"We nailed it": Resonance A Plague Tale Legacy's designer on pairing "brutal" tone with the "fun of killing five or six soldiers"

While the first two Plague Tale games had a lead character in Amicia de Rune, she wouldn't have got far without support. The friends and family she drew into her orbit not only filled in gaps in her skillset, they also underlined that she was a single element in a wider social drama. It's an analogy of sorts for these games as a whole. Examine their mechanics and systems closely and you'll note that the pieces are mostly standard-issue, albeit well-crafted, third-person stealth-adventure fare. But they are part of something bigger, slotting together with plot, script, location design, music and more to produce a harmonious ensemble.

Now here's Resonance: A Plague Tale Legacy – a slightly unwieldy title which aims to emphasise that this is more spinoff than direct followup. With Amicia's tale told, we're given a new charge in the form of Sophia (one of the companion characters in A Plague Tale: Requiem) and sent back along the timeline to 1333, 15 years prior to the events of the previous games. As we sit down to play through a full chapter of Resonance we're thus faced with a change of personality, time and backstory, but most of all, it transpires, a change in how we play a Plague Tale game. With all these shifts, can everything still pull in the same direction?

Into the Macula

As far as the setting goes, the change could have been much more pronounced. The dark, mystical power known as the Macula that afflicted Amicia's brother Hugo and brought forth millions of ravenous rats exists everywhere in this universe, so plague tales could potentially pop up in any time and place. Indeed, a teaser at the end of Requiem suggested the possibility of a modern-day treatment of the fiction. Was there ever a plan to make that game instead? Asobo studio head and Resonance creative director David Dedeine responds with a simple "no" – the aim was merely to emphasise the transhistorical nature of the Macula. Not that he rules out a more future-facing project. "We hope one day we will do A Plague Tale 3," he says, underlining that Resonance is more sidestep than continuation. "And it might be the case that we see how the Macula would express itself in a contemporary world."

For now, though, we're planted firmly in medieval Europe, albeit no longer trudging around French forts, farmland and battlefields. Sophia, a life-hardened smuggler and pirate when we met her in Requiem, is in her early 20s here, yet already far from wet behind the ears. With a protégé named Leni in tow, she's on the run from the Venetian army, which has decimated the gang of plunderers she belongs to. Sophia is also bothered by visions relating to the Minotaur of Greek legend, which has led her to the island that was, supposedly, its place of residence. Much of the game will unfold here, it seems, giving it a tighter focus, although it's certainly not a monotonous location. Playing through what will be the fourth chapter in the final game, we wind our way through an enormous ruin, where Sophia and Leni must work through 'trials' left for visitors many hundreds of years before. Fortunately, Sophia has a curious metal orb which acts as a key of sorts to unlock various doors and mechanisms.

If this sounds like the plot of an Indiana Jones film, this chapter of Resonance does have something of that feel. There are even moments that recall The Last Crusade as we consult a diary containing sketches that point to clues in the environment. In game terms, this means a departure from Innocence and Requiem's sneaking and crafting routines that riffed on The Last Of Us, bringing us closer to the kind of adventure you might stumble across in Uncharted or Tomb Raider. It's a concerted change, with a character who's also more comfortable crossing cutlasses than skulking in shadows. "As a starting point, we wanted to move on from the pure stealth gameplay," Dedeine says. "What we have tried to do is really shift into something more action-driven." It's a different challenge in terms of expressing the overall Plague Tale DNA, he adds, in which the interactive elements become one with the narrative direction. "The dynamics between the characters cannot be the same, so you need to find different types of layers of story."

Once we've picked our way into the ruins, a cycle of puzzles, combat and exploration begins in earnest. If we stand in the rays of sunlight that beam through portholes in the great domed roofs, our orb refracts the light to reveal hidden painted symbols like a UV torch. It then acts as an interface when we insert it into a dais with a dial to input our findings. If these trials are largely matters of observation, others demand nerves of steel. Deeper into the level we find that the ancient trial-setters were particularly fond of spike traps, which still function rather too well for comfort. One trek across a long, pressure-padded floor with only a single safe path is surprisingly tense, the orb illuminating the correct route, except where your light source is blotted out by obstacles, leaving you to memorise a section and step forward blindly. The instant, fatal punishment for a mistake is liable to make you jump, infecting your next attempt with a touch of doubt.

Not all chapters will be stacked with puzzles and traps like this, explains lead level designer Valérian Robert. They're there because it's designed to be a trial, and "it has to be brutal, so you can die in a lot of different ways". It's a sign that, as in previous games, the makers of Resonance are working hard to marry action and tone. While progress isn't truly difficult, by the end of the chapter we're having to put some thought into solutions, and being impaled is a real possibility. Nor are Sophia and Leni quick to give up clues with their chatter, although they may chime in eventually. "We didn't want to backseat players," Robert says. "We wanted players to think by themselves, and maybe if they find it a bit too hard, they can have some help." Action-adventure games of this type can become boring if you don't have to do a great deal, Dedeine adds: "We realised pretty fast that when it was like this, you don't feel like you are [on] an actual adventure. The story and the background and the graphics are not enough to give you the breadth of the adventure."

