Like an interactive book where you could immerse yourself for hours and hours with only the minor inconvenience of sometimes ending up pixel hunting or getting stuck in a try-n-error loop to solve particularly hard puzzles, since, back in the day, the internet didn’t exist and the only help you could get was a friend or two who shared the same passion for graphic adventures. Not everyone has the reflexes or the skill for platformers, racing games, or shooters, but anyone can enjoy a good story, and graphic adventures gave you not only that, but also a world to explore at your own peace, filled with puzzles and riddles that you could focus on solving without (well, most of the time) serious consequences if you failed. PL: I think point-and-click graphic adventures ‘clicked’ (heh) with people who were less about action and more into adventure. Sol705’s aesthetic is based on the contrast between the hyper realistic backgrounds and the slightly brighter and colorful characters on the sheet (which came out pretty well, if may I say so myself).ĮM: As a developer, how do you define the modality of point-and-click adventures, and how are these modes/methods best met within the game experience? Where do you think games like yours shine, as opposed to action sidescrollers, games relying on complex puzzles/minigames, or isometric adventure titles? PL: I remember that back then, action transfers (rub-on transfers, or ‘Kalkitos’ for us, Argentinians) were an endless source of fun printed cardboard background images and a transparent sheet of colored dry transfer figures allowed you to apply them with some friction and were the equivalent of the adventure games that came out later, serving as a source of inspiration. There’s a lot they can’t corroborate, and that anything appears possible, even what they see on movies or TV! Films like ‘Close Encounters of the 3rd Kind’ fed our wildest fantasies about the possibility of creatures from above to bring us peace or, at least, an alternative path.ĮM: The combination of pixel art and more realistic imagery makes for an interesting mash-up, so how did you arrive at this melding of visual elements? Do you see the ’70s as a less digitized time and take your aesthetic from popular consumer goods/publications, or do other, more nuanced insights play a large role in your look? The Tucana Lake kids find themselves living in those crazy times, at the mercy of the lack of information, half truths, and false stories, all fluttering around their heads. With that in mind, staring at the sky and looking for some hope in the stars doesn’t really sound like a dumb idea. But then again, during that times, the Cold War made us all live in fear of impending doom. There are some heavily documented cases on one side, and then straight-up shameful ones on the other (Visitors from planet Ummo, I still can’t believe that was a thing!). Patricio Land: UFO sightings were quite a thing back in the ’70s and early ’80s (both in the sky and at concerts). As someone who grew up in Wisconsin in the ’80s, I have lasting memories of that experience, but what do you see leaving its mark on the lives of your characters in Tucana Lake? Erik Meyer: The game’s setting brings players to a small town in Argentina during the 1970s, so I’m interested in what you see defining that time and place the popularity of flying saucers, for example, seems to come and go like a hairstyle.
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