“Most challenging was letting go of ideas we liked.” Interview with the team behind MIO: Memories in Orbit

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I recently got the chance to interview the co-founder of Douze Dixiemes, creators of the highly anticipated indie Metroidvania game MIO: Memories in Orbit. The demo for this game is currently available on Steam, and you can find a detailed review by Giancarlo Saldana as well.

In the game titled “MIO: Memories in Orbit“, you assume the role of a compact yet sophisticated android. Venture through the colossal spacecraft known as “The Vessel”, an advanced technological ark that has been taken over by malfunctioning machines. Engage in intense battles against formidable foes using combat techniques reminiscent of the popular series “Souls”. Solve intriguing environmental puzzles and unravel the enigmatic storyline that unfolds within this extraordinary universe.

In my chat with co-founder of the studio, Oscar Blumberg, we delved into various topics including the influences behind MIO’s souls-like style and graphic novel aesthetic. We also discovered that there are concealed mysteries within the demo, and how their entire team playing Hollow Knight together sparked their decision to create a Metroidvania game. Don’t forget to add MIO: Memories in Orbit to your wishlist on Steam; this helps significantly for a small studio like ours. Without any more delay, I present my conversation with Oscar Blumberg from Douze Dixiemes.

Matt Buckley: Would it be alright if you kindly share some information about yourself with our spectators? Could you tell us who you are, what position you hold within the team, and how you came to be involved in game development?

Greetings! I am Oscar Blumberg, one of the founders of Douze Dixiemes. On MIO, you can find me as the Game Director and a developer. Since we’re a compact group, many of us take on various roles.

For quite some time, I’ve been harboring this dream of creating my own gaming studio alongside some awesome friends. About eight years back, we finally took the leap, and it feels like yesterday yet a lifetime ago.

Since none of us had any previous experience in that particular industry, we might sometimes appear quite innocent or unaware about certain aspects.

When you begin creating a game, do you usually decide on the genre first (Metroidvania) and then develop the rest of the game based on that, or do you start with a story idea and determine the gameplay mechanics to fit it?

OB: Initially, we had planned that this game would be a sci-fi Metroidvania. However, this description is rather general. During the development of Shady Part of Me, many team members were engrossed in playing Hollow Knight, and it served as a profound inspiration for us, just as it did for numerous other gamers.

Initially, our project was rather disorganized, but we laid the groundwork with some fundamental gameplay concepts and a vaguely defined “world concept.” As time passed, we collaborated with experienced writers to expand upon these ideas, leading to numerous changes throughout the years as the project developed.

The primary factors that fueled our initial endeavor were shaping the character’s appearance and mannerisms, designing a backdrop with a distinctive setting, eliciting specific emotional responses, and establishing an engaging art style, surprisingly enough.

AL: Compared to the studio’s earlier production, “Shady Part of Me”, what sets “MIO” apart? In your opinion, was working on “MIO” relatively easier or harder compared to the previous project?

ALT: The initial decisions we took during the development of MIO were largely spontaneous responses following our emotions after completing Shady Part of Me. Despite our affection for the game, it was primarily designed to be played just once or maybe twice. Players are content with this, but working on it for extended periods can become monotonous due to its linear nature and familiarity with every detail.

Initially, we planned to create something quite different: a game with an unusual structure that offers a tremendous learning curve for skilled players. Amazingly, it succeeded! To this day, I continue to find enjoyment in playing it, and just recently, we were even competing against each other for speedrun times here at the studio.

In terms of progression, we significantly underestimated the complexity involved. We discovered that creating intricate large-scale levels, designing formidable boss characters, and crafting non-linear narratives would be far more challenging than initially anticipated.

Initially, it felt strange to acknowledge and understand that significant aspects of the game, which are often the most intriguing, would remain unseen by a majority of players. To be honest, even within the demo, there’s probably content that most individuals won’t discover.

It was fun, but we made many mistakes along the way that we had to come back and fix later.

MB: Did any games, media, sci-fi stories, or other sources inspire the creation of MIO in some manner? Were there specific Metroidvanias you adored, or perhaps a science fiction narrative that contributed to the realization of this concept?

In terms of other games, it appears that MIO openly showcases its prominent inspirations. There’s no mistaking the influence of games like Hollow Knight and Ori in its design.

Indirectly, it seems that the soul’s impact can be sensed, not so much in the gameplay mechanics, but rather in the way the world has been crafted as a unified whole, much of which remains hidden and unexplored. Many aspects of its past are suggested subtly through the environmental narrative.

In terms of visual aesthetics, we tend to draw inspiration from the world of graphic novels, specifically artists like Meurisse, Kerascoet, and Guarnido, to create our distinctive style in the game design process.

AL: While exploring the demo of the game MIO, I found myself captivated by the lifelike expressions shown by many of the Non-Player Characters, particularly Mel. How did you manage to create such expressive characters, given that they are robots?

OB: Glad to hear you liked Mel.

As a gamer, I found myself grappling with it for some time. The absence of character faces, the distant camera perspective due to gameplay requirements, and an artistic style that seemed to blur minor details really got under my skin.

In the end, I think it came down to finding the style that fits the universe of the game.

Due to the “soft sci-fi” or sci-fantasy feel of MIO, we have the freedom to explore various interpretations of what a robot might be, encompassing diverse designs and movements.

Over the course of time, our art director and animator increasingly emphasized characters’ personalities through exaggeration and discovered creative methods to portray emotions using various body parts and positions.

In the initial stages itself, it’s evident that there’s a rich history to explore for those who wish. Could you share some insights about the process of creating this universe? What obstacles did you encounter along the way? What aspects of the work particularly captivated you?

OP: The overall structure of the story remained relatively consistent, but as we progressed in developing the game, many aspects were fine-tuned based on what worked best and what needed improvement. Much of the narrative isn’t explicitly stated, making it enjoyable to piece together by observing the locations you explore, the items you discover, and their significance within the world. This is a characteristic of an exploration-focused game.

The narrative and level design needed to develop simultaneously, ensuring each location was logically integrated and that significant past occurrences were consistently mirrored within the game world.

It seems that’s the section I found most captivating, yet I didn’t compose the narrative myself, so maybe you should inquire about it from its author instead.

MB: It’s great that the initial stages of the game don’t overload players with text box tutorials. A memorable moment was when I discovered I had a double jump and could attack, not through instructions, but by accidentally pressing the buttons myself. How do you decide on the ideal amount of tutorialization for a game like MIO?

As a seasoned gamer, I’ve noticed an interesting feature in this game. At times when I seem to be stumped for a while, a helpful hint appears on the screen like a ghostly guide. It’s as if the developers have created an “invisible tutor” to gently nudge me back on track without spoiling the fun of exploration and discovery.

For the remainder of the match, several aspects, such as game mechanics, are left unexplained entirely or only given a partial explanation.

It seems to come down largely to personal preference, doesn’t it? What draws us to these games is the element of vigilance, self-questioning, and exploration they require.

In each instance, we’ve subtly inserted clues within the environment. We spent considerable effort adjusting these hints to ensure that they are challenging enough for most players to solve over time, yet remain satisfying when discovered. This process turned out to be far more labor-intensive than simply creating a traditional tutorial.

MB: What has been the most enjoyable part of development, and the most challenging?

For me personally, what stands out most is observing people play the game we’ve been developing. Although working on the game can be enjoyable, it’s often a long and gradual process. Watching people playtest feels like reaching the finish line, so that’s what comes to mind.

One of the hardest tasks, I believe, was discarding concepts we found appealing. However, it was necessary for the game’s release at some point.

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2025-07-01 10:33