Combat follows a similar ethos. Before we get into the level proper, we're offered a tutorial to bring us up to speed regarding what's expected, which thrusts us into some close-quarters duels. Sophia's weapon of choice is a scimitar, but using it is not merely a case of hacking enemies into submission. Landing successive blows sends enemies into a stun state – the ideal opportunity to pull off a charged dagger strike that will finish weaker ones or bite a chunk out of the life bars of those with stronger constitutions. Guarding and dodging are important for working openings, and the quickest route to a stun is to pull off a parry. There's some colour-coding here as well – yellow-tinged attacks can be parried but not blocked, while red ones must be dodged. Sophia's grapnel, meanwhile, is especially handy for yanking archers from elevated platforms or reeling in foes, while a hefty boot sends most assailants staggering.

With Venetian soldiers soon teeming around the ruins (to a man, they have English accents), it's not long before our first real fight – a quick and vicious affair. Well-practised thanks to her bandit background, Sophia fights like a cornered tiger as enemies gather around her. Her sword swings mean business, while incidental actions are pleasingly direct – a bottle on the ground can be grabbed and spiked at a soldier's head with a single button press. At the same time, she's far from invincible, and death can follow swiftly if you lose the duck-and-jab rhythm or get caught off guard by yellow or red attacks.

As with the puzzles, Dedeine tells us, "when you act correctly, it's easy, but if you are doing it wrong, you can be killed brutally, because that's the tone of the Plague Tale games in general." By the end of the chapter, we're asked to link all we've been taught together and, indeed, the speed with which you can end a group of soldiers is highly satisfying, but it's hardly guaranteed as you juggle several enemies at once. Pulling an archer down is easier said than done when there's a mob around you, especially when its leader is built like an ox and on a rampage with a heavy club.

Ancient combat

If not exactly realistic, there's a palpable sense of weight and aggression to these encounters. That could be crucial in order to maintain the thrill of fighting throughout the game, since the mechanics won't increase in intricacy a great deal. With a title of this scope, Dedeine says, "you don't have the space and the time to make a very deep combat game. We wanted to be sophisticated enough to be interesting and rewarding, but not too complex either in terms of skill or in terms of RPG [elements]." Still, we can expect Sophia to learn techniques that take her beyond brawling. "We introduce at specific moments some sort of supernatural powers," Dedeine says, avoiding any specifics. But even here, Sophia won't become a superhero. "We would have broken the universe's rules if we had gone too far," Dedeine says. "We had to find the right balance between what could be believable and the fun of killing five or six soldiers," Robert adds. "I think we nailed it."

Together, the combat, puzzles and traps, along with some light exploration and relic finding, are already a pleasing combination. The new direction clearly works. Still, once again, there is nothing revolutionary here – somewhat reductively, we might call it Tomb Raider meets God Of War in the Middle Ages. Some puzzles, such as a series involving rotating mirrors reflecting beams of light, could generously be called classics of the form, while responding to flashes of red and yellow in combat is hardly new territory. That's in addition to common genre tropes such as wall sidling, zip-lining and navigating crumbling platforms as we spelunk deeper into the ruins. In this sense, Resonance shares the family trait of leaning on tried-and-tested formulae. As ever with Plague Tale, though, that is literally only part of the story. The combat and puzzles are one arm of a narrative experience, selected to feel at home within this adventure. Around them is a suite of artistic flourishes that elevates the journey.

One thing that catches our attention as we push through the ancient construct is its scale. At one point we step into a huge amphitheatre whose central stage is sunk down perhaps hundreds of metres below. Within it stands a kaiju-sized sculpture of a proud soldier. With the wear and tear on this place, we're sometimes poking about where nobody intended us to go, ducking through cracks to get behind the scenes, only to emerge again facing another implausible feat of engineering. "The scale of the structures was one of the pillars [we decided on] at the very beginning of development," Robert says. "We wanted to demonstrate this whole civilisation, and how big and extraordinary it was. We wanted players to experience this kind of shock when they see the gigantic statues." The intention becomes clear as the level culminates around an enormous effigy of the Minotaur itself, its arms animated by unseen mechanisms as you solve the puzzle around it.

More subtly impressive is Sophia herself, in many ways the polar opposite as a character of Amicia's naïvete, vulnerability and sense of privilege. Dedeine: "When we created her in Requiem, I think the team fell in love with her initially, and it was obvious for us to push her further. Based on her past and the level of involvement she had, she was the perfect character to start the new approach." In the ruins, she is keen to push forward, as awestruck as we are, and even a little blasé about the danger. She's also well prepared for a scrap and not averse to using deadly force. "The biggest difference is Amicia was forced to confront violence to protect herself and her brother," says lead writer Carol-Ann Bañuls, "but Sophia was born into it." In terms of writing the character as a protagonist, there was already plenty to work with from Requiem, Bañuls continues: "We knew she was in control of her emotions [and] strong, so we just had to follow the thread of her story to understand where she came from. She kind of talked by herself. She was so well written in Requiem, it was the easiest thing to do in Resonance."

