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And maybe the knight boss Flora in the iron garden. Maybe the creature in the box, like, first you think it’s just a box and it comes out and starts running at you. The one I always wanted to make from the start was the guys on the bicycles. I asked Casper which of the creatures he had created were his favorites?ĬC: Good question, I never really thought about it. It was probably one of the most fun… Yeah, there’s just a lot of creative freedom there.Īlisa features a lot of cool, creepy, and creative creature designs. I followed up by asking, from a creative standpoint, which of the zones was the most fun to work on?ĬC: Probably, the circus part, the house of fun. The game starts with Alisa doing her civic duty as a member of the Royal Guard But circumstances outside of her control have found her trapped in a macabre mansion So it was already kind of planned to be there. So yeah, it became kind of like, different styles of zones. There is this garden part, the iron garden where all the plants turn into iron, this was also one of the things I wanted to put in this world. The game takes you from a rural village to a circus over the course of the game, so I asked Casper if it was a conscious choice to have it in the dollhouse for the reason of allowing for a lot of variety? Or was that something that just came as he was developing the world?ĬC: While I was making it, I remember that I wanted to have a, sort of mansion, as usual, the dollhouse. And then a bit later, I got some more inspiration from games like Bloodborne and stuff.Īs I mentioned before, there is a whole lot to this game aside from the Alice in Wonderland vibe it initially gives off. So that was probably one of my biggest inspirations. This is a while ago, I was playing a lot of PS1 Resident Evil games, and I think I got some inspiration from, it’s like, half animated half live action, a bit old 70s, Alice from Jan Svankmajer, if I say his name correctly, it’s a little bit horror looking animated stuff. So I asked Casper, what were the building blocks for the story and the world of Alisa?Ĭasper Croes: Well, the story, I think, I didn’t get much inspiration for the story itself, but like the concept kind of started around a period when I started making the game, this was in 2017. While a cursory glance would lead you to believe this was nothing more than a reimagining of Alice in Wonderland, there is a lot more to the game than that. To get things started I wanted to ask what the initial inspirations were for the project. And with a little time-zone management and the magic of the world wide web, we were able to find time to sit down and talk about Alisa, its development, as well as the future for the series. Thankfully, I did not have to navigate a dollhouse of horrors to ascertain these secrets, as Casper agreed to be interviewed.
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I reached out to Casper Croes, the Belgium-based solo dev behind the project, and asked if he could spare time to talk about the project. While you can take one look at the game and see how much hard work was put into the game, I wanted to get an idea about the challenges that came with making a game in a style that requires you to impose limitations on yourself. This reason specifically is why I had my eye on Alisa long before its release. The ones that do manage to do so will always stick out. While there are more of these games than you could shake a square crank at these days, not all of them manage to believably emulate the technical limitations and market trends of the time. And while the big leagues might have themselves occupied rebooting as many franchises as they can, the indie scene is still riding high on the wave of PS1 styled low-poly games that aim to invoke the likes of Resident Evil and Silent Hill. I think it is very safe to say that if you are reading this article, you have a passing knowledge of the current survival horror renaissance that is happening in both AAA and indie gaming scenes. Inside the Dollhouse of horrors: Alisa Dev Casper Croes shares some low-poly tips and dishes on the future of his games