Eventually you start to lock in how it feels to move around in this world, and the scale and general composition that work for the character control. There's dozens of different avenues to go down. "How do you do that? It's good ideas and bad ideas and mediocre ideas, and you try a lot of things and throw out the ones you don't like or don't fit, and you keep the stuff that works. "You just keep layering," he adds, explaining how movement can become the central pillar for a game. They're cool, sure, and fitting thematically, but what are they really giving us that other stuff isn't giving us? What is it costing us?"
"We had wall dashes and things like that. "When you're focused on a character's movement and traversal as your primary means for gameplay, you'll try a lot of different stuff for it," Preston says.
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