With Sophia – at least, when she's partnered by Leni – Resonance takes on a different tone to that of Amicia and Hugo's traumatic expeditions. There has always been back-and-forth conversation between characters in these games, but here it feels lighter as the women comment on mosaics and statues and the mechanisms they find. "In this level, Sophia and Leni are still discovering the island, so we wanted to keep [their perspective] close to the player's, this sense of discovery," Bañuls says. It reinforces the sense that we're involved in an Uncharted-style adventure, as the pair approach combat with something close to arrogance and aren't exactly wracked with guilt about offing their opponents.

We shouldn't expect this levity to carry right through the tale, however. One of the reasons for taking this spinoff approach to the new game, Dedeine says, is that the team wanted "to breathe a little bit" after the grime and darkness of Requiem. And yet the shadows couldn't be kept at bay for long. "The lore of the Macula – and appetite in the team for all the drama – actually came back into the story during development." Our demo chapter is one of the lightest tonally in the game, he adds, "but there are levels which are even darker, I would say, than the ones in Requiem. So we have more contrast." Despite their humorous banter early on, then, Sophia and Leni are no Nathan Drake and Sully, which suggests there are further layers to unveil. "[Sophia] is the kind of character you admire for her strength," Bañuls says, "but you fall in love with her when you start to see the cracks in the armour."

Balancing all these elements has been a challenge for Resonance's developers, it seems, with combat and traversal and character personalities and relationships all needing to meld together. "There is a lot of back and forth between the writing and the design as a whole," Robert says, even for the chapter we play, which he explains has undergone the least alteration from the original plan. For example, the introduction of music to a level may give an area a different flavour, so the dialogue needs to be changed to adapt. "We write with the controller in our hands at all times," Bañuls says. "You just have to replay and replay the map." As experienced as Asobo may have become in making these games, then, not everything can be predicted. "Sometimes you have a good surprise," Dedeine says. "Sometimes there are things that everyone was happy with and finally it doesn't work. You need to remove them."

Towards the end of our demo, it's Leni who feels that something isn't working, not least with Sophia herself. In a cutscene, Sophia is spellbound by a bizarre vision that almost leads to her stepping off a precipice, but Leni pulls her back at the last second. And, after a few too many deadly traps, the reality of their predicament starts to kick in, Leni wondering what on earth Sophia has dragged her into. Yet she doesn't know the half of it, and perhaps nor do we, as things are about to get stranger still. In another vision we segue back to ancient Greece and suddenly we're in control of none other than Minotaur slayer Theseus, about to enter a combat trial where we must fend off fellow soldiers in a free-for-all until it's time to begin some kind of ceremony.

When we ask about the ancient Greek part of the tale, our interviewees think for a while to decide what they're allowed to say at this stage – clearly this side of the game is crucial to the story's box of secrets. "With the Greek mythology, what motivated us to go in this direction was the fact that the story of the Minotaur and the mythology was the perfect setting for us to offer a new experience to the player," Bañuls finally says diplomatically. As for how closely they've followed the original myth, that's somewhat comparable to how they treated the real Great Plague in Innocence and Requiem. "We revisited the mythology and what was grounded in the reality," Dedeine says. "Why this myth has been told to the people, and what the reality was behind it." Artistic licence will be involved too, especially in linking the past back to Sophia. "What I can say is that the title of the game is connected to that," Dedeine offers. "There is a resonance between the main character and Theseus, and that's what the story will unveil."

Something else remains a mystery at this point, but here Dedeine can set us straight. "There are no rats," he announces. "Let's break [the news]. There are no rats in Resonance. They are gone." This feels like a shift away from one of the series' signature features, but it's easy to appreciate the rationale. "At the end of Requiem, we did lots of gameplay with the rats," Dedeine says, "and at some point, when you know that you are at the end of a mechanic, you need to stop it. Otherwise we would have bored everyone." There were never going to be rats in Resonance, then, and it does feel as though they belong with Amicia and her style of play. The presence of the Macula will be felt in another form, Dedeine teases, which he can't reveal yet. "There is another expression of what the rats were in Requiem and Innocence, and it's something different. Light and shadow are [still] important because it's the lore, but there is something, I would say, more interactive and interesting than what the rats were doing in terms of gameplay."

We can only guess for now, but whatever it is, we're optimistic based on what we've seen, heard and done in Resonance. For all the change, it is still all about the ensemble of features, all supporting one another, aiming to produce more than the sum of their parts. And in the spirit of celebrating the support acts, as we complete the final trial in our demo and Sophia and Leni head deeper into the ruin for more, we'll leave the last words to our companion. "The second trial. Let's hope it's as easy as the first," she quips sarcastically, recognising the difficulties they've overcome. Yes, and as enjoyable, too.

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