Immersive monochrome puzzler Starman: Tale of Light was released on iOS in November by two brothers, Sergio and Jacobo Abril, and was soon after featured by Apple, no doubt for it’s beautiful design, eerie atmosphere and well-crafted gameplay. We asked the brothers to share their design process, the inspirations behind making the game, and what they’ve learned most.
Can you introduce your team and what each person worked on when you were making Starman?
There’s only two of us behind Starman. Sergio Abril (28) and Jacobo Abril
(25), brothers and architects from Spain.
To give you some context, we can start by saying that while Jacobo was
finishing his degree in Architecture in 2015, Sergio was in Japan doing an
internship for SANAA, a Tokyo based architectural office. However, we both
wanted to do something on our own. One day in January ’16 we decided to
create nada studio; to put together all the things we loved (architecture,
design, technology and sound). A video game seemed like a right place to
experiment, and that’s how Starman was born.
Design had to play a main role in the game; we’ve always felt confident
about design, and we loved the idea. With that in mind, designing sceneries
and mechanisms on our own seemed challenging but certainly feasible.
Same applies to 3d modeling, which is something we’ve been doing for
years. However, there is more into making a game; a game is not only a nice
image, you need to animate characters, code behaviors, make sound FX and
music, optimize everything, and lots of other things you don’t think of when
you start a project like this.
There were so many topics and skills to be learnt, that we had to split tasks.
We both directed the game and lead the design, but while Sergio focused in
coding, level building, and environment animations, Jacobo created
conceptual illustrations for every level, learnt to animate the character, and
controlled musical production.
We have spent a lot of time learning new things as we needed it, learning
through constant trial and error.
For those that haven’t played Starman, can you summarise what it’s
Starman is a monochrome puzzler. But it is more importantly an experience,
a moody experience. It is also an adventure in which the player can stop and
reflect, at an unhurried pace. The objective remains uncertain, so it is a matter
of enjoying the journey; allowing yourself to be carried away by what
It’s about feelings, architectural sceneries, thinking and perception. It is a
game where you see yourself immersed in a certain atmosphere. Sometimes
you can feel some sort of nostalgia, even melancholy. We believe there is
something hauntingly beautiful about it. Starman is a game with its own
tempo, to be experienced without rushing.
The game has a very distinctive design in terms of the visuals, but also
in creating an atmosphere of mystery and uncertainty with the music
you use, the magical glowing lights and the monochrome dark, the lone
character, the scenes now deserted but as if they were once filled with
people… Where did your inspirations come from for the design and the
Starman is about the recovery of something lost, something that is not
present anymore but can still be felt; in a place where time appears to have
stopped. This very feeling was the most important thing, and so we are
super glad that the mood resonates with people.
More than inspiration from something specific, there is an intention of
creating an atmosphere and communicating a certain feeling. There are
many examples of different arts that deal with similar intentions and that we
have a high regard for.
Traces of this mood can be found in the work of Edward Hopper or Giorgio
de Chirico, in the photography of Edward Burtynsky. There are echoes of
architectural works such as the holocaust memorial in Berlin by Eisenman, or
Atmospheres, a written essay by the swiss architect Peter Zumthor. The
music in Async, by Ryuichi Sakamoto. The scenography of movies like Blade
Runner. Nature is also very present, and the relationship between nature and
human beings; the feeling of being alone in the woods.
The tools that we have used are also equally important; the isometric
perspective is something that we have been using in architecture for many
years. It excels in making spaces readable; and also allows the player to
immerse in the scenery and get into the story. Monochromatic design was
fundamental; black and white, light and shadow are something very subtle
yet extremely evocative. Music needed to help set the tone too. It couldn’t
be the type of music that screams “I’m here” but rather a good company
during the journey. We believe that everything kind of assists in creating a
feeling of solitude and uncertainty.
In the end, the visuals and atmosphere of the game are not the result of
specific references. Trying to transmit an emotion is what has guided us
throughout the process, with lots of work and iterations, to the point that
everything just felt right to us. We had to be very careful because sometimes
adding layers and layers of details would result in a scene losing its initial
The levels have a number of objects that you have to play with and
interact with to see how they operate and give you clues as to how to
solve the puzzles. How did you go about designing the levels so that
you provided hints for the user, without giving away too much as to
make it too easy?
We wanted puzzles to be challenging, but not frustrating. And that’s quite
hard to achieve. Moreover, everyone’s mind is not the same, and so the way
players perceive the difficulty of a level is different. But we tried to find the
right balance on each stage, while keeping an incremental complexity across
The truth is that we achieved this after quite a few iterations. A lot of our
initial work didn’t make it because it was not consistent enough, or because
we found, after testing, that some mechanisms could be misleading. We
adjusted, changed, and even discarded many of them by testing them again
and again ourselves; and then, when we thought they were ready, we would
let our family and friends test things.
Behind something simple, there is always a lot of work. Same happens with
puzzle solutions; they are made in such a way, that after completion, they
look simple and easy. Every element is placed so, and reacts in a specific
way that, the user can come up with a solution by himself. At least, that is
what we want players to believe, even if we have provided them with tiny
hints. Subtle animations, little zoom-in’s and illustrative sounds, along
precise placement of every element, are a really important aspect of puzzle
resolutions. A small change, even if imperceptible, can lead to an incredibly
higher rate of success (or failure).
