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Designing Characters

Pub scene in “My Dearest Visitor” episode of The Last Door game by The Game Kitchen

Hi people! In this post I’ll talk a bit about our process for designing the game’s characters, from the original idea to their final form in a finished episode.


So this is the first step in every episode: we write whatever comes into our minds. When we like something, we stop and write a bit more about it, then we show it to our mates in the design team. If they don’t see it interesting, we ditch it and keep brainstorming. But if the idea manages to spark something in the others’ imagination, then we know we have something.

Now, this idea will quickly stop being something you could say it’s yours and clearly becomes something with its own entity, something new and exciting.  This is what we are always looking for, because if an idea doesn’t surprise you, how can you expect it will surprise your audience?

At this point, feedback starts to jump from one’s imagination to the other’s. Sometimes the idea fades out –maybe when thought about properly it just sounds stupid, or maybe we can’t give it a proper shape yet and it stays aside, waiting for the time. But sometimes it manages to make perfect sense and then flourishes into something amazing and unexpected. Then we have a nice scene, location or atmosphere. Or a cool character.

Google Images

Women and Fishermen of Hornbaek by Kroyer
In the Store During a Pause from Fishing by Kroyer

This is a very useful technique we use as a help to the brainstorming. We take a topic and google it –just like that, then we pay attention at whatever the images results are. Some very unexpected mental connections can happen this way, and we can discover entirely new interesting topics to include in the game.

When researching for characters, the most useful pictures are nineteenth century photographs, prints and paintings. Photos are tricky, because at the time, most of them were heavily prepared portraits, were attitudes, character and clothing appear quite artificially.  Some more casual (and therefore more accurate for our purposes) can be found though, and they make for great reference.

Sea Beach – Norfolk Fisherman on the Look Out (The Fisherman) by Frederick Bacon Barwell. Source: Published by Day & Son, London, for Passages from Modern English Poets Illustrated by the Junior Etching Club, 1862.

Prints from historical newspapers, and the works of realist artists like Gustave Dore are very helpful to suggest new ideas.

A Couple of Words

When we have a long ideas list, we have to start growing them into developed characters. We have come up with a simple technique for doing this quite fast, and so it is easy to share with our mates. We write a short sentence:

 “A”, who “B”. 

“A” would be a short introduction to the character (for example “a butcher”, “a priest”, “An old woman”).

“B” is a second layer of characterization that must have a noticeable contrast with the first. Think of it as a narrative turn. This is the part of the character that conveys the atmosphere, and expresses why he or she is so interesting.  The contrast must suggest a lot by itself, or this character will not make it to the production phase.

When developing characters, we like them to have their own stories apart to the episode’s main arc. They need to be really interesting by themselves, make you want to know more about them, and they must bring life to the locations where the episode takes place.

Let them talk

Backyard scene in “My Dearest Visitor” episode of The Last Door game by The Game Kitchen

At this point, characters that have not been discarded (only a handful of them) are painted and animated, and the first draft of dialogues is written.

It is important to note that characters are not completely defined when we start writing dialogues. They are just the simple idea we wrote in the previous section, plus they play some role in the high-level gameplay structure we have devised so far (that means the overall progression of the game from the beginning to the end – a character may act as a door to a new area, or give you an item needed to solve a puzzle).

Dialogue is a tool for us to know our characters. By trial and error, we will realize certain aspects of their personalities don’t match with the general atmosphere –or their own, so we will have to discard entire branches of text. We are always discarding big chunks of material, but it is fine, because we want just the best for the game!

Community interaction

Character’s dialogues and personalities are not yet complete until the last part of the narrative development process: beta testing.

When we share the episode’s beta version with our community of players, we gather a huge amount of feedback. And important part of it has to do with how the game’s narrative has worked out, and gives us a good idea of how well the characters are understood by players. That way we can clean up inconsistencies, and modify the game so the focus stays in the most remarkable parts of the experience.

