Gamasutra: The Art & Business of Making Gamesspacer
Postmortem: WayForward's A Boy and His Blob
View All     RSS
October 26, 2014
arrowPress Releases
October 26, 2014
PR Newswire
View All

If you enjoy reading this site, you might also want to check out these UBM Tech sites:

Postmortem: WayForward's A Boy and His Blob

February 11, 2010 Article Start Page 1 of 4 Next

[In this in-depth postmortem, longtime independent developer WayForward (Contra 4) discusses the creation of Wii remake A Boy And His Blob for Majesco, looking at what went right and wrong in updating the classic NES title for today's gamers.]

WayForward is an independent game developer based in Valencia, California. We turn 20 years old in March, and have shipped over 100 retail products for systems ranging from plug-and-play to Nintendo Wii. We're best known for games like Contra 4 (DS, 2007), the Game Boy Color Classic Shantae (2003) and the WiiWare horror puzzler LIT (2009).

We recently found a focus bringing retro gaming sensibilities kicking and screaming into modern times. Lunchtime conversations focus on things like Castlevania jump heights, for example. We are unified in our reverence for the games we grew up with and love. As a result, our games build on the classics using lush art, fluid animation, and innovative applications of new technologies. While we have developed great games in all genres, we have a special affinity for side-scrolling platform games.

We got the idea to pitch a new A Boy and His Blob game after spending some time playing the original NES game. I was getting frustrated with the mechanics of David Crane's quirky puzzle platformer, mostly because they were so brilliant! However, the implementation leaves a lot to be desired.

We began to brainstorm new transformations and mechanics, and a seed for a pretty cool Blob game was planted. This sort of thing happens all the time at WayForward -- but this time, we knew the owners of the IP.

Majesco acquired the rights to A Boy and His Blob when the original owners, Absolute, went out of business. WayForward and Majesco had been talking about working together for a while, so we simply put together an awesome pitch and sent it their way. We met to discuss in person at E3 2008, and the rest is history.

Originally pitched as a small WiiWare title, we instead turned the idea into a full-blown boxed Wii game. Pleased with our fortunes, we were quite excited as the realization struck... how were we going to pull this off?

A Boy and His Blob meant a lot of firsts for WayForward. It was our first boxed Wii title and a new foray into our ancient history of full-blown traditional animation.. Attempting something this unique created both excitement and confusion. Our verve for the project kept us going, but there were considerable hurdles along the way.

What Went Right

1. Small Team, Focused Vision

Blob had a very small team, all leads, consisting of only six members. These key players were involved in all aspects of the game, from art generation to level design to gameplay tweaks. With a small group, everyone wears a lot of hats and cross-pollination of ideas is built in.

Another benefit of this setup is that each team member is guaranteed to be strong; a lackluster developer would not survive in a team structure like this; everyone had to carry his own weight. Accountability was perfect; there were no layers of bureaucracy to obscure who was responsible for an issue. Lastly, communication was as easy as talking to a single point person; any slack in development could be identified early and picked up by another team member.

In addition to a small and agile team, Blob benefitted from a shared vision of the final product. We wanted to do something different than a normal platform game -- to make something cerebral, where the player would have to stop and think occasionally.

We wanted to integrate the tutorials and interface into the game; to remain text free and HUD-free. The Blob would be a lovable and realistic character that made you care not because of cutscenes, but because of the experience the player shared with him and the dependence of the characters on one another. Artistically, we would attempt to create a Disney (or Miyazaki) film in a game, but with total interactivity.

The treehouse acted as a title screen and menu

These choices were made early on and informed the design of the entire game, giving us the treehouse interface, the "sleeping boy" title screen, and laid the groundwork for the Blob's AI, and the types of puzzles the player encounters. Because we had such a good idea of what we were making, feature creep was not a problem. New or radical ideas were also easy to dismiss or integrate; when someone would say "I don't understand, maybe you need a tutorial", we could say "no, this game doesn't have tutorials. Maybe we should make it more intuitive."

2. Designing to Our Strengths

WayForward has a long history of making 2D platform games. We also have a long history of excellent art and animation. We are situated next to Cal Arts, a premiere animation college originally founded by Disney.

Much of our art talent comes from Cal Arts, so what better game for WayForward to make than a beautifully classically-drawn 2D platformer? This type of game matched very well with our sensibilities and gave us the freedom to concentrate on more important areas of game play.

Our development philosophy was also aligned to our strengths and weaknesses. We didn't have a lot of separate menu screens, because reusing the in-game engine for menus was more efficient, and this ultimately resulted in a really cool and immersive treehouse interface.

