Interview With SPRAWL Ku999 Vip Casino

SPRAWL takes place in an non specific part of Asia, many years into the future. The afterglow of the golden age of cybernetics and technological progress has all but faded. We live in a world of post statehood, collapse, and decay. Western democracy is a memory akin to the fall of the iron curtain. A corrupt military junta rules the region with an iron fist, corporate power usurped. You are “SEVEN”, the last of cybernetically enhanced super soldiers used for covert operations by the Junta. After being used as a scapegoat for the massacre of civilians during a military operation gone wrong, SEVEN lives in squalor in a dilapidated apartment in the far reaches of the walled city. Cybernetic implants removed or disabled as “government property” she is left disfigured and disgraced. Suddenly a mysterious entity contacts her, and warns her that the junta has had enough of the various “anomalous entities” that are causing havoc. SEVEN is also on this hitlist, by nature of her past, and must pick up arms once again if she hopes to survive this purge.

SEVEN is the final iteration of a corporate-junta special ops program to create 7 highly specialized augmented super soldiers (Codenamed “REAPERS”) armed with top of the line cybernetic replacements to perform special covert operations, from espionage, assassinations, to traditional front line combat. Each of these individuals were named based on their entry to the program, One, Two, Three, Four, Five, Six, and the main character of the game “SEVEN”.

Each super soldier in the unit was replaced by a more advanced successor, with longer operational lifespans.

Cyberization and exposure to trauma led to mental instability, worsened by memory erasure and implantation.

SEVEN was the most advanced model, retaining her past memories and showing unusual autonomy and creativity.

Developed by AEON Cybertech under the REAPER program, SEVEN was an experiment in balancing performance with independence.

The experiment succeeded, as SEVEN completed all missions flawlessly, though it caused tension with FIVE and SIX, who remained active but resented her success.

SPRAWL is heavily inspired by classic FPS games like Quake, Half-Life, Deus Ex, Marathon, and others.It leans more toward narrative-driven sci-fi shooters like Marathon than purely action-focused titles like DOOM.The game’s visual style reflects the aesthetic of late-’90s/early-2000s games, not their exact graphics.It also draws heavy visual inspiration from anime such as Ghost in the Shell, Akira, Patlabor, and Blame!.

SPRAWL has existed in some capacity in my mind since 2016, with some actual level being built inside of the source engine by myself way back then. There’s 1 to 1 scenes lifted from this iteration in SPRAWL today. I’ve always wanted to make a game, but it happened in an unexpected way.

• The creator’s interest in games began early with Mech Warrior and later modding Halo CE, which led to creating maps, weapons, and sounds.

• This modding experience evolved into an early passion for music production and game design.

• During COVID, the creator decided to finally pursue their dream project, initially just called Sprawl, with a cyberpunk theme.

• In 2020, after a conversation with Hannah, who was developing advanced movement mechanics, they decided to merge their projects and began working together on SPRAWL.

SPRAWL is Inspired visually, sonically, by the late 90’s and early 2000’s. I want it to feel like those game that introduced me to the prodigy, to photek, and to so many others. SPRAWL is an album you can play. The world will react to your actions, drops during combat, breaks and atmosphere during the rest. 100% sound tracked by me, a full fledged multimedia project that brings that dance music, video game relationship full circle. I love dance music, more than anything. I’ve spent my life working on investing in its culture. COVID was cataclysmic for dance music. We were born in a club, and struggle to exist without the show. This is my attempt to find a new way to contextualize our art. The sort of relationship between games and electronic music specifically always fascinated me. Quake in 95 sound tracked by NIN, that incredible comp for Wipeout. So many others. Its how I first got into this scene, as a kid. I wanted to re-create that experience for a new gen.

SPRAWL is like the games you remember playing on the computer in the 90s or in the early 2000s, as you remember them, and not as they actually were. It’s also a logical extension of the guiding design principles of those games. Games back then were focused on high-speed movement, the action was very frantic… but with the advent of consoles, and controllers, a whole set of principles went away. You had to slow things down to let people aim and move appropriately—you know, the whole floaty movement thing that happened because of Halo.

So, hopefully, SPRAWL is a return to that form, as well as an extrapolation of it. That type of game has gotten very popular as of late. So seeing that, we’re like, “How can we take that to the next level?” Because if you want to play Quake, you can go play Quake again. Or any one of the twenty-five million clones that have been released since then. So, we were more concerned with why people play these games. You know, the fast movement, straight into the action, adrenaline-pumping… and lots of emergent gameplay. We sort of doubled down on that. We took everything that made those games fun, threw in wall running, weapon combos… took everything to the next level.

Easy to pick up, hard to master. An experience that a casual player can enjoy on a controller on easy, or someone who really wants to test themselves will giggle giving it a go on hard or nightmare difficulty. Its fast, unrelenting, high octane action. A world built to compliment the gameplay. Its a sandbox, we give you the tools to do what you want inside of it, and the player gets to choose how to use them. We leaned hard into the concept of emergent gameplay, whatever unpredictable ways people choose to play SPRAWL, those will be encouraged just as much as how I’ve designed the game.

Keep at it. The more you play the more you’ll click with the experience. You know how many messages I got from testers at 3am being like “holy shit… I get it” There’s no shame on throwing it on easy, or turning on autoaim. Beyond that, nothing is what is seems in SPRAWL. It’s up to you how hard you’ll dig for answers.