There is another part for this phase that has great importance: the proofreading process. We export all the in-game text and share it with a very dedicated group of fans. They will re-write most of the game, giving it a unique feeling and style, and taking care that the characters’ use of language and tone is appropriate to their personalities. In fact, during this process, new personality traits arise for the characters, as the fans think about them in new and unexpected ways.

Pub scene in “My Dearest Visitor” episode of The Last Door game by The Game Kitchen. Proofread dialogue example.

When putting all this text back in the game, we are always amazed at how the depth and richness of the narrative, and of the whole experience, has improved!

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Saving ‘The Last Door’

Saving ‘The Last Door’

Hi, dear TLD fan:

I’m Mauricio García, director of The Game Kitchen, and one of the two programmers of this beloved indie game of ours.

Two months ago Daniel and the team were at the office when he suddenly shouted “This is shit!”. We knew he was facing a nasty bug, and honestly Daniel says things like that quite often. But after that we started to chat and we ended up agreeing that he was going to take a leave because the launching of “The Playwright” had left him exhausted.

Actually we were all very happy for the release of ‘The Playwright’ and loved reading your comments and feedback. But after some days after the release we had to face the fact that only 1% of the players that start playing The Last Door end up donating to keep it going. This is what is killing us. And trust me, Daniel’s case is not that special. At this point in The Last Door’s life everybody in the team have already faced a situation like this. We started to think…

Is crowdfunding the best for The Last Door?

You, players, have showed us countless times that you love The Last Door. So we may be doing something right, aren’t we? Then why it’s that we can’t cash our (low) salaries two months in a row?

We have some plans to save The Last Door to be the best it can be. And for that we plan on changing the crowdfunding model. If you are already a Premium member you don’t need to keep reading. It’s not affecting you, we already consider you the loyal fan you really are and you will keep all your current privileges. If you have donated occasionally, please keep reading to learn what you have to do.

We are here thanks to you

Thanks to everyone who has supported ‘The Last Door’ until now! From donating, talking about our game in social networks to sending us feedback to improve the game! Without you it’d have been impossible to reach 85K registered users in our website, and more than 2M plays in Flash free games platforms! ¡Thank you from the bottom of our hearts!

If you already know us, you’ll know that our intention was always to make a game that could be enjoyed for the maximum amount of people. That’s why, we made up a business model that allowed us to keep financing the development of new chapters and at the same time, unlocking past chapters so anybody could enjoy them, regardless their purchasing power.

This business model has given us lots of satisfactions. It has enabled ‘The Last Door’ to secure a small but very proud spot in the recent indie videogames history.

The Last Door is kind of broken

Unfortunately though, our actual business model implies some serious issues that risk TLD’s continuity, being these two the most relevant ones:

  • Back when everything went as expected, and crowdfunding campaigns achieved their goals, that would only give us enough for terrible salaries. We were getting very low and unsustainable salaries although we were giving our best. Even worst, if crowdfunding doesn’t perform as expected, we end up missing a couple of paychecks here and there! In addition to that, we have to work under fiscal stance that aren’t designed to support small endeavors like ours, which translates that we have to pay really high direct taxes, regardless if there are enough money for ourselves or not.
  • Progressively longer conversion funnel: In ‘Online Marketing’ there’s this concept that portraits the steps a potential customer has to take to decide to ‘purchase’ the product or service offered. As a general rule, in order to have a good conversion ratio (amount of users that go from playing for free to end donating money) is desirable that the conversion funnel is as short as possible. In our case, each time we develop a new episode, the conversion funnel gets longer. That’s because the time the user is asked to decide if he wants to donate some money, is situated between the second-to-last and last chapter. The ultimate conclusion is that the percentage of users donating is reduced with each new episode we publish.


This is far from over

After carefully studying all options, we’ve took the decision to abandon our current business model, based in episodic crowdfunding. From now on, starting with the release of the sixth episode ‘My Dearest Visitor’, we’ll start to sell the game in a slightly more traditional way: episodes will be sold separately, or in season packs.

