Philip Stolenmayer has a word of faith when designing games. “I’m simply bored,” he says. “And I don’t want the player to be bored while I’m at it.”
For years, the German developer’s hatred of Monotoni has fueled many creative and deadly topics. Sometimes you die, Sticker TermsAnd Bacon – The game. 2019 Bloom’s song It still goes on and on. The Apple Design Award-winning puzzle is a puzzle game that is always dynamic, inviting people to touch, shake, draw and explore their devices in a series of overlapping and intertwined stages.
“Abstract is a game. [that develops] To something more understandable over time, ”says Stolenmayer. “The more you find in the story, the more you get and the more interaction changes.”
This concept is an integral part of the philosophy around game design. There is no real ‘goal’ beyond the narrative and the puzzle exploration – in Stolenmayer’s words, the game is “a real user experience.”
Bloom’s song One of Stolenmeier’s holiday experiments has grown. After taking a video of the waves on the beach in Italy, he decided to try on the rotation of the device and add a new look. When the video was copied, the water would fall out of the frame. “It has become a process of launching new ideas and new experiments,” he says.
There is nothing permanent, unlike other games of Stolenmeier. Bloom’s song. “It’s not about elements, it’s not interaction, and it’s not even a remote style,” he says. One puzzle may look like a rough design, while others include super-real popcorn. His favorite series of puzzles? Stopping Activities Restorative Inspired Milk Cart.
If what you see is true, there is always this doubt in the back of your mind. This greatly contributes to the feeling that I am trying to convey.
Philip Stollenmayer
Each image in Bloom’s song It’s computer-generated, code-based results – sometimes unwanted results. Stolenmayer: “As a designer, my code creates visual errors. “I allow myself on the road. [be inspired] At my own fault ”
This includes setting up items to make them look more like they would be in a real-world setting. For example, a puzzle that requires a person to put something together correctly is the missing holes and tiny branches that can be expected from a new sweater. “It is very easy to make digital versions without these flaws,” Stollenmayer says. “But copying the mistakes creates time for you to ask yourself. Could this be true?”
He has inspired inspiration from comics and puzzles, including multimedia artists Lore Provost and Franz West. Black box, Tool 6And Trimming. “For color, composition – but I look at a lot of art to understand how to control and change the environment,” he says.
I am interested in them, when they are all together, because in our world, there is nothing without context.
Philip Stollenmayer
Every visual, haptic, movement, and word symbol in the game is designed to allow the player to explore that space and interact with the image. Because the puzzles are often so subtle, Stolenmeier used haptics to help guide people through the game – using them to express emotions in high or low scenes or to help someone evaluate what might be solved. “Like in the real world, the player expects a response from every action,” says Stolenmayer.
One of the first concepts to move between puzzles Bloom’s song Solve the puzzle or go to the main screen and the whole screen will blink out.
Before Stolenmayer sat on the corner with a single key – a single twisted line – he tested several concepts, including the pinch. “I had to put it in the player’s mind,” he said. That means creating something that is easily accessible and understandable and not adding accidentally triggered characters during puzzle browsing.
That thin curve is one of the most consistent and continuous interfaces. Bloom’s songLots of clever changes. “Like the full screen iPhone home screen, it’s there to remember that. [it] It does not disturb the race in any way, ”says Stolenmayer.
Tapping lets people see the puzzle tree that helped them return to the game’s main screen and grow. This tree also serves as a clue to the use of long presses to see where people can focus on the game. The more you play around, the more the story (and the tree) grows and you get more clues. Along with original music, it was this fruitful combination of energy that earned the game its name.
It is amazing how hard work is all combined in a variety of art and creative influences. Of course, the story is important, but it is really about Philip’s design. Call Bloom’s song What you want – a personal discovery game, an inspiring art story and a hint – The goal for Philip Stolenmayer is easy to play. Make people feel captivated at once and set them free at the same time.
In the Song of Bloom, they only play to play. And that’s what I was trying to achieve – to help the player lose his own interpretation.
Philip Stollenmayer
Learn more about the Song of Bloom
Learn more about Song of Bloom in the App Store
A song by Bloom.