ZDT Studio on Creating Darwin's Paradox, a Tactical Game About an Octopus

How did the team approach defining the game's core identity across platforming, stealth, and puzzle-solving?

Gilles (Gameplay Director): From day one, we wanted Darwin's Paradox! to feel like a seamless blend of these three pillars: not just a mix, but a natural evolution of gameplay. The octopus was our secret weapon! Darwin's biology gave us a playground: his climbing lets us explore platforming in 360 degrees, his camouflage and ink create organic stealth mechanics, and his problem-solving skills turn every obstacle into a puzzle.

We focused on making sure each ability served multiple purposes. For example, ink isn't just for distracting enemies, it can also blind security systems or interact with background objects. The key was to design levels where platforming, stealth, and puzzles feel like different sides of the same coin, all tied together by Darwin's personality and the world’s reactivity.

Mika (Art Director): Visually, we reinforced this by treating the game like a living cartoon. The camera work, lighting, and animations all adapt to what Darwin is doing, whether he's sneaking past a guard, solving a puzzle, or climbing a wall. It's about making the player feel like they're in an interactive film, where every action feels intentional and cinematic.

What were the biggest challenges in designing controls and animations for an octopus?

Gilles: Oh man, the tentacles! An octopus moves in ways no humanoid character ever could, so we had to rethink everything. We used a mix of hand-keyed animations and procedural systems in Unreal to make sure Darwin's movements felt organic but still responsive.

The biggest challenge was the full-surface climbing. Players can climb up, down, or even upside-down, and we had to ensure the controls felt intuitive no matter the angle. We also spent a lot of time on the physics of his body, especially how his tentacles react to surfaces and objects. It was a constant balance between realism and fun!

Mika: And let's not forget the ink and camouflage! We wanted these abilities to feel like natural extensions of Darwin's character. The ink mechanics also had to feel satisfying, whether it's a quick squirt to distract an enemy or a big splash to escape a tight spot. Every animation had to sell the idea that Darwin is a living, breathing octopus, not just a character on screen.

How did you balance authenticity with gameplay readability and fun for Darwin's abilities?

Gilles: We took genuine octopus traits, like camouflage, inking, and climbing, as our starting point, then exaggerated them to enhance the gameplay and achieve a more cartoony style. For example, Darwin's camouflage isn't just about blending in. It's a dynamic system where he mimics the textures around him.

We made sure every ability had clear visual and audio feedback, so players always understand what’s happening. The ink system was especially tricky. We wanted it to feel organic, so we gave it different behaviors in water and air, and even let players use it to interact with the environment.

Mika: We also focused on making sure the abilities felt expressive. When Darwin camouflages, his body language changes, his tentacles curl up, and his colors shift subtly. It's not just a mechanic. It's part of his character. We worked closely with the animators to ensure every ability felt like a natural part of who Darwin is.

How did you handle transitioning between underwater and land-based gameplay?

Gilles: Underwater, everything changes: physics, controls, threats, and interaction with the world around the player. Darwin's movement becomes more fluid, and his ink behaves differently, creating clouds instead of splatters. We also introduced unique underwater hazards, like currents and predators, to keep players on their toes. The transition between the two states had to feel seamless, so we used visual and audio cues to signal the shift.

Mika: Visually, the underwater sections are a dream. We used dynamic lighting, bioluminescent effects, and water distortions to create a sense of wonder. It's a stark contrast to the rigid, industrial world above, and that contrast is key to the game's identity. We wanted players to feel like they're entering a different world: one where Darwin is finally at home.

What shaped your approach to stealth design in a 2.5D space?

Gilles: We looked at classics like Metal Gear Solid and Oddworld, but we wanted to make stealth feel organic to Darwin. Since he's an octopus, we focused on environmental interaction: climbing walls to avoid patrols, using ink to create distractions, and camouflaging to hide in plain sight. The 2.5D perspective let us control the pacing tightly, so we could alternate between tense stealth sequences and quieter puzzle moments.