I know this could be shocking, but don’t panic! If you’ve donated before you’ll maintain all the privileges you had, no action on your part required:

  • If you unlocked an episode or the soundtrack, you’ll still continue to have access to that episode, its soundtrack and all the previous ones, with their soundtracks.
  • If you’re a Premium User, you’ll automatically be able to enjoy all the beta versions, final episodes, soundtracks and features of all the previous and future episodes.
  • ‘Hall Of Fame’ users will continue to be featured in the Hall Of Fame, as planned.

The new pricing plans will be applied simultaneously to the release of the new episode of the second season: ‘My Dearest Visitor’, next April 6th .

Take advantage of the situation before it ends

We want to offer all of you the best and smoothest transition to the new pricing plans. That’s why, as of today, coinciding with the immediate availability of ‘My Dearest Visitor’ beta version, you’ll find a ‘Special Offer’ page in the website.

We’ve carefully designed these three options to accommodate all of your needs:

  • For those who haven’t donated yet, and want to keep all the past episodes: A donation of 2€ will instantly unlock ‘The Playwright’ and it’ll give full access to all previous episodes.
  • For those who want to be a part of the story, now: A donation of 5€ will unlock the beta and final versions of ‘My Dearest Visitor’, it’s soundtrack, plus granted access for live to all previous episodes and their soundtracks.
  • For those who want it all: The ‘Premium’ subscription will be disappearing with the new price plans. You’ll have until April 6th to become a Premium community member, after that only Premiums will be the ones to enjoy a complete lifetime pass to everything ‘The Last Door’. So, if that is what you want, don’t miss this last chance to unlock everything, for ever, for just 10€.

We hope these changes bring us the stability we need to keep developing The Last Door with the attention and caring it deserves. As we usually do, we’re open to your suggestions. There’s still time to detail all of the changes, so once more, we count on you to let us know what you think about them in the comment section.

Thank you very much  for your understanding.

Mauricio Garcia,
in behalf of the entire The Game Kitchen’s team.

EDIT: Some of you have kindly asked for a way to send us a donation. You guys are awesome! If you want to contribute a few bucks to help the game stay alive, use this button:

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Designing a new “dialogue” pipeline

With each new episode of The Last Door, programmers find some “spare” time at the beggining of the cycle, while the artist are concentrated in the preproduction of the new episode (writing the script, designing the puzles, and so on). Our goal for this part of the process is to enhance our engine and our production pipeline, to fix those aspects that we found more problematic while crafting the previous episode.

This time around, one of the main objectives was to replace the tool we used to create the dialogue trees of “The Playwright”.  For this episode, we used a Unity plugin called “Dialoguer” which enabled us to have the engine ready in time. In the end,  it turned out to be a bad choice for us: it was not as robust or easy to use (specially everything related to dialogue variables was really tedious). Iterating the conversations of this episodes, in the last weeks of the development cycle was indeed painful.

So, before anything else for the new episode, we knew the dialogue tree editor in our pipeline needed to be replaced. This time around, we knew better what to look for: support for multiple node selection and support for “undo”. We took a closer look at the state of the art in the Asset Store, and finally settled for “Dialogue System” by PixelCrushers.

This awesome plugin is full of features, althouh many of them won’t be needed for our pourposes. After trying a demo version, we were convinced that it met our new requirements, particularly the editor beign really robust and easy to use, and fast to work with.

The strategy to migrate the game engine to the new dialogue pipeline was:

  1. Recreate some of the most complex dialogues tree from ‘The Playwright’ inside Dialogue System, to make sure its does support all the required features.
  2. Use the previous experience to identify customization oportunities in Dialogue System’s functionality. It’s very powerfull an generic, and we’d rather need it to be exactly and only what we need for TLD.
  3. Port the dialogue manager of our game to read dialogues from the new Dialogue System’s data model. Test dialogues made with the new plugin do run ok in the game.
  4. Replace Dialogue Manager own’s localization with our engine-wide one.
  5. Port the rest of dialogues from ‘The Playwright’ using the new and now customized editor.
  6. Remove the previous dialogue tool from our code base.
  7. Simplify Dialogue System by removing everything not explcitly needed in our game, thus making the tool simpler to use, and reducing the overall code base.

