Exclusive interview with Matheus Queiroz, producer of No Place for Bravery

Dystopian adventure producer No Place for Bravery, Matheus tells a little about the game's production process and the story of this brave Brazilian studio

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Even destroyed, the world still has its beauties

Continuing our series of interviews with the developers participating in the BIG Festival 2021, Brazil Indie Games, we spoke with Matheus Queiroz, the Producer at Glitch Factory, who will tell you a little about his game No Place for Bravery, an adventure in a dystopian world where a father tries to rescue his daughter.

A game that mixes, in addition to several games with a high difficulty, a series of inspirations from comics and manga, as well as films such as Clube da Luta and Black Swan. A great mix for those who like hardcore games and a deep and detailed story. In addition to meeting Matheus and No Place for Bravery here, you can learn more about this project at the BIG Festival.

Meet Matheus Queiroz and Glitch Factory

Married Games - Hello, Matheus! I would like to start by thanking you for agreeing to speak with Married Games. Can you talk a little about the Glitch Factory and a little about the projects you have already carried out?

Matheus Queiroz - Glitch was officially born in 2014, but since 2011 we have been developing games together. Most of the team met during college and it was the dream of living from game development that brought us together.
The biggest authorial project that we have published so far, was Party Saboteurs - a local multiplayer spy game designed to be played on the couch by up to 8 players. The game is available on Steam, inclusive!

In addition, we worked for some years developing games on demand, we did several educational projects for external clients such as schools and public agencies, including one in augmented reality. It was a very good experience, it helped us a lot to develop the team, but currently we are not doing this type of service anymore. These were projects that helped us to keep the company running, all the revenue was destined to our copyright projects. Today, fortunately, the company survives entirely with the funding raised for Bravery and, if all goes well with the launch of the game, we can continue to focus only on copyright projects!

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Matheus on the cover of Correio Brasiliense's Workbook (photo: Arthur Menescal / CB / DA Press)

MG - Party Sabouters? We also talked to the people at Seize, who did the Party Sabouters DLC with you. As people have heard of him, tell us a little about this game? We will already leave the link of Steam for him here.

MQ - Ah, cool! We are suspicious to talk about the Party, right ?! It was our first authorial game and we were too happy with the expansion developed by Seize Studios. Well, the party arose from the desire to create a party game couch fun that sent us that feeling of playing a game with friends, everyone sitting on the couch, where you needed to hide control under your shirt.

The game is a competitive local multiplayer (up to 4 players), where each player controls a spy who needs to infiltrate a party, such as the James Bond style, to complete his mission. And what's the catch here? At the same time, players also control a sniper sight to try to identify the other spies. There are two ways to win, you can complete your missions or shoot down enemy spies.

A father and a world with no place for bravery

MG - What about your game at BIG, No Place for Bravery? What can you count on without giving too much spoiler to what we will see in it?

MQ - We always present the No Place for Bravery as "the story of Thorn, a father in search of his lost daughter". This sounds like a cliché right along the line of the hero's journey and this is intentional. Part of Bravery’s experience involves breaking that expectation of a romanticized adventure.

To achieve this, the player will be launched into a destroyed world, filled with gigantic carcasses and marks of ancient wars. What remains of civilization tries to rise in the midst of a dispute between two factions. The game will not immediately explain what happened, but the player will be able to explore the world and find those answers on his own. The main focus, however, will not be on the causes of the disaster, but on the consequences that appear when people are pushed to their limits.

Despite being introduced as a loving father to Phid, his adopted son and traveling companion, Thorn will be relentless in pursuit of his goals. And as the player progresses through the story, he will be presented with difficult situations and choices where his morality will be put to the test.

About there being no place for bravura, unfortunately you will only discover this by playing the game, the relationship of the title to what the game presents is a big spoiler, but we hope that people will feel challenged by the title.

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Rich and detailed scenarios

MG - Damn, it seems that the game will be a very deep business. Will the game explain how the world became this destroyed place? Is there any kind of criticism or warning for us here in the “not yet destroyed” world in history?

MQ - We try to give a lot of depth to the game's narrative. We know that in order to get the message we want, we need several layers in the story. Our goal in showing the world is not to deliver anything on a tray, you know? We are committed to delivering parts of the history of the world through the setting and construction of the characters themselves.

Anyone who plays Bravery attentively will have an interpretation of how the world has become this devastated place that we show. Regarding the criticism in relation to the world in which we live, the game's own narrative provokes, in the player, a reflection on the main plot of Thorn's odyssey, its reasons and consequences. All of this is connected to the world of Dewr, just as our actions do not exist outside the context in which we are inserted here in the real world. For everything there is a consequence,

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What will be the story of this giant skull?

MG - And reading your description like this, it seems that No Place for Bravery would also look very good as a book. As you have this experience with educational projects, did you not think of taking this story to other media?

MQ - We hope that the No Place for Bravery that we will launch now in 2021 is just the beginning of the story. However, it is still too early to think about other media. Our team's whole focus is on delivering the best game we can play. And it takes a lot of energy! After the launch, we will think very carefully about the next steps of the project and the studio.

Influences and Challenges of No Place for Bravery

MG - What are the influences of No Place for Bravery or was it born out of the desire to play a game like this and you didn't find any out there?

MQ - I think HLD is the reference that is most evident, both because the game is recent and also because several of the solutions he found to solve pixel shapes are the best. So, it ended up being a great inspiration to guide how we deal with shapes within Bravery, but HLD is just one of several references.

