In our third article following Push Square’s visit to Firesprite, we sent one of our retro enthusiasts who was particularly eager to learn more about the links between its studio’s history with Psygnosis and Studio Liverpool. In time for the launch week of the sci-fi horror game The Persistence we also published a development interview on Firesprite’s process of crafting a scary, stealth roguelike title. Furthermore, in a Soapbox describing our reporter’s first ever PSVR experience, there is hands-on time with the game, including extra additions to The Persistence like the Solex companion app. We strongly recommend you read this interview as a companion piece to Damien McFerran’s An Ode to the Owl: The Inside Story of Psygnosis, because the feature by our Editorial Director is a perfect supplement to this discussion with Firesprite’s Stuart Tilley (Game Director) and Lee Carus (Art Director).
Push Square: When I think of classic game developers based in Liverpool and Merseyside, I think of Matthew Smith who made Manic Miner and Jet Set Willy on the ZX Spectrum, but predominantly of Psygnosis’ output through the 16-bit and 32-bit eras. Can you explain how team members of Firesprite were previously a part of Psygnosis?
Lee Carus: Well, I’ll speak about myself at Psygnosis, then. So basically I went down to, it was called The Computer Trade Show, and I don’t even know what year it was, I think it was BC actually at this point [Laughs]. I was a spotty teenager, I think I was 17, and I went down there with a bunch of guys and we called ourselves Dionysus, because that was dead cool and edgy. We met with a chap called Ian Hetherington, who ran Psygnosis. We came with this idea for a demo and we went down and we pitched a demo. He loved it and he signed it on the spot. I’ll never forget, we then went back up to Liverpool to meet them on the docks, so it was a couple of miles away from here, and Ian sat me down in the room afterwards and he said, “Lee, if you’re lucky in another couple of years you could be earning eight grand a year [£8,000].” And I was thinking, “Oh my God, no way am I ever going to be on that sort of money!”
Stuart Tilley: You could have bought a house back in them times.
Lee Carus: I know, I could’ve bought two! [Carus jokes]. It was really a super exciting time and Psygnosis was still really, really young. I was the seventeenth employee at the time, and eleven of them were all marketing and literally warehousing and stuff like that, because they were the publisher, the marketing, the warehouse, so it was literally everything. Then basically it just grew and grew from there, it was myself and five other artists, there were no coders at the time, the coders were all based in their own bedrooms essentially. I think Psygnosis realised that things needed to start scaling up a little, so they brought people in-house and that’s when the South Harrington Building started filling out and we had our own room and it was crazy because it was just a smoke filled haze, because everyone smoked back then, and inside. Basically, we started working with coders that spawned new developers like Bizarre Creations, who have done a lot of work for Sony, and then we got a whiff of this exciting new hardware coming along from Japan. The first PlayStation arrived in the studio, and I’ll never forget it. The PlayStation dev kit was the size of a large fridge, a large single story fridge, and it came in a wooden frame with hundreds of cables coming off the back of it and it was all water cooled. I think that’s where certainly my passion for getting involved in new technology came from, I was at the beginning of that new technology with a company that was forming a relationship with Sony and basically my fanboy-ism with Sony started at that point, and it hasn’t left me [Tilley responds with a 'Wow!'].
Was it a priority for Firesprite to build its team with an infrastructure based upon a long history of developing PlayStation games? For example, Stuart, you worked for Attention to Detail in 1999/2000 on the PSone Rollcage titles.
Stuart Tilley: When we first started Firesprite, obviously we were all really quite experienced the five guys who started this, having worked at Sony before. I mean we used a lot of our history, because we were a really small studio as well, we needed guys at least for the first year or so, who were experienced as well. We couldn’t afford to make mistakes, basically in the very early days. A lot of the guys we brought in from Studio Liverpool were some of the older guys, like Garv who invented the AR Bot who has now retired [Referring to an original sketch of an AR Bot from The Playroom by Garv Corbett, shown to Push Square when we arrived]. In the early days we went for a lot of that experience, whereas now we’re a lot bigger and more flexible. We actively worked really hard to get in lots of graduates, because not only do they bring new ideas and experience to it, but they’re super well educated these days. Yes, we do draw on our inspiration from the past, particularly like the Rollcage games, which you’ve got down there that I worked on. I was working on a game for the Atari Jaguar at the time when I saw WipEout in America, and I was like, “That’s really good, isn’t it? So, you know what, I’ve got to raise my game.” That was one of the reasons I worked so hard on the Rollcage games, because I was determined to get a better review score than them guys, well...