This are the features we ended up customizing in Dialogue System:

  • Clasify entries by type, with our stablished set of node types: phrase, group, group choice, variable set, variable check, & event.
  • Integration with our localization system, so you can enter/modify localized text directly from Dialogue System’s inspectors.
  • Customization of the size, color and presentation of entries depending on type. Make the dialogue more readable in the diagram.
  • Limit conections from ‘variable check’ entries to two, one for ‘condition met’, and other ‘condition not met’. Make then green and red to make them easy to discern.
  • Remove from DialogueEntry class all fields that we were no longer of use.
  • Customize the context menu to create new nodes specifying the type. Make ‘group’ types only create children of type ‘group choice’.
  • Simplify the inspector of entries, so only relevant fields are shown depending of entry type.


First and most importantly, we’d like to recommend Dialogue System to anyone looking for a dialogue and quest editor plugin. It’s simply great, and has plenty of features ready to be used. Additionally, full source code it’s included, so you can customize it to your needs. I’d like to add a very personal note to this: the code is remarkably well written, at least to my standards. It was really easy to undertake customizations even as deep and heavy as the ones we did.

This post describe the work of a whole week for me. The result has been not only a remarkable improvement in the time required to make new dialogues, but also in how easy and affordable is to make iterations in dialogues to improve the gameplay once we’re in playtesting and beta stages. This is specially important for The Last Door, since we really need to make plenty of adjustments iterating the gameplay, looking for the perfect look and feel for the episode.



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Preproduction of the new episode already started

Pre-production of the new episode already started

After a few days of well-deserved rest, we already got our hands dirty with the development of the new episode. In this new stage, considering our new and promising working pipeline, we’ve set ourselves the goal of mastering the production process.

We want to avoid at all costs unnecessary delays in the development of the new episode, like the ones we suffered during the making of “The Playwright”. We always wanted to achieve a 3 month per episode development cycle, but never before had all the ingredients to achieve it. So this time, a big part of the plan is to walk towards this goal.

Production schedule

The first step was to make a deep analysis of the production process of S02E01, identifying major milestones along the way. Each one of these milestones, is basically defined by the ‘outcome’ expected at that particular point of the development process. First, in pre-production, these ‘outcomes’ would be in form of design documents. Soon after, the main ‘outcome’ would become playable builds of the episode, which deliver a particular set of the expected features.

Once we put together the list of milestones, we hang those in the office’s wall in the form a calendar, placing each one in the expected delivery date. From now, if we miss a date, we’ll know something is going on, and would react sooner, adapting whatever is needed to ensure the project as a whole continues on track.


Wall poster made with post-its, with ‘milestones’ in their expected dates. All these dates are obviously estimations, subject to changes due to production circumstances.

Pre-Production milestones:

  • 7 Nov 2014: Episode Synopsis
  • 22 Nov 2014: List of puzzles, List of scenes, List of scary situations
  • 28 Nov 2014: Map of rooms, Placeholder room’s backgrounds, Second iteration of production lists.
  • 5 Dic 2014: End of pre-production: Screenplay (walkthough) document. Script document. First episode build (#1) (includes all rooms in navigable state, with placeholder backgrounds).

Production milestones:

  • 19 Dic 2014: Build (#2) with first iteration of all puzzles implemented, but still with placeholder art. Must be playable from first to last room.
  • Now come 4 weekly iterations of the episode: planning each Monday, new builds each Friday (builds #3 to #6). Last build (#6) is published as the Episode Beta for Premium users.
  • 23 Jan 2015: Texts for beta are “locked” and sent to reviewers.
  • 30 Jan 2015: Reviewed texts are imported back into the game.
  • 12 Feb 2015: Texts for final version are “locked” and sent to reviewers.
  • 17 Feb 2015: Reviewed final texts are imported back into the game.
  • 20 Feb 2015: Final episode target date. We’d do our best to publish this day, but please note that unexpected events will occur during development 😉

