So we took the Post-it off the wall, and we threw it in the bin. There was nothing else keeping combat in the game for us. So we’re like, is there any reason combat is on the wall, except for these other games that have come before us that share a structure that had combat? And the answer was no. Like, why is combat on the wall? And we were both like, well, because a Metroidvania has to have combat. And then it got to a point where we were like, okay, we need to talk about it.
And we kept going and we just kept leaving it out there. And nearly every day, we were like, do we have to have combat and we were like, yeah. And as time went on, we started taking Post-its off the wall, like this doesn’t make sense anymore. These are all the disparate parts that could be involved in the game.
“So we were like, this is what the game could be. When he and lead designer Grant Allen “first started designing the high level of the game, all the walls were covered in Post-it notes,” Grand-Scrutton reveals. That’s right: Disney Illusion Island is totally free of direct combat. (Sorry, Daisy fans: Donald’s lady didn’t make the cut.) One thing none of them can do, though, is fight. And although the hands-off demo I watched had a single player, up to four can play simultaneously, with each squad mate playing a different character. The four main characters all have their own unique skills and ways to move around, often having to interact with on-screen whatsises and gadgets to get to where they need to go. It seems less frenetic, though, more focused on exploration and puzzle solving, in fitting with its Metroid inspirations. With its distinctive art style and surplus of charm, Illusion Island reminds me of Rayman Legends, only starring characters I’ve loved since before I could talk. Those three are joined by Minnie Mouse as the four playable characters in Illusion Island, a platformer with Metroid-style elements that adopts the anarchic visual aesthetic of Disney’s recent Mickey Mouse shorts. There’s “a lot of the ‘30s and ‘40s” Mickey in the game, as Grand-Scrutton notes, an era when Disney’s mouse wasn’t quite as mischievous as he was in his earliest 1920s cartoons, but still had a personality that could lead to unexpected hijinks and tomfoolery, especially when paired with his friends Goofy and Donald Duck. It’s a chance to work in a world he’s long loved, paying tribute to the classic cartoon shorts that made Mickey and his pals some of the most beloved and recognizable characters in the world. For the CEO of Dlala Studios, serving as the creative director on Disney Illusion Island isn’t just another development job.
I genuinely love Mickey Mouse.”ĪJ Grand-Scrutton wants to prove his bona fides.
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