... What was the Jaguar game, sorry? [The interviewer apologies for his retro enthusiasm here, he side-lined the conversation to a 64-bit Atari discussion, when Tilley was possibly going to elaborate on a 32-bit friendly competition between PSone Rollcage and WipEout.]
Stuart Tilley: I worked on the Jaguar CD launch title called Battlemorph, and I also worked on one called Blue Lightning, which was a Jaguar version of the Atari Lynx game [Battlemorph and Blue Lightning were both released by Attention to Detail in 1995 for the Jaguar CD].
That is cool, I didn’t even know there was a Jaguar version of that Lynx game [Blue Lightning].
Stuart Tilley: It’s really good, it’s like Space Harrier, it’s a sprite-scroller. It’s really good. I built the levels using MS-DOS. It was amazing, typing in letters, like the letter ‘d’ in small letters would equate to a big rock and you learned what each character on the keyboard meant, and then you would just draw them in a pattern. Small ‘c’ was a tank, it was amazing [Carus banters with Tilley, saying 'Rock and Roll!']. It was great times, actually, back in the day. It was smaller teams and smaller time-scales, but it was just new and exciting. It really was, and we all just grew up being total geeks as well, so it was boss! [Once again, Push Square is appreciative of Tilley’s use of local Scouse phrasing.]
Liverpool and the North West of England have a strong history of game studios, many like Bizarre Creations, Evolution Studios, and of course Studio Liverpool, are very fondly remembered by PlayStation fans. What are Firesprite’s links to this history, particularly in regards to former members of Studio Liverpool now working for your team?
Stuart Tilley: Yes, I would say the majority of our guys who work here would have worked at Bizarre, Evolution, or Studio Liverpool. I mean Liverpool really is a hotbed for game development talent, as is the North West generally, actually. It is growing all the time. I think even with the tax relief systems that have come in place over the last few years, and the government have really helped the UK games industry. Look in the North West and there is literally thousands of game developers in the North West of England now. You know, we’re looking to grow. I know Lucid are doing great [Note: Lucid Games is also based in Liverpool, and is recognised as a studio that employed previous members of Bizarre Creations]. There is Codemasters down the road, Traveller’s Tales are doing brilliantly. We’re stocked with guys who have been around this area, and I think the future is really, really bright for North West gaming, which is great. A lot of us now, and a lot of the guys and girls who work in the industry have got their roots down, with kids in school and stuff like that. As a business owner as well, we are like super determined to make sure that we have a proper strong and growing North West industry.
Firesprite first worked alongside Japan Studio on The Playroom, which was released in November 2013. The Playroom was an augmented reality, pre-installed PS4 launch game. It was also dependent on the PlayStation Camera, so was Firesprite’s involvement a good preparatory point to working on a bigger game (The Persistence, 2018), which is wholly based on a PlayStation accessory (PSVR)?
Lee Carus: I think in terms of prototyping ideas in VR, it was excellent for The Persistence. You know, one thing we were very good at when we were working with Japan Studio was turning around these two week prototypes. We do pre-visual prototypes, they do code prototypes and it kind of got us into the experimental mentality, basically. Stu had the brilliant idea for The Persistence, but having that experimental mentality and this idea kind of smashed in the middle, and met together really well. It meant we weren’t afraid to try it, because on paper it looked like an absolute nightmare to make. With this mentality that we had from working with Japan Studio, we had done great things with Playroom that we wouldn’t have thought were possible before, so let’s go for it, let’s try it, and you know it’s worked out! [Tilley adds, 'Yep!'].