Hope you guys like this insight in our production process, we plan to continue offering you interesting details on how the new episode is being made. Please use the comment section if you want to ask us something, we’ll be happy to answer 😉


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Such a great week! :)

Hiya mates,

Last fortnight was absolutely crazy for any spanish video games developer. It was very important because in the period of five days, three important appointments were held in Barcelona:

– PAD Congress (spanish professional associated developers summit)
– Gamelab 2014 (the national games and entertainment conference and awards)
– The Burger Developer Central (the spanish Indie developer community meeting and awards)

It was a really important engagement for “The Game Kitchen” and as such, we had to be there. Additionally, we were nominated for some industry awards 😀 .Thus, Mateo and Carlos headed to Barcelona to represent both The Game Kitchen and our flagship game: The Last Door.

1) First stop was on Tuesday, in the PAD congress where more than 36 indie companies exhibited their games. The event took place in a really cool old brewery where our teammates engaged in many networking activities and strengthening relationships with other spanish industry actors.


2) Gamelab started on Wednesday June 25th, and we took part in the Indie Showcase where we had the chance to show “The Last Door” to everyone involved in the gaming industry (other friend studios, publishers, game platforms and portals, etc.). Additionally, we were nominated in the Gamelab awards as “the best OST” and “best game for PC”. We didn’t win anything but we didn’t mind because while the event was being carried out, a great surprise was waiting for us… Tim Schafer was there! He was holding a conference in the summit and he also took some advantage of his spare time to try some of the latest spanish video games.

So yes, the master creator of Monkey Island and Grim Fandango tried out “The Last Door” and he really enjoyed it! He played our first episode and he got really impressed by our opening sequence and he praised our work, so that was.. amazing. Like a dream come true! 😀


We were so excited that we barely could say a word, so it’s better you just watch the video…

3) Finally, the following day, we attended the Indie Burger Awards, presented by Burger Developer Central, a group of indie game developers and burger lovers, who reward the best independent games on the national scene. And we were all the rage! We won two of the most important prizes (“We want a sequel” and “The most whizzbang game”). And that was our moment and we burst with joy!


Have a look to the pictures.. it was a memorable moment.. and we wanted to share it with you all. Thanks mates, this great news are also yours..  😀



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The Last Door Collector’s Edition Released!!

Hi Folks,

This is probably the greatest post I have ever writen in this forum..

Why? Because the day finally arrived.. The Last Door Collector’s Edition has already come to Steam, GOG, Phoenix Online Studios Stores and other major online retailers for PC, Mac and Linux!!! 😀

We can’t find the words to express our excitement, mates!! 😀

With the launch of the Collector’s Edition, “The Last Door” has become of age and we -as fathers of the baby- are absolutely touched. This is the fruit of more than a year of hard work and efforts, and we owe you all. Thank you very very much, without your support this would had been impossible.

So yes! Hurry up and don’t miss the best piece of “The Last Door” ever made! Find the game on:

POS Store
GreenMan Gaming

Enjoy mates!


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THE LAST DOOR at the GDC 2014

Hiya mates.

It’s been a while since we haven’t updated you regarding what’s going on here. Well, no big changes.. We’re (still) working like slaves in order to be on time for the Collector’s Edition release.

In this sense and to warm up our great brand new edition, we’re working hand in glove with Phoenix Online Studios in order to promote it.

One of these promotion activities (as you probably have seen somewhere else) it has been the officially presentation of “The Last Door” at the GDC by the hand of POS.


The GDC gathered together more than 24,000 industry professionals in San Francisco’s Moscone Center where some of the industry’s 350 top companies offered product demonstrations and networking.


In that setting, within the Phoenix loft, “The Last Door” CE Demo was showed off to key distributors, journalists and game enthusiasts, receiving a great and positive feedback.


This Game Developers Conference has been a great time for our beloved game and we want to thank Phoenixs to show up there and to publicly introduce and present “The Last Door” at GDC.

We also want to acknowledge all the promotion efforts they’re doing through their blog, posting many entries detailing specific information about our game.

If you feel like reading a different approach to the game, hereunder you are some of the entries

The Last Door Collector’s Edition: Introduction.

