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I have a thing for spinoffs of twitchy action games that take a slower, turn-based aesthetic. One-offs like Metal Gear Acid and R-Type Command can provide a transparency, showing how the original concept was potentially pieced together, and teach valuable, fundamental lessons about fast-paced play design.

What those lessons are, well, Antoine Routon of Square Enix Montreal and I contemplated that. Routon and the crew in Montreal just released Lara Croft Go, the spiritual offspring of Hitman Go, for Android and iOS. On the day of Lara Croft Go’s launch, he dropped by and had a chat about the formation of the Go concept and the detailed decision-making that went into both Hitman and Lara Croft’s board game-like mobile outings.

GamesBeat: How many people are on your development team?

Antoine Routon: We’re at about 10. We’re a very small team. When we’re in production, everything is very tight.


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GamesBeat: How did this team come together?

Routon: Well, you see, Square Enix Montreal was created three years ago. At first it was created to develop a triple-A Hitman game, and after a few months [of development], the top management [at Square Enix] looked at all the development studios in Square Enix West and they noticed no studios working on mobile, even though it was such a booming market.

So it was decided to repurpose us for mobile. A lot of people at the studio were unhappy with that decision, because that wasn’t really their “thing.” Two people stayed, counting myself.

For me, [moving to mobile] was kind of a revelation. For a month, we were all asked to just pitch ideas. The game director and I formed a two-man team, where he sold me on the idea that we had to do a turn-based Hitman game.

And I was already raising eyebrows, but after a while, [a turn-based Hitman] started to make sense.

Hitman Go board

GamesBeat: [Laughs] That’s understandable. …

Routon: So we are working really hard on this [Hitman Go concept], and before launch I remember some people on NeoGAF being like, “WTF is this?!?”

And, “We never asked for something like this!”

And we were like, “Did we go too far? Are we crazy? Did we ruin the license?”

GamesBeat: Right …

Routon:  and then we released and we were super-happy, because people were really happy … and some of the best compliments we received were along the lines of, “Oh, man, this feels like a true Hitman game.”

And I was like, “Yes!

GamesBeat: So before Hitman Go actually happened, what was the creative spark that ignited the idea?

Routon: Daniel Lutz, the game director, was working at Square Enix, but at night he was really an indie developer on mobile. And he thought at the time, probably wrongly, that there are only two things that work on a mobile game: endless runners and games with a very short play session.

So … an endless runner Hitman? We discovered that idea wouldn’t work pretty fast.

So then we started thinking about a Hitman concept with very short gameplay. So we thought of this very short, turn-based system where it would be more of a puzzle game than anything.

Dan is really good at picking things and pulling them together, almost like forming a bouquet … a little bit of this and a little bit of that … so there was that.

And then looking at the franchise … when we worked on the triple-A console game … the art director on the project would talk about how the Hitman series should be elegant and classy. Like a classic James Bond movie, where things are made with nice expensive materials, and gun handles with hand crafted wood. So we were really sensitive to this visual aesthetic.

So we started thinking of Hitman as this really nice, elegant board game. The sort of object you’d put on a shelf [for display]. And I think this visual concept works very well within the Agent 47 universe.

Hitman Go decisions

GamesBeat: When I look at the Go idea, it reminds me very much of old-school prototyping. With the availability of engines like Unity now, you can prototype a playable idea quickly. But there was a time where you had to bust out the trusty shoe box of dice, blocks, and chunks of paper to see if the idea could work. And that’s kind of what I see playing Hitman Go. It feels like, let’s layout this Hitman level on this table and see what we can do with it.

Routon: Yes! You know, I think it’s really interesting, because it is that. Where we prototype with little pieces of paper — which got boring really fast for the guy doing A.I., because he had to keep moving each piece of paper for every turn. [Laughs]

But it also shows the idea’s constraints and [how we] use it as a creative driver for your product. You know what I mean?

GamesBeat: Yeah!

Routon: It’s really … yes, we are working under this super tight constraint, but let’s really shine this simplified style. And I really feel that these creative constraints is something that really drives us.

GamesBeat: Definitely.

Routon: And I guess I also feel that we have that indie ideal, where it’s a super-small team and we have to work on this tightly scoped idea, but we can make it really well crafted.

GamesBeat: Why do you think some of your former team didn’t gel with this Go idea? You mentioned some of the team working on the cancelled triple-A title didn’t want to work on something like this.

Routon: The art director I mentioned, who brought up the elegance idea, is a good friend of mine. The thing is, he wanted to do large vistas and massive universes. And that’s fair enough. [As an artist that wants to work on large universes] you don’t want to work on something small like this. It doesn’t make sense. So for him, the best medium is a console game.

For other people who have a different type of interest, it [smaller mobile concepts] works for us. It’s totally fair. It’s not as if one [preference] is good and one is bad. It’s just that there are two different things and you have to pick which one you like the most.

