How did you approach the question of gameplay variety from the start of the project?

Michael Janod
We started out on the basis of the Rayman 2 components. The game was a mix of platform action, fighting, specific gameplays and a few bosses, with a main character who offered a rich variety of movements and action. The focus groups showed us that the specific gameplays were what appealed to them most. What we call "specific gameplays" are the gameplays which change the overall gameplay radically, but temporarily. In Rayman 2, for example, there was the missile with legs. At the same time, we knew that the game hadn't fully exploited the bosses and the combats in general.

Benjamin Haddad
From then on, we set ourselves 2 different objectives: - First, to develop genuinely new features. To do this, we tried for strong development of enemies and bosses to change the configuration of the fights. - Second, to re-use and renew certain strong points of the game which were hugely appealing: the specific gameplays.

So you put the platform in the background, even though Rayman's basically a platform game?

Michael Janod
Rayman 1 was pure platform. From the moment Rayman turned 3D, it became a pure action game with stacks of different gameplays: platform, racing, fighting, flying, and so on. Rayman 3's still a pure action game. All we've done is slightly alter the proportions of the action cocktail mix.

Benjamin Haddad
In fact, we changed the function of the platform within the game. In a traditional 3D platform game, the platform sequences are precise challenge zones to attain well-identified objectives: an object to pick up, an enemy to capture, etc. They're very stressful for the player because, generally speaking, if you don't fall on the right spot, you drop dead.

For Rayman 3, we decided to integrate the platform rather like a standard movement. In fact, wherever you may be, you jump to move forward without necessarily having specific challenges. There are platforms in all the levels, but they're not presented as main gameplays, nor as specific challenges. They're everywhere, so they become a completely natural part of the landscape for the player.

The graphic designers even had fun integrating all the platforms into the decors. Depending on the universe, you can either jump onto mushrooms or boxes and cling onto railings or ladders. By integrating the platform dimension directly into the decors in this way, you remove the artificiality of this very specific game element, thereby strengthening the feeling of immersion.

How would you define a good specific gameplay?

Michael Janod
A specific gameplay is good when it leads to surprise, fun and variety. The player has a sense of variety because the gameplay's very different from the main game system. However, the two still have certain points in common, so the player doesn't feel lost. He's surprised by the fact of confronting new game situations. And the fun comes from the gameplay, which must be immediate. You shouldn't be left scratching your head wondering how this machine works, or which button you have to use to accelerate.

As a game designer, what do you try to transcribe in the specific gameplays?

Michael Janod
In fact, everything's based on a particular sensation. For example, we wanted to create a fast submarine level. As a general rule, underwater levels are very boring because they're too slow and fairly difficult to handle. So we simplified the swimming action in all levels to the utmost. You only use the stick to move forward, and we direct the player's path a little. That way, everything's focused on speed. Lastly, we even decided to build the level on a chase principle, for a maximum sensation of speed. So Rayman's pursued by a submarine which fires torpedoes. If he doesn't advance, he gets hit. Even the swimming animation was adapted. Rayman uses his hair as a propeller to move forward.

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