The Last Door Collector’s Edition: The Atmosphere of Horror.

The Last Door Collector’s Edition: A love letter to Lovecraft.

The Last Door Collector’s Edition: Remnants of a Tortured Past.

The Last Door Collector’s Edition: The Sound of Fear

Appreciate it!


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Important Awesome News!

Hi Pals,

As many of you have probably read somewhere else, we have really good news to announce: we’ve reached an agreement with the recently funded Phoenix Online Publishing to publish The Last Door: Collector’s Edition.

It’s such an honour to work together with the award-winning developers (Cognition, The Silver Lining) who have decided now to increase their influence on the indie game market by introducing this new publishing label in which The Last Door takes part now.

This new venture started while we were looking for a publisher in order to help us bringing The Last Door to the App Store and Google Play the way you guys deserved. And it was love at first sight. After some initial contacts, we rapidly agreed that our game deserved to be published everywhere, hence “The Last Door Collector’s Edition” was born, a product that comprises the first four episodes of The Last Door plus extras.

And we are really happy about the soft unfolding of events. We feel ourselves really lucky to partner with a publisher like POS that seeks to bring indie-developed games that focus on rich storytelling and atmosphere to the worldwide market, and this philosophy perfectly matches the one behind our beloved game. Don’t you think? :)

But.. Does this agreement mean any change in the way we’re working so far? Not at all. Phoenix Online Publishing respects and admires our business model and they’re more than willing to allow us continue with it. So, no big changes, and no harm to our current players. On the contrary, we think that it will benefit the series in many ways.

Actually, this is a great opportunity to get “The Last Door” to every corner on the world, rolling out the red carpet the way all of you deserve. And to do that, we need “The Last Door” to dress for a gala so we’ll create a special edition: The Last Door Collector’s Edition.

This edition includes the first four episodes (first season) and will feature more than four hours of playable content (with exclusive new locations, scenes and puzzles) as well as enhanced graphics and visuals, new playable side-stories, new opening sequences, remastered soundtrack, achievements and unlockable content and much more. In addition, it will be also available for PC, OSX, Linux, App Store y Google Play platforms. Amazing, isn’t it?

That’s it for now! We will update you with new and further details! And the final release date will be announced very soon, so we’ll keep you posted!

* YES! Today, together with Phoenix Online Publishing we have announced that “The Last Door Collector’s Edition” will be released worldwide on May 20th, 2014! Hurray! 😀

The Game Kitchen

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Play ‘The Four Witnesses’ now free!

‘The Four Witnesses’ now free to play

As in all previous occasions, with the release of the new chapter, the previous one becomes free for everybody. If you haven’t yet, you can play it now.

Also, we’ll be pushing this episode to kongregate, armorgames and all other major free flash game sites in the upcoming week.

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Introducing ‘The Last Door: Season Two’

This time around, we’re not ready to start working on the next episode right away. We feel that you guys deserve a detailed explanation of why we took this decision. So here we go:

For starters, as you may know, our team recently lost one of the main programmers, this mean we are no longer able to create new chapters as fast as we used to. At least, not until we expend some time optimizing our creative process to be more efficient. So we have made that our new ‘top priority’: we need time to analyze all the processes involved in the creation of a chapter, and find valid optimizations that finally enable us to achieve the ‘two month’ per episode development cycle we’ve looking after all this time.

Secondly, we’ve been running late on delivery some the things we’ve promised you guys in the past, so we time to focus on these (and try to solve what caused the delay in the first time, so that won’t happen again). In talking mostly about the ‘Hall of Fame’ which we’ll be finally updating in the upcoming weeks to reflect the contributors from the two past campaigns.

Finally, after four episodes published and a bit more than a year working in ‘The Last Door’ it feel like the right moment to make a brief pause to take reflexive decisions in terms of story, and game design and features. Going into production of a new episode right after the previous one, leaves you with only so much room for improvement. We tried our best to include new features and little design improvements with each new episode, but this time around it feels like we can achieve a so much more if only we could have some pre-production time before going deep into production of episode 5.