In order to create our own identity and distance ourselves a little from the HLD, we seek references from other areas in order to find elements that add value to the style. The game has a lot of influence from three comic artists: Moebius, in the colors and cracks; Jake Wyatt from Necrópolis, for the design of the characters, colors and mood of the comic; and Andrew MacLean from Head Lopper, with a similar streak to HLD, but with a very own aesthetic.

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Head Lopper by Andrew MacLean

In the design of cities we look for something very profuse and different from what is done in pixels today. We tried something similar to Tekkonkinkreet, both in color and in detail. It is possible to see something in the same footprint in the game East Ward, which has not yet been released. From Tsutomu Nihei, the creator of Blame, we took inspiration for the design of some monsters. It has a lot of reference from various places, mainly comic books and manga.

The main references in Games are Dark Souls, Sekiro and Devil May Cry. In literature we take elements of I am the legend, The name of the wind and Don quixote. The first two for building elements of the world, and the third because of metafiction.

In cinema we look for elements of the Fight Club, Black Swan, Whiplash and The Fighter. These works helped us to build the protagonist's obstinacy narrative and its consequences, as well as the father and daughter relationship. Anyway, we drink from several sources, the game is a long journey that mixes several references from pop culture to deliver a human message.

MG - Dark Souls, Sekiro and Devil May Cry… So can we expect a good difficulty here in NPfB? How much playing time do you believe he will have? Will it be a long or more exploratory game?

MQ - Yes, they can! After all, if we were to translate the name of the game into Portuguese it would be no place for bravery. We want Dewr's world to be a relentless place, where bravery is not always the way. Regarding the weather, I can't give an estimate of the hours of gameplay because we are still finishing some parts of the game. However, I believe that this time will depend a lot on the player's profile. To give an example, in our demo that will be available on Steam during the BIG Festival, people who are familiar with soulslike usually finish in 15 minutes. Those who are not very familiar with the genre take around 40 minutes to an hour. One of the points that we are working on at the moment is exploration, and for that we are looking for inspiration in some mechanics of metroidvania.

No Place for Bravery na Indie Games industry?

MG - Among all the platforms for which the game will be released, which was the most difficult to do and why? What were the difficulties you had in the development? Did the pandemic really get in the way?

MQ - I think that Bravery’s main development challenge was funding. We are a team of 09 people, and since the beginning of Glitch our dream has always been to dedicate ourselves exclusively to the studio. Being able to finance our copyright projects, paying a decent salary for everyone on the team and not relying on outsiders to pay for life tickets was our biggest battle. As I mentioned before, we managed to overcome this challenge with the help of Ancine and the publisher, but we also had investment from investors during the journey. In addition to the money, there is a constant challenge in the scope of the project. Being able to translate ideas into scope, into assets, and understand the team's productive capacity is a skill that, I believe, is developed over time and development maturity.

In terms of platform, the fact that we developed the game on Unity makes this process a lot easier. In addition, we have incredible support from our Publisher for the testing and adaptation process for consoles and other platforms outside Steam.

In relation to Pandemic, I believe that our greatest concern is in relation to the mental and physical health of the team. We live in extremely difficult times, we see friends and loved ones leave suddenly, and dealing with this loss always impacts all aspects of people's lives. In terms of productivity in remote work, luckily Glitch had already adopted this work configuration since mid-2019, so we have already adapted to the routine of working from home.

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I hope you're not a boss

MG - The question of financing has become more difficult today or is there already a confidence in the Brazilian game companies to the point of obtaining a sponsorship with the certainty that there will be a return?

MQ - Look, it sure got more difficult for those who are starting. Based on our experience, it is very difficult for a beginner studio to get an investment from outside. From the conversations we had with publishers, the impression is that these partners are looking for studios that already have some development experience. For those who are starting now, there were too many government funding lines. However, we have seen countless setbacks in this type of investment in recent years, which is a shame. Much of what Glitch is today was due to the support of Ancine. Now about the certainty of return, I believe that it only comes in the long run, with the release of several games.

MG - So, be nominated to perform No Place for Bravery at BIG rewarded all this effort? How did it feel to know that you will have this chance to perform for everyone at an event like this?

MQ - Absolutely! Much of what Bravery achieved from this 2019 was due to the fruits we harvested during that year's BIG business round. It was during the event that we met Ysbryd Games - publisher of the game. We went out on hundreds of sites and participated in some events throughout 2020, but having the opportunity to present the game at an event held in Brazil has another weight for us. We were very happy with the selection for Panorama Brasil and Best by Brazil.

MG - And finally, send a message to the people of Married and their readers!

MQ - I would like to thank everyone at Married Games, and all readers! We are always very happy when people contact us seeking to know a little more about the game. And for everyone who was curious about No Place for Bravery, I also leave the invitation to test the game during the BIG Festival. The demo will be available on our Steam page

And for those who want to stay updated on development, sign up for our newsletter and give that follow on social networks.
News: https://noplaceforbravery.com
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BIG is coming

So, don't forget to keep an eye on the BIG Festival, which takes place between the 3rd and the 9th of May and will be all broadcast online. The complete program of the event will be released soon. For more information about Brazil Indie Games, access the official websitel. Make a note in your calendar so you don't forget to check out Matheus and No Place for Bravery during the conferences that will take place online throughout the day.

Did you like No Place for Bravey? It's a really cool and exciting story, don't you think? Contact us in the comments and read more about the BIG Festival at Our site.

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Paulo Fabris is a journalist, writer, RPG player, gamer, cosplayer, nerd and fan of anime since the time of TV Manchete.

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