We also used visual cues, like enemy patrol routes and environmental hazards, to guide players without holding their hands. Don't forget our character doesn't have any weapons, so you have to make your way through strategically.

Mika: The art style played a big role, too. We used lighting and camera angles to create tension, like casting dramatic shadows when Darwin is hiding or using close-ups to emphasize his vulnerability. The goal was to make stealth feel like a natural part of the world, not just a gameplay mechanic.

How do you build levels that encourage experimentation while guiding players?

Gilles: Our levels are designed to push players to think outside the box. With just a few core abilities, like climbing, camouflage, and ink, players have to get creative, using the environment and Darwin's unique skills to find their way forward. We don't just hand you the solution.

Instead, we drop subtle hints, like a patch of moss on a wall or a flicker of light in the distance, to nudge you in the right direction. The real magic happens when players experiment and discover unexpected ways to overcome challenges. It's all about making the world feel alive and responsive, so every creative idea feels rewarding.

Mika: We didn't just build levels, we crafted living, breathing worlds packed with stories and secrets. The industrial environments are rich with details: leaking pipes dripping with mystery, rusted machinery hinting at an industrial past, and even background animations that tell their own little tales. Every corner has something to discover, whether it's a hidden path, a playful Easter egg, or a clue about the world's lore.

And Darwin isn't just moving through this world, he's part of it. The way he interacts with objects feels organic and immersive. We wanted players to feel like they're uncovering a world full of surprises, where creativity is the key to progress. It's all about making exploration feel rewarding and making every discovery feel like a personal victory.

Why Unreal Engine for a 2.5D platformer, and what challenges/advantages did it bring?

Gilles: Unreal Engine was a game-changer for us because it allowed us to seamlessly merge 2D and 3D elements in a way that feels fresh and unique. The Blueprint system was essential for rapidly prototyping Darwin's abilities and gameplay mechanics, letting us experiment and iterate without getting bogged down in code.

One of our biggest challenges was optimizing performance, especially for consoles, but tools like Unreal Insights gave us the precision we needed to fine-tune everything and ensure a smooth experience across all platforms. What really stood out was how Unreal Engine's cinematic tools, like Sequencer, empowered us to create fluid transitions between gameplay and storytelling. This was critical for maintaining the game's identity, blending action, narrative, and cinematic moments into one cohesive experience.

Mika: For us, Unreal Engine was the obvious choice because it gave us the power to fully realize our vision for Darwin's Paradox! as a cinematic experience. We wanted the game to feel like an animated film, with seamless transitions, dynamic camera angles, and a tightly controlled narrative flow.

Unreal's real-time rendering allowed us to tweak lighting, framing, and post-processing effects instantly, ensuring that every scene felt alive and immersive. The Sequencer tool was particularly invaluable. It let us craft the game's linear narrative with precision, blending gameplay and cinematic moments so smoothly that players feel like they're part of a living story.

The ability to iterate quickly while maintaining high visual fidelity was crucial, and Unreal Engine's flexibility made it all possible. It wasn't just about creating a game. It was about delivering an experience where every detail serves the story and the player's immersion.

How did the art and tech teams collaborate to maintain visual fidelity without compromising performance?

Mika: We worked hand-in-hand with the tech team to find the right balance. From the start, we wanted to embrace the new technologies that are available now. For example, we used Lumen for real-time dynamic lighting, but we had to be smart about how we applied it to avoid performance hits.

We also focused on optimizing assets, like reducing polygon counts where it wouldn't be noticeable, and using clever tricks, like baking certain effects or animations into textures. The goal was to keep the game running at 60fps on standard hardware while still looking like a high-end animated film.