In summary, we’ve decided to wait until all the funds for the next chapter are collected, just like in a regular crowdfunding campaign. We estimate that, at the current donation rate, we’ll have around two months to focus on these open fronts, and we’ll be ready to start working in chapter 5 by the end of April, therefore aiming for a grand return during summer. We will be disclosing exact dates as we approach these milestones. As usually, we will be reporting every step in the way there, through the forums.

We’ll do our best to make the wait worth it, so the first episode of Season Two feel really fresh and meet all your expectations.

A note on the conclusion of the funding campaign of ‘Ancient Shadows’

You guys are amazing! We’re sincerely humbled by the amount of support we’ve been getting through this tough times! As you probably know, the funding campaign of ‘Ancient Shadows’ has been the most successful one so far, we collected the amazing sum of 13305.8 € (at the time of writing this article) which feels like a world record for us. Thank you!!

Also, we’ve been a lot of fun the last couple of weeks with the Stretch Goals. You guys managed to unlock a few of them:

– Pilot Chapter OST free for everybody: which is already available in the soundtrack section of the website.
– Download & play offline for Premiums: Episodes One and Two already there. Episode Three will be up in a couple of days.
– Server upgrade: We didn’t have the time yet to do it, but we will soon.

Unfortunately we didn’t achieved the last of stretch goals: ‘Open source the game engine and assets’ so we will save that for the next campaign, in the meantime we will figure out the best way to do it.

‘Ancient Shadows’ finally available!

Despite all the issues we endured while creating the fourth chapter, we’re proud to announce the immediate availability of the fourth chapter, ‘Ancient Shadows’. We apologize for running a little behind schedule with this last episode, but as we explained we wanted this episode to be as good, or even better, than all of its predecessors. One more time, thank to our helpful legion of beta players who flooded us with their awesome feedback and suggestions, we believed we managed to outdone ourselves once again.

Hope you guys like the result, we are really proud of how it turned out. What are you waiting for, ‘Ancient Shadows’ is now waiting for you to play!

NOTE: Soundtrack of ‘Ancient Shadows’, as well as the Spanish translation, will be available early next week.

‘The Four Witnesses’ now free to play

As in all previous occasions, with the release of the new chapter, the previous one becomes free for everybody. If you haven’t yet, you can play it now.

Also, we’ll be pushing this episode to kongregate, armorgames and all other major free flash game sites in the upcoming week.

About the mobile version of ‘The Last Door’

Some time ago, we launched episode 1 and 2 of ‘The Last Door’ in the App Store. It was an experiment: we invest just the right amount of effort to port the game to the iPad and launched it, to determine if it would work in this platform as well as the browser version does.

The experiment was not a huge success, to say the least. On one side, we hit a few technical issues that revealed that the way the game is made for the browser, is not immediately compatible with the mobile platforms, and thou further R&D would be required to decently port the game and deliver an experience as good as the one’s present in the browser version.

Despite all that, we were able to achieve some really impressing good reviews in the App Store: mostly plain 5 out of 5 stars in almost all countries, for both episodes. Woah! Definitely players using the iPad loved the game as much as the browser version. But, in the other hand, the attention the game was getting but way lower!

The browser version of Episode 1 for instance has found more than one million plays (combining the ones from, kongregate, armorgames, and other sites). The iPad version fall nowhere near this numbers, despite being a free app. Episode 2, as a paid app sold very modestly. In summary, it proved for us that the same business model we we’re using for the browser version doesn’t work for the mobile version.

We know, because many of you told us, that you guys want to play The Last Door in your mobile devices, and believe me when I say that we want you to. It just didn’t make sense, from a business perspective, to continue to do so on our own. So, to that end, we decided that we need to team up with a publisher in order to bring The Last Door to the App Store and Google Play the way you guys deserve.

For the time being, for pulled the iOS version of episode 1 and 2 out of the App Store, and we’re focusing on solving the technical issues we know of. Let’s hope we have exciting news to share with you soon, regarding the mobile version.