{"id":293855,"date":"2025-06-15T00:46:57","date_gmt":"2025-06-15T00:46:57","guid":{"rendered":"https:\/\/peraltafinancing.com\/uncategorized\/creating-a-rogue-factor-original-game\/"},"modified":"2025-06-15T00:46:57","modified_gmt":"2025-06-15T00:46:57","slug":"creating-a-rogue-factor-original-game","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=293855","title":{"rendered":"Creating A Rogue Factor Original Game"},"content":{"rendered":"


\n<\/p>\n

\n

From the studio that worked on the Warhammer <\/em>games<\/a>, Mordheim: City of the Damned <\/em>and Necromunda: Underhive Wars, <\/em>brings a new title developed in-studio with Nacon<\/a> publishing the game. The Montr\u00e9al, Canadian-based game studio Rogue Factor finally has the opportunity to create an original IP game: Hell Is Us<\/em>.<\/a> Hell Is Us <\/em>is an upcoming third-person action-adventure video game set to release on September 4th, 2025, for PC, PlayStation 5, and Xbox Series X|S.\u00a0<\/p>\n

With the release date coming up in fall 2025, CGMagazine spoke with Rogue Factor team members to gain more insights into the studio and the development of Hell Is Us<\/em>. Creative director and art director Jonathan Jacques Bellet\u00eate, founder and head of Rogue Factor Yves Bordeleau, and audio director Antoine Vachon each discussed Hell Is Us\u2019<\/em> audio design, visuals, combat, inspirations, and overall vibes of the game.\u00a0<\/p>\n

\n
\"Hell<\/figure>\n<\/div>\n

This is Rogue Factor\u2019s first original IP game, but there\u2019s plenty of experienced staff here. What defines Rogue Factor\u2019s culture and community-building here\u2014that special sauce?<\/strong><\/p>\n

Yves Bordeleau: <\/strong>Very good question. The most important thing is that we go way back in the past. When I started the studio, we were a really small team. There are people around here that I\u2019ve known and I\u2019ve worked with for the last 20 years. It\u2019s very family-oriented, almost. We\u2019re a small family, and we grew as a studio doing Warhammer <\/em>games first.\u00a0<\/p>\n

Then, Jon [Jonathan Jacques Bellet\u00eate] called me and we\u2019re like\u2014<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>I said, \u2018What\u2019s up dude! Hey, buddy, I\u2019m fed up with [AAA] games.<\/p>\n

(Everyone chuckles)<\/p>\n

Yves Bordeleau: <\/strong>[Yes, that\u2019s when I responded], \u2018This is it. Let\u2019s do it.\u2019 Jon brought a lot of the AAA process, the high-level philosophy behind developing high-quality titles. On my side, I [brought] the bootstrapping, resilient type of indie culture. We kind of made Voltron together. (Everyone dies of laughter).\u00a0<\/p>\n

Jonathan brought some of his crew who worked on Deus Ex: Human Revolution<\/em><\/a>, <\/em>and I brought my whole crew. That guy (looks over at Antoine Vachon) was working for a friend of mine, and we ended up having a beer. [That same evening], I convinced him to come work for us.<\/p>\n

Antoine Vachon: <\/strong>I come from a more indie background. What I can say about Rogue Factor is that we\u2019re [right in the middle of being an indie and a big studio]. We never lost the indie creative agency that an indie team has, [even though] we\u2019re a big studio.<\/p>\n

Yves Bordeleau: <\/strong>We\u2019re about 62 people here, but 55 developers worked on [Hell Is Us<\/em>]. We\u2019re all senior [developers] with lots of experience.<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>[Hell Is Us<\/em>] is in the AA spectrum. It wasn\u2019t cheap, but it wasn\u2019t expensive either. It looks more expensive than it is. It [works this way] because we wear so many hats, and have so many experienced people.\u00a0<\/p>\n

In my humble opinion, [Hell Is Us<\/em>] is a near-perfect game because no game is perfect. Resident Evil 4<\/em><\/a> <\/em>on GameCube<\/a> was too long and boring in the castle, or like BioShock\u2019s<\/em><\/a> <\/em>shooting [mechanics] can\u2019t be compared to Call of Duty<\/em><\/a>. <\/em>Visually, [Hell Is Us<\/em>] is not perfect. But when you look at it and see the price, [it makes sense].<\/p>\n

Yves Bordeleau: <\/strong>Having everything done in-house is a perk. Instead of being a huge, Titanic ship, we\u2019re a small speedboat. We\u2019re nimble, we can do iterative stuff, do things fast, and that played a big part to our advantages. That\u2019s the magic and luck of [Rogue Factor].\u00a0<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Yes, luck. We\u2019re lucky to have built this. We\u2019re absolutely happy with it!<\/p>\n

Yves Bordeleau: <\/strong>One of the key things when we got acquired by Nacon was that moment that maybe we could make our first original IP. Having people like Jonathan and the rest of the very experienced people that worked at [places like] Eidos-Montr\u00e9al<\/a> and Warner Bros. [Games Montr\u00e9al] facilitated a lot of the recipe we have.\u00a0<\/p>\n

\n
\"Hell<\/figure>\n<\/div>\n

Hell Is Us <\/em><\/strong>drops its first teaser trailer in 2022, and that was the same year <\/strong>Unreal Engine 5<\/strong><\/a> was fully introduced. I know <\/strong>Hell Is Us <\/em><\/strong>uses Unreal Engine 5, so what impact did that have on developing <\/strong>Hell Is Us?<\/em><\/strong><\/p>\n