We can find a good example of this in the fourth level of the second world,
the factory (spoiler). When you get there, you are supposed to slide a cube
through a ramp, but from a very precise spot; that’s the only way to make the
cube jump to its destination without losing the contained energy in the
The challenge here was letting people know that, in an apparently
non-physics-based game, you could actually try to slide a cube. In the
beginning, the ramp was always down; and even though you could change
its angle adjusting a moving wheel, almost nobody tried doing that. They
thought of the ramp as an static element. Something as simple as setting the
initial angle of the ramp to zero, forced players to both learn how to handle
the new wheel mechanism, and also consider the ramp as a key element to
find the solution. Success ratio doubled after this little addition.
Finding the proper way to teach people how to use our mechanisms was
crucial; specially since we introduced new elements constantly.
We decided to take a minimal approach: to introduce subtle hints instead of
just using text tutorials everywhere. It might be harder to do, but the result is
generally nicer, less obstructive, and most important, it makes players feel
better when they understand and complete a puzzle. We think it’s way more
Did you do any marketing or promotion or have a plan as to how you
would get people talking about the game?
That’s maybe one of our weak points. We tried to engage people on twitter
from the very beginning, posting weekly updates; but even though our
followers increased noticeably, it was not even close to the number needed
to have a visible launch. We needed to reach more people, and we didn’t
really know how.
Three weeks before release date, we prepared a short trailer and started
posting it on Reddit; luckily, one of those threads went (sort of) viral on /r/
Apple, reaching the top within a few hours, and with around a thousand
upvotes. We got hundreds of comments, and also many people showed
interest in our game. We offered a last minute beta testing before the release,
and people were excited to try Starman. We even started getting some
media coverage in places like PocketGamer. It was both crazy and great.
We should have had a better marketing plan, but the truth is that we can’t
complain about how it all worked out in the end.
How long did it take to design, develop and release the game? What
stages to the design and development were there, and what was
The development of Starman had 3 distinct phases.
In a first stage, over the span of 6 months, we tried a whiteboxing approach.
We would come up with some mechanics and then we’d build them in a
rather lousy way to the point they were playable. Once they were all built, we
would try to make them look good. The truth is we ended up with a whole
bunch of episodes built, but we soon realized that all the work we had done
didn’t feel right. As we wanted the visuals to play an essential role in the
game, this approach was kind of a disaster for us. Mechanisms were not
integrated in the scenery, it was like dressing something up. We couldn’t set
art aside in the level design and expect things to fit magically afterwards. We
don’t think it was wasted time though, it served us like a valuable training.
The first stage led to a second. We wanted mechanics and aesthetics to be
intertwined, so we had to rethink everything from scratch; it was really a
challenge because as much as we didn’t want playable ugliness, we didn’t
want beautifully boring screens either. Although none of phase 1 designs
made it to phase 2, we got some ideas that became good starting points.
Second phase took us about 9 months.
Even though we had completely redesigned the game, there was a third
round. After the end of phase 2, we reviewed what we had done so far and
we felt that the first episodes couldn’t measure up to the level reached in the
last ones (likely because as we advanced in the process our workflow
became more consistent). In this last phase, most mechanisms were fine
tuned and some episodes were subject to complete transformation; this
allowed us (not without pain) to achieve a consistent result that we were
For us, whiteboxing didn’t work out; it’s likely that our mindset made it
impossible for us to separate the game functionally and aesthetically. In
architecture, the functional and the aesthetic usually work hand in hand; that
might be the reason that the second approach worked better for us. We have
to say that although this workflow proved to be fruitful, it was painful at
times, and exhausting overall.
At the end of this process, just a few months before finishing the game, our
beloved dog – a Retriever named Selva – passed. She was the one taking care
of our health, reminding us to take a walk from time to time. She had been
with us for almost 15 years, so we felt really tied to her. That’s why we
decided to make a little tribute in her memory. It was the least we could do.
You’re featured on the App Store, how did that come about?
The Reddit thread granted us a good degree of visibility; once we had the
game uploaded (but not released), we were contacted by a cool guy at
Apple. We then started conversations to have certain editorial support. It was
awesome, we were caught off-guard. It’s obvious that we were very lucky, as
the usual thing is to go under the radar. In the end, we are a tiny little
What did you learn most about making Starman that other developers
might be interested to learn for their game development and that you
can take into your next project? Would you do anything differently?
We believe it can be summarized in 3 points: learn self management skills.
Try to engage people from day 1. Listen to what others say, but trust what
Looking back, there are some things we would approach differently. We
would have tried to start marketing campaigns earlier, instead of leaving it
until the last minute. We are aware that when you are a small studio with very
few resources this is easier said than done; but you have to make an effort.
Regarding self management skills; you are alone against time, and you need
to learn how to organize properly. Not only to get things done, which is
important, but for your own mental health. One needs to find a balance.
Don’t forget to live, there is family and friends out there; things to see and
Do you have plans to release Starman on Google Play or any other
stores, any any other upcoming projects? Or a sequel perhaps?!
We would love to port Starman to other platforms, but we can not reveal
anything yet. As for if we are thinking about a sequel or mulling over new
projects, we are taking both options into consideration; we have lots of ideas
and concepts in mind, and we have already started working on some of
them. We really love designing and developing games. Crafting Starman was
a great experience, but we like to think this is just the beginning.
Thanks so much to Sergio and Jacobo. Starman: Tale of Light is available on the App Store.
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