "In Oxenfree 1, there's that one big moment where you can choose whether or not to prioritize Ren or Clarissa, and we wanted a lot more of those," says Hines.
They weren't interested in reinventing the wheel - even with the addition of the walkie-talkie, the conversations in Lost Signals take place in the same style as conversations in the first game - but they wanted to open the game up, giving players more agency. The walkie helps achieve one of the Night School team's design goals for the sequel. It became a thing to make things even creepier at times, which you'll see a lot of in the game, and it also became a method to tell new stories." The walkie was a thing that was a vessel for hints, but it became a vessel to interact with new characters. I bet if I call them, I can learn about something. I know that this person knows these woods well. Or I can choose to call people and interrupt my own game progression because I want to talk to somebody who's familiar with this location. "It feels really simple, it pretty dramatically changes how the player interacts with the world," Krankel explains, "because now I am communicating with people that are physically right there with me, but I also could be getting a call from somebody at that time that I can choose to accept and have that interrupt things and interact with them and their own story, while they're off somewhere else on Camena. Riley carries a walkie-talkie that allows her to participate in the same signature real-time conversational dialogue from the original Oxenfree, but with the broader cast of characters spread across Camena. The walkie Hines mentions is a new addition to the game.
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