Innovation and Expansion: Tomas Sala on Bulwark's 'Edge of the World' Update and Game Design Philosophy

Join us as we delve into the imaginative world of Tomas Sala, a distinguished game designer renowned for his innovative approach to game development and his strikingly unique artistic vision. In this exclusive interview, Tomas shares insights into his creative process, the challenges of balancing narrative with gameplay, and how industry recognition has shaped his career. He also discusses the impact of technological advancements on game development and provides a glimpse into his personal inspirations and future aspirations in the evolving landscape of gaming. Prepare to be inspired by a visionary who constantly pushes the boundaries of what's possible in the realm of video game design.

Creative Process and Game Design

What core ideas or philosophies guide your design for Bulwark?

For Bulwark, I wanted the creativity that is part of the joy of city building to be both chaotic, three-dimensional, and non-grindy. So, something best surmised as the first 30 turns of a session of civilization where everything is fresh and you still enjoy putting down roads and enjoy every success. You are still enjoying the fantasy, not the hard work and efficiency.

Can you detail the new experiences players can expect from the Edge of the World update?

There is a bunch of new content and it's mostly localized around an area called the Edge in the south. It's a literal edge of the world, as in a giant waterfall that's going over the edge of the world. This will be a great place to build and explore. It's a bit more violent than other places. To help you, there are new mercenary markets where you can buy units outright. And there are new units never before seen by players. On top of that, there are tons of little improvements including new architecture and building options.

How do you balance gameplay mechanics with narrative development in your games?

I tend to either pick an outright narrative format like the Falconeer or something that's a bit more about ambient storytelling like Bulwark. But for me, narrative may beat gameplay in some cases, and it might be reversed in other cases. But the latter is only if I can find a way for it to still work narratively. Falconeer had a famously very opaque narrative where it was unclear what the story was until the very very end. I like fooling around with players like that. Subvert expectations.

Impact of Industry Recognition

How has your BAFTA nomination influenced your creative decisions?

In no way whatsoever, It's best to ignore such honours. One day you are the hot flavour the next day you are not. I have learned that I generally don't make games that appeal to true mass audiences. For what it's worth, I would like to keep it that way.

What specific opportunities have arisen from your successes at the Dutch Game Awards?

Ha, I have been a part of the Dutch Game industry for close to a quarter-century now, I think I've already spent all my opportunities long ago.

Looking back, which award has had the most significant impact on your career?

Clearly the BAFTA nomination, even though it was only a nomination. The BAFTA is perhaps the most highly regarded award in our industry, so there is certainly some reflected glory in that. But in reality, such awards are fleeting ego boosts that you can utilize to get more exposure or access to better deals and such. And I will use anything to survive and keep making games, but I would rather not keep those accolades to define me, they are always very circumstantial, good timing and luck are likely more important to the process than true quality. It is also quite important to your mental health that you don't start to believe words of praise from people that don't truly know you, it's just fleeting glory. I prefer the user reviews on Steam, good and bad, because they are by the people that actually play my games and enjoy them. They determine my career, not a shiny statue ;)

Community Interaction and Feedback

How do you integrate community feedback into your development process?

It's been a learning journey because none of us are really natural at taking in feedback and very few people are very good at giving it. So it's often a coarse affair both ways. But for Bulwark, I did this evolving demo, like a free early access period of over a year. And I learned to take in feedback and listen and integrate it. It's not that the community is in the driver's seat, but they are a cherished partner in the process.

Can you give an example of a player suggestion that significantly impacted a game update?

People wanted a WASD panning camera, this sort of went against the control philosophy of the game. Where you are sort of stuck to a single building as if it were a '3rd person builder'. In that mode, Orbit is your most valuable camera control. But people kept asking for WASD panning because that's what they know from every other game. So ultimately I relented and added it. Even though it's slightly more confusing now because you got these two control ideas sort of competing, it has reduced frustration quite a lot. It was a good call by the community.

Technological Advancements and Future Projects

With rapid advancements in AI and technology, how are you incorporating these into your development process?

AI is an interesting beast, you can already tell it's going to be big. But it's also a technology that will, hmm, get a lot of users "lost". With that, I mean that it's so easy to make something "cool" that it doesn't challenge you to get better at creation. It doesn't have a very extensive creative process yet. There is no challenge to the user and time invested. So you see a lot of things that sort of look good but fail on a mastery level. And the technology doesn't seem to create mastery. I believe strongly that the time you invest in making something, the effort involved, it teaches you about what you are creating, and thus it shapes what you create. Take away that creative process and you haven't learned or understood what you are making. Thus, the risk of remaining in a shallow pond is significant. This is on top of the giant corporations running these things totally not being interested in the welfare of creators. Thus, their goal will ultimately be to own what the AI makes, and you the creator or user just a licensor. We need only look at Adobe or Autodesk to see how shitty companies end up treating their users.

What technological innovation excites you the most for the future of gaming?