In April 2015 Run Sackboy! Run! was released as a free-to-play, endless runner game on the PlayStation Vita. Did the Firesprite team enjoy working on a handheld title, and was working on this game beneficial in the team first establishing itself during the early years of the studio?
Stuart Tilley: Ah yeah, so that was really good fun, you know! It was a totally different world for us from where we had come from, particularly it was a time when mobile was in a big growth period. It was fascinating, I can only really talk about it from a game developer perspective. A lot of the lessons we had through 20 years of game development are really different. A slight different way of making games, one thing that I learned the hard way I suppose, is the initial addiction loop you need to put into the game. You need the player interacting within the first five seconds. You need to reward the player and tell them they’re brilliant within the first ten, or fifteen seconds. Normally with games we have a nice steady tutorial and a story set-up and things like that, whereas a lot of mobile players will just have a quick look and then they’ll switch it off, right? It was a really good thing to do, and then understanding, trying to get into the world of free-to-play was really interesting. With Sony trusting us with one of their big IPs was a real honour, as well. We were still quite a new studio, so that was quite a daunting responsibility that we took on, but at the end of the day I think the game turned out to be really popular. It was good fun and I think it was a real, genuinely good score attack game. Yeah, I’m still playing it now, right, three years later.
What size is the Firesprite team currently in 2018?
Stuart Tilley: We’re 75 staff at the minute, and we’re looking to recruit, so if anyone is reading your website and wants to come and work for a great company. [Note: There is a Firesprite ‘Jobs’ section with available positions on https://firesprite.com/ with ‘How to Apply’ details].
Thank you kindly, yet again, Firesprite. It was riveting for this retro gamer to talk to a developer with such a well-regarded team history. Cheers!
In the launch week of The Persistence, did you learn anything new about Firesprite from Push Square? What are your favourite Psygnosis, or Studio Liverpool games? Let us know if you were playing a launch PSone in 1995, or another console like the Atari Jaguar CD, in the comments section below.
Comments 12
Really brilliant interview, Jamie. Loved reading this.
Oh man, I love Psygnosis, and I adored the Rollcage games. I hope this team has some great success, going to buy your new game in the next couple of days, I'm sure it's excellent.
Not sure if you have any US based positions open buuut https://nathanjwest005.wixsite.com/mysite
I still have my original, very well worn issue of the red CVG special ‘Complete Guide to Consoles: Volume Two’ from 1990, where I first read an analysis of the original Atari Lynx version of Blue Lightning. On page 37 of that magazine – people would probably call it a bookazine nowadays – there is a 79% scoring review by the legend that is Julian 'Jaz' Rignall, where he describes it as, "A technically stunning Afterburner-style game."
Quite a few years ago now, my girlfriend and I were waiting for a tram after Play Blackpool, and just through luck I got the chance to chat to Jeff Minter – as you do! Amongst other things, he was talking about his memories of the Atari Lynx, and I’m sure he mentioned playing Blue Lightning.
Asides from my not-so-classy name dropping, my point is that I love learning about retro games that I had never heard of before. I had no idea the Jaguar CD had a Blue Lightning game, so I was chuffed when Stuart Tilley described it here.
I wish that Attention to Detail could have somehow ported it to the original PlayStation during the 1995 to 1996 launch period. Blue Lightning on Jaguar CD was published by Atari, so I am essentially wishing for the impossible, but I guess that sometimes games released on less-popular consoles can be more easily forgotten over time.
I may sound like a bit of a caveman saying this, but a sprite-scaler arcade game like Afterburner and Thunder Blade may have even aged better than some of the first 32-bit polygon titles. Especially if its style was similar to SEGA’s classic Super Scaler coin-ops.
Thanks lots again to both Lee Carus and Stuart Tilley for this interview. All of their history with Psygnosis and Studio Liverpool fascinates me, and Lee's explanation of the earliest fridge-sized PlayStation dev kit was brilliant. They are PlayStation pioneers these guys, no doubt. Great stuff!