And I think this is part of the reason why it’s interesting to do these mobile games with big licenses, because to do them well you have to work within this space that is bit sized with this iconic character.

I mean, for sure, there have been a few slot machines with a big [recognizable] character on it, but what if you want to do it well? What if you really want to embrace the platform and at the same time embrace the brand that you’re working with?

This is the intersection where we’re working.

Hitman Go briefcase

GamesBeat: Do you feel the vision … the original idea … for Hitman Go wound up coming through in the end?

Routon: I don’t think there was a vision from the very beginning. There were, like, ideas. It’s not that there isn’t this picture of what the game will be, but that image shifts a little bit.

It’s more of an iteration. We believe in iteration like crazy. We try so many things on so many elements, until things just make sense. Such as U.I. being very user-friendly.

Like, we don’t like tutorials or hand holding, so we spent a lot of time to make sure the player doesn’t need a tutorial. So everything is so obvious that you can’t miss it.

So we’re sitting here just working and working and working on it, which forces everything to start shifting. So in the end, it’s more like we discovered the product. It’s almost like unearthing the final product.

GamesBeat: I definitely know what you mean.

Routon: Yeah, and I mean, in full honesty I think it is harder to work with executives who make the financial decisions and you present an idea like, “Well … we dunno! We think this game will work like this, but who knows!”

Like, you have to have a general idea of where the project is going. Right? But at the same time, it’s really cool to just reveal the product by all of this working and reiterating … and seeing what works and what’s not.

GamesBeat: Right …

Routon: You know, on both games [Hitman Go and Lara Croft Go], we didn’t have a lot of concept art. We made a lot of things as we went along. The thing is, it is very important to not get stuck in limbo. As in, you need to have a super playable version of the game. Like, always push to have the best version of the playable game at all times. That way it forces you to have a product you can always, potentially, show.

GamesBeat: How many major iterations do you think the original Go idea went through before reaching the final version?

Routon: Phew!

It’s really difficult to say, because we went through so many iterations for every little thing. Like, I remember in this game … [Routon motions to Lara Croft Go playing on a mobile device on the table ] … there’s a mechanic where you pull a lever, and every time you move Lara the lever goes back one bit. So you need to time getting to the door and sliding underneath it before the door shuts.

And we really wanted the U.I. … the visualization of that [door and lever] turn counter to be very clear.

I remember this guy, he took this Photoshop file, and I kid you not … it’s this 10-by-10 matrix, with a hundred possible visualizations on how we can make this concept clear. So we pick one and try it out. Then give the game to someone and they don’t understand something [such as the door and lever counter], so it’s back to the drawing board again.

Lara Croft Go spider puzzle

GamesBeat: So you’re at this point where you’ve released Hitman Go. Where does the idea of Lara Croft Go enter your minds?

Routon: The thing is, when we showed the Hitman Go concept, which distilled [the original action game] down to its basic elements. We thought, “OK, come on. Lara Croft. She’s right there. We can do this. It will be so amazing.”

Everyone was like, “it’s a go-brainer” … which is some saying they came up with internally.

So we got started and we put Lara in the Hitman Go gameplay setting … and we realized that there were so many things we were going to have to change. This is not Lara Croft. This is Hitman Go with a Tomb Raider skin over it.

So we started to discard stuff. We decided, “OK, no goons to go around and assassinate.”

That may be something that appeared in Tomb Raider, but that’s not nostalgic Lara Croft.

She had to be animated. No more board game aesthetic … it didn’t make sense for Lara Croft.

Then we didn’t necessarily want the newer Tomb Raider [look]. We also had to do mobile, which meant lower polys. So we looked at the old Tomb Raider and thought, “What if we went with a 2015 version of the original Tomb Raider low poly look for this game?”

But, instead of looking at footage of the first Tomb Raider … [Routon leans back and closes his eyes] … we tried to capture what you see when you close your eyes and think about the original Tomb Raider. So it’s not an exact replica … not a literal take on the old game. It’s like trying to capture what you think you remember playing the game as a child, and putting that into the game.

Lara Croft Go lava depths

GamesBeat: Right.

Routon: So we kept discarding stuff and trying to shape it … and then adding other things … and then lead us to eventually ask, “You know. What is a Go game?”

So we would look at what we did with Hitman Go and what we were doing with Lara Croft Go, and I think it came down to a process. Like, taking something complex and building a super lean version of it.

GamesBeat: Did you happen to take some of the classic Tomb Raider levels and say, “You know, this could work as a Go layout. …”

Routon: Not literally.

But, looking at some of the elements and screenshots you can see mechanics or older traps that could. Like in the original Tomb Raider there is almost no human enemies. It’s mainly Lara dealing with a hostile environment.

Or like if you remember the giant T-rex coming out of the cave in the first game. It’s this big Samson vs. Goliath moment where we’re like, “We need that! That’s so Lara Croft!”