I think gaming will become very performative, stuff like virtual puppeteering. Where you the creator can imbue a character or NPC with a bespoke animated and voiced performance, this has always been and will with AI become so much more interesting. A performer or developer can soon act out scenes of such complexity, that as a storyteller there is some excitement there. Not necessarily for the AI part, but for the acting and performance part. Things are gonna get weird ;)

Artistic Style and Inspiration

Your games have a bold and unmistakable visual identity. What inspires your artistic style, and how has your approach to game art evolved over the years?

For me, the process of experimentation and discovery is what keeps boredom away, so I must invent challenges and limitations to keep me focused and enjoying the journey. This is purely a personal journey where I want my creativity to meander and be wild rather than constructive and focused. But I do need to contain it somehow, so limitations like the no-textures rule help me stay within bounds. Visually it helps because everything then also looks very cohesive and together. And I can spend some time making something crazy on a whim, and when entered into the game world, it looks instantly like it belongs.

In The Falconeer, you took a daring approach by removing traditional textures, creating a strikingly minimalist yet immersive world. What drove this creative choice, and how do you think it shaped the way players experience the game?

Like I said, it's purely a personal journey thing, I need limitations so I can break out of them and enjoy that process. I believe doing such creative limitations and focusing on my own personal journey of artistic discovery is ultimately also satisfying for the player. Because they can feel the intent of the game, of the visuals and so forth. (Benedict Nichols does all my music and he tunes into this perfectly).
It gives the experience something shared, like you can feel the creator's hand as you experience the game. You know every single polygon and object was hand-placed and has intent behind it. I like to feel that it is a sensation that has value beyond Art but also in games. To connect somehow.

As both an artist and a game designer, you're constantly balancing creativity with technical limitations. How do you push artistic boundaries while ensuring your vision remains achievable in game development?

Those same creative limitations help here, you set bounds in which you as a creator are free. But those bounds are also practical. There is also just discipline and experience involved where you set out each day to finish something, make sure it is beautiful and polished. Even small things like interfaces or whatnot. That is a trick I use, never close the day with something half-baked.

Personal Workspace and Inspirations

Could you describe your workspace environment? How does it reflect your personal style and professional needs?

We built a wooden studio in the garden, so it's a good space about 20-25 m2. There is a couch and TV to test stuff on console devkits, there's an old dining room table as my desk. I've recently discovered the joy of good monitor arms. There are also a lot of books, some on philosophy but also a ton of Sci-fi and fantasy. And there is art I've collected over the years. An original Bladerunner movie poster, a Ratfink, a Japanese traditional print of a falcon over Edo.

The strangest thing… it's relatively clean and organized, which tells you absolutely zero about my actual work processes...lol…

When you find time to play games, which ones do you choose? What inspires you from these games when developing your own?

I am installing Kingdom Come Deliverance 2 and really looking forward to it. I enjoy strategy games, like Frostpunk recently. But I also really enjoyed Indiana Jones, I like a good epic setpiece.

Personal Drive and Challenges

What are the biggest challenges you face as an indie developer?

Money and thinking about a pension give me a headache. I think just surviving is an achievement. The business around games is brutal and success is never a given.

Game development can be incredibly challenging, especially as an indie developer. What drives your passion to keep creating, and how do you maintain creativity and motivation in such a competitive industry?

If I didn't create games, I'd likely not be going too well. Creating games and being creative is literally what keeps me sane. If I wasn't successful, I'd still be doing this.

Advice for Aspiring Game Developers

What advice would you give to aspiring indie developers?

That is a hard one, because every practical advice you give will get you an example of the opposite working. I think for the coming age, look into yourself and discover what is unique about what you want to share in your games. What makes your games different from every other game (hint: it's you). Kill your inner fanboy and don't imitate too much, don't think about the experiences you want to play, but rather what you want to create for your audience. Originality will survive, doesn't have to be everything, but you need to find a core that's unique.

Looking Toward the Future

Where do you see the gaming industry in the next decade, and what role do you envision for yourself?

I think the games industry will evolve into something quite similar to the YouTube creator ecosystem. Some top creators with their own economy, services, and successes, a very small cadre of survivors who make a living by creating niche games and experiences. But both will need to find and hold their own audience. And then below that, a giant mass of hobbyists and folks wanting to get there, but only a few are granted the privilege to make a living.

If it makes sense, both the attainability of YouTube as a medium but also the impossibility of success. That will be the future. I think it's going to be both harder to survive and easier at the same time.

Community and Engagement

Where can players and fans provide feedback about your game and your work? And if someone wants to reach out to you—whether for a discussion, collaboration, or just to chat—what's the best way to get in touch?

I am on Bluesky
But mostly the Discord is where I hang out and interact: Discord

If you could have any video game character as your co-developer, who would it be and why?

The Nameless One from Planescape: Torment. Because he's not a boring cookie-cutter hero, he's a complex character that won't get boring after a while.