Great article. I used to go to Eurogamer for these articles, but Push Square is quickly becoming the better site (and more frequent articles too).
Please do an interview with Ian Hetherington, he must have a wealth of knowledge and experience!
Oooh Psygnosis ! One of my first PS1 games was called Psybadek, and it had the worst gameplay I've ever seen. But I was a kid so I loved it anyway.
@JamieO Great interview.
Galaxy Force II and Thunder Blade were my childhood summer holiday jams. Rhyl (usually) caravan holidays were never quite the same after with the enormous Galaxy Force cab in the arcade stopped working. They kept it, but didn't fix it even for the following year. It was sad times.
Still play Super Thunder Blade quite a lot.
@LieutenantFatman Based on what Lee Carus discusses here about learning from working with Japan Studio, I feel that Firesprite has been courageous with its “experimental mentality” during the development of The Persistence. It sounds as though that attitude has paid off by the game mixing horror with roguelike level layouts, and varied stealth and FPS gameplay. I wholeheartedly agree, I wish Firesprite great success, too.
@twenty90seven Thanks for the compliment. I hope you don’t think I'm being finicky, but I find that Eurogamer has superb content. Just one example is Digital Foundry. Not only is it always ace to check out Richard Leadbetter's work – I've been reading his reviews since early 1990s CVG and Mean Machines – but John Linneman is one of my favourite retro writers of modern times. His technical breakdowns of retro games are stunning, and first-class. Honestly, if anyone here likes retro games and you see the name John Linneman on a Eurogamer or Digital Foundry article, read it fast. If it’s a video, click on it sharpish!
@Cornaboyzzz I hear you, I have such nostalgia from playing Psygnosis' 1989 Shadow of the Beast on the Amiga. I was in awe of its top-notch graphics and presentation in my younger days, but I was rubbish at actually progressing through the tough and abrasive gameplay.
@KALofKRYPTON I wish that SEGA would bring their arcade Super Scaler games to PS4. There is an excellent 3DS compilation called Sega 3D Classics Collection with arcade versions of Galaxy Force II, Power Drift, and Thunder Blade. Each one of those coin-ops would be fully boss on PS4.
Just got my copy of The Persistence from Game. I had to ask for it though, they haven’t bothered to put it on the shelves yet.
@JamieO My daughter has the 3DS games. I'd hoped once she had her Switch I'd be able to sneak it away, but alas, she insists on still playing Ultra Sun and Ultra Moon
I bought anything with a Psygnosis badge on the box back in the Amiga days.
Games like Awesome, SoTB, Nitro etc were superb for their day plus you got massive boxes with lots of instructions and T-Shirts etc along with the amazing artwork. Good times.
This comment is a side note to explain that I initially spelt Garv Corbett's name wrong here, so cheers for the heads-up from Lucid Games on the correct spelling.
It is definitely important to me to accurately spell the names of developers and artists. I am really proud that I was able to discuss Firesprite’s history for this interview, especially since I come from Birkenhead.
I feel that an interview about a developer’s experiences becomes a record in video game history, and it is beneficial for video games as a young medium to keep an accurate archive of as many past developer recollections as possible.
Also, I owned a Commodore 64 in the mid-1980s, but during 1987 or early 1988 I got to see 16-bit computer graphics on a friend's Atari ST for the first time. That game was Psygnosis’ 1987 Barbarian, and it was a side-scrolling fantasy adventure, platform game — not to be confused with Palace Games' one-on-one fighter Barbarian: The Ultimate Warrior, which I was also playing in 1987 on my C64. On the title screen for Psygnosis' Barbarian it actually states, "By David H. Lawson and Garvan Corbett."
It is pretty cool in my eyes that I was buzzing from Garv's sprite design when I was kid, thirty years ago, and just last week Firesprite were showing me his original AR Bot artwork from The Playroom. Psygnosis' Barbarian was an early 16-bit title, so the trees, stone walls and wooden ladders were set against a black background, but it had expressive sprite animation for the time, like a fantastic red-eyed phantom skull cloud when enemies died.
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