Gilles: The collaboration was all about communication. The art team would push for a certain visual effect, and the tech team would find a way to make it work within the game's performance budget. It was a constant back-and-forth, but it led to some really creative solutions, like using particle effects for Darwin's ink instead of complex physics simulations. We're a small studio of 17 people, and the technical challenge for us was to deliver the maximum quality possible through every version: PS5, Xbox X/S, PC, Switch 2, Steamdeck, etc.

How did you approach environmental storytelling with minimal dialogue?

Gilles: We treated the environment like a character. Every detail, from the graffiti on the walls to the way machines are arranged, tells a part of the story. For example, the industrial complex is full of clues about what's happening, like alien tech hidden in plain sight or signs of Darwin's struggle to escape. We also used Darwin's animations and reactions to convey emotion, so players can understand what he's feeling even without dialogue.

Mika: The art style is more than just visuals, it's a storytelling tool. We used color and lighting to guide players emotionally, creating a language of mood: warm, inviting tones signal safety, while cold, stark lighting heightens tension in danger zones. The contrast between the industrial world, oppressive, rigid, and mechanical, and the underwater sections: fluid, organic, and alive, reinforces Darwin's journey from struggle to freedom.

And it doesn't stop there. Sound design and music play a huge role in immersion, too. Every creaking pipe, distant hum of machinery, or swirling underwater melody pulls players deeper into the world, making the experience feel rich, cohesive, and emotionally resonant. It's all about crafting an atmosphere where every detail, visual and auditory, serves the story.

How has team size influenced your production workflows?

Gilles: Being a small team of 17 meant we could iterate quickly and stay flexible. Everyone wore multiple hats, which led to a lot of creative cross-pollination. We also used tools like Blueprint to empower non-programmers to prototype ideas, which sped up the process enormously. The downside was that we had to be very disciplined about scope, we couldn't afford to waste time on ideas that didn't fit the game's core identity.

Mika: The small team size gave us something really special: an artisanal approach to game development. Unlike big studios, where decisions can get lost in layers of bureaucracy, we had the freedom to stay nimble, creative, and deeply hands-on. Every member of the team was fully invested in the vision, and that alignment made our decision-making fast, intuitive, and cohesive.

But let's be honest, this also meant a massive workload for everyone while fitting those into working hours. We were constantly iterating, refining, and even reinventing gameplay mechanics to keep the experience fresh and surprising. Every tweak, every new idea, required everyone to roll up their sleeves and push their skills to the limit.

It was intense, but that's the beauty of being a small, passionate team: we could take risks, experiment boldly, and craft something truly unique without compromise. It's that handcrafted, labor-of-love energy that makes Darwin's Paradox! feel so personal and alive.

How do you ensure players understand and utilize Darwin’s abilities without overwhelming them?

Gilles: We introduced abilities gradually, starting with the basics, like climbing and camouflage, and then layering in more complex mechanics as players progress. The game is designed so that players can experiment without fear of failure. Checkpoints are placed strategically to encourage trial and error.

Mika: The tutorials are woven into the gameplay itself. For example, the first time players use ink, they'll see how it interacts with the environment in a low-stakes situation. We also made sure Darwin's abilities are intuitive, so players don't have to remember a dozen different controls. In every step of the development of the game, we tried to keep things simple. That's our motto. Complexity is never the solution.

What are you most excited for players and developers to notice or take away from Darwin’s Paradox?

Gilles: I'm most excited for players to experience the joy of discovery, whether it's creatively outsmarting an enemy or just soaking in the world's details. For developers, I hope they see how we blended different genres and art styles to create something that feels fresh and cohesive. Darwin's Paradox! is a funny love letter to the games and films that inspired us, and I hope it inspires others to take risks and think outside the box.

Mika: I want players to feel the heart we poured into this game and smile while playing. Darwin's journey is about resilience, creativity, and finding beauty in unexpected places, and I hope that resonates with people. For developers, I hope they see how a small team with a clear vision can create something that punches above its weight. And of course, I hope everyone has as much fun playing it as we did making it!

ZDT Studio, Video Game Studio

Interview conducted by David Jagneaux

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