“In the months immediately after we made the pre-alpha builds available, we had a series of conversations with attendees at gaming events, and read a glut of comments on IndieDB, Steam, Facebook, Twitter and YouTube, suggesting that the severe game assets and sparse color schemes could be the default art style,” says Brown. The team made the playable pre-alpha builds of Gang Beasts public before so much as committing to an aesthetic. When they added the grab-an-enemy and object-targeting mechanics in the next build, however, it came to life: “We saw immediately that the prototype could be the skeleton for a fun party game, and went from there.” “Fighting in the test scene (itself a crude backstreet with low lighting) was fun but limited, as the scene had a single character model and few other assets,” says Brown. Support for multiple players – which has become part of the game’s core appeal – was added only when the character control scheme was implemented, to make a scene for testing and prototyping the key fight mechanics. Think: Capcom's Final Fight, Sega's Streets of Rage and Golden Axe, Konami's Crime Fighters and Teenage Mutant Ninja Turtles, and Taito's Double Dragon and Renegade. The initial test scene was informed by arcade melee fighting games from the late 1980s and early 1990s.
“From these prototypes, we decided upon the urban crime idiom: the key mechanics were significantly less complex to implement, and the rectilinear geometry of the built environment could be approximated and optimized with modular structures,” says Boneloaf’s James Brown. The team prototyped a number of games referencing clichéd scenarios from genre films, high fantasy games, space operas and urban crime thrillers. As is often the case, the roots of Gang Beasts grew from self-imposed limitation.
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