We didn't make a lot of cutscenes, because at the time we didn't have a timeline-based scripting tool to allow for such a thing, so we tried to compensate by making the gameplay itself convey emotion. Leveraging these challenges into strong points helped to create what we felt was a truly unique experience.

Article Start Page 1 of 4 Next

Related Jobs

Digital Extremes
Digital Extremes — London, Ontario, Canada

Character Artist
Digital Extremes
Digital Extremes — London, Ontario, Canada

Sound Designer
Disruptor Beam, Inc.
Disruptor Beam, Inc. — Framingham, Massachusetts, United States

Lead 3D Artist
Red 5 Studios
Red 5 Studios — Orange County, California, United States

Graphics Programmer


Joe Rheaume
profile image
This was my personal favorite game of 2009. I really hope WayForward sold enough copies to warrant a sequel. A more exploratory, open-ended game like they described in their Retronauts interview would be wonderful!

Kale Menges
profile image
Ditto. I had soo much fun playing this game. A Boy and his Blob is wonderfully crafted and beautifully designed game. The "no text" and "hud-free" approach is brilliant. The love definitely gets felt, Wayforward. You guys did an amazing thing here and I wish you the best of luck with everything else your working on.

r marc
profile image
I like the honesty with how "on the fly" you guys got towards the end of the project.

Reading your comments about trying to meet milestones with content, not necessarily seeing it all meshing, and scheduling issues sound all too familiar.

it's one of the hardest things to get right, how long does it take to make something fun? all design documents are are best guesses, high concept if you will, or a scientists planned experiment. Good work on capitalising on your strengths however! would be good to do some sequels so you can really refine and make it better. love the art and the premise.


Mike Smith
profile image
Animation rant:

Finally some decent animation in games again!!!

The way that Klei Entertainment is trying to pass off their game Shank as "good animation" makes me balk. Has it been so long that people have forgotten what good animation looks like?

Not 2D paper puppets like so much of flash animation today, but organic characters with life!

A Boy and His Blog should be getting a LOT more attention for this.

Mark Timmins
profile image
This is a great warts-and-all postmortem. The issues listed under what went wrong (new engine, untested pipeline, collision, AI etc.) build up a strong argument for technical uncertainty and as such, I feel, braking production into two parts, with a portion of the 11 month dev period reserved for pre-production.

Having said that - 11 months for a full game with 80 levels incorporating new tech and QA cycles/TRC headaches at the end is very tight. It could be you considered pre-production but that given it was 'only' 11 months this could have been dismissed (either by you or the publisher) in favour of keeping it all production time. Any bigger than 1 year and a project will almost always need separate production schedules, deliverables and payment plans for pre-production and actual production.

The mentality of focusing on getting content in for a milestone submission is something I've experienced first-hand; you've got pressure of expectation from the publisher, and pressure from internal sources who are eager to send off the invoice - so it needs to get done. Having said that, pressure such as that is good sometimes if only so you get something, anything, done. Although, as you mention, there are problems later down the line, I still think having a game in a rough form outweighs such problems. Just my opinion.

Good job with the game, and well done for holding your ground against the publisher and pushing your vision.

Paschalis Agnostos
profile image
@Mike Smith

There is still one guy fighting the fight for you

Taure Anthony
profile image
Nice read-up.....beautiful hand drawn animation always feels warm and heartfelt similiar to The Princess and The Frog great job and great game guys.

teon simmons
profile image
I'm a freshmen student who has to do a research project on the field that I hope to get into someday. If anyone could answer any or all of these questions I'd greatly appreciate it!

1. is the demand for character artist growing or is it a risky career?

2. how important is education (community vs. art/design degree, 2yr vs. 4 yr)?

3. how much traveling/moving is involved?

4. how do you get into character design? (work your way up? networking? etc.)

5. is it a very competive job field?

6. what advise could you give to someone who looks to enter the field someday?

Chane Hollander
profile image
Good postmortem! A brilliant tribute to the games we grew up on and it really shows!

I worry about the economics and wonder if this game made a profit. I only saw initial sales at sub 100K in the first month.

I love our desire to continue making platformers and hope we can reach a new audience that makes them more economically viable.

Gord Cooper
profile image
If it's not too much trouble, could I ask what engine this game was built on? An existing engine, or proprietary, in-house? Basically, my group is working on a final project, and we're going to use Unity, but we wanted to know what kind of pipeline a game like ABAHB utilized.