Yves Bordeleau: <\/strong>We are really good buddies with the guys at Epic Games<\/a>. We\u2019ve worked with them before. The tools and all the new stuff that Unreal Engine 5 brought helped us attain that visual quality that usually bigger studios could pull off.\u00a0<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Yeah, we were already using Unreal Engine 4<\/a>. So, it was very natural for us. It wasn\u2019t easy [to switch over], but there was no question about it. [Unreal Engine 5] helped democratize [the level of quality].\u00a0<\/p>\n

This also makes me wonder about the technical audio and sound software used in <\/strong>Hell Is Us<\/em><\/strong>.<\/strong><\/p>\n

Antoine Vachon:<\/strong> We use Wwise, which is a middleware made by Audiokinetic. It\u2019s been bought over by Sony. It\u2019s a Montr\u00e9al-based company, and it\u2019s widely used for games. What we focused on [for Hell Is Us<\/em>] was the new 3D audio technology. That\u2019s usable on any console; it\u2019s either Dolby Atmos [on Xbox]<\/a> or the Tempest [3D AudioTech] engine on the PS5.\u00a0\u00a0<\/p>\n

You just have to turn it on, and then you get really cool spatialization that you really feel immersed if you\u2019re playing with headphones. I encourage players to use it if they can because we optimized the mix and the sound work for this to feel like you\u2019re there.<\/p>\n

Oh, yes. I stopped playing for a bit to hear the ambiance, the raindrops\u2014<\/strong><\/p>\n

Yves Bordeleau: <\/strong>And you can feel [the raindrops] on the controller as well.<\/p>\n

Yes, the haptic feedback is amazing!<\/strong><\/p>\n

Antoine Vachon: <\/strong>A lot of the ambient sounds [was from] one of our sound designers, Charles-Antoine Morin. He loves to travel and go camping, and he brings a recorder with him. He records animals and ambient sounds himself.<\/p>\n

As someone who loves games and movies, <\/strong>Annihilation<\/em><\/strong><\/a> <\/em><\/strong>has come up numerous times in previous <\/strong>interviews<\/strong><\/a> for <\/strong>Hell Is Us. <\/em><\/strong>Where did the inspiration from <\/strong>Annihilation <\/em><\/strong>play into your game?\u00a0<\/strong><\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Annihilation <\/em>was mostly a way for me to communicate the music and how I wanted the game to sound\u2014at the highest level. Our game is definitely not a Lovecraftian game, but there\u2019s a cosmic horror aspect.\u00a0<\/p>\n

[In Annihilation<\/em>], this weird thing, they don\u2019t know where [the entity] is from. It doesn\u2019t seem to be magic. It could be explained scientifically, but we don\u2019t know. Annihilation <\/em>[also] had an amazing soundscape. It was a few paddings, horns, and things I really liked. Then, it became a language to talk with Antoine [Vachon] with. Apart from that, just by fluke, [Annihilation<\/em>] and [Hell Is Us<\/em>] are both cosmic horror.\u00a0<\/p>\n

Antoine Vachon: <\/strong>Geoff Barrow and Ben Salisbury made music for most of Alex Garland\u2019s<\/a> movies, other than Annihilation.<\/em> It\u2019s been a big inspiration for the sound we did. We\u2019re big horror fans; we\u2019re big movie fans in the sound team. So there\u2019s very diverse inspiration, not just that. I don\u2019t know if you probably know [David] Cronenberg, but his son, Brandon Cronenberg<\/a>, made a movie called Infinity Pool<\/em><\/a>. The music and audio in that movie are so good. And there are lots of fibers for inspiration.<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Yes, even Under the Skin, <\/em>with Scarlett Johansson.<\/p>\n

Antoine Vachon: <\/strong>Yes. Jonathan Glaser\u2019s other movie, [The Zone of Interest<\/em>], the sound of that movie is also amazing. It\u2019s a fantastic lesson in how to use silence, and the discomfort it can create.\u00a0<\/p>\n

\n
\"Hell<\/figure>\n<\/div>\n

Yes, big kudos to you too, Antoine. The sound design also matches these inspirations and <\/strong>Hell Is Us. <\/em><\/strong>The Hollow Walkers, especially the Hazes, those sounds are so\u2014<\/strong><\/p>\n

Yves Bordeleau: <\/strong>So [messed up, right?]<\/p>\n

Yes! The visuals also go crazy to match the crazy sounds!<\/strong><\/p>\n

Antoine Vachon: <\/strong>(Turns to Jonathan Jacques Bellet\u00eate) I give credit to Jonathan too because you pushed us.\u00a0<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Yes, we wanted [the sound] to be special. So, we asked, \u2018Is that special enough yet, or is that not special enough?\u2019<\/p>\n

Right. Adding the wind chimes as a guide is a smart addition. I\u2019m curious, are there going to be more elements similar to that throughout <\/strong>Hell Is Us<\/em><\/strong>?<\/strong><\/p>\n

Antoine Vachon: <\/strong>There are many objectives, but one of the points is to tell the player: listen. Listen, because it\u2019s not just what you\u2019re going to see; it\u2019s not just what we\u2019re going to tell you. Open your eyes and open your ears. Yes, it is for the gameplay, but also hints at the lore. If the player listens and tries to figure out why [the Hazes] are making these sounds, you\u2019ll get some ideas about the lore.<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>In Metroid Prime<\/em><\/a>, <\/em>when you were in a room that had a stash of secret missiles, there was a sound in that room that you could hear. You don\u2019t remember the sound, and they didn\u2019t tell you about that. And eventually, in the game you were playing, it\u2019s like, \u2018There\u2019s a sound that I hear.\u2019\u00a0<\/p>\n

When you realize, every time there was a secret, like an energy reservoir or extra missiles, that sound is there. Then, you realize every time you hear it, it means there\u2019s something hidden somewhere. So, there are things like that in [Hell Is Us<\/em>] as well.<\/p>\n

One of the unique combat characteristics in Hell Is Us <\/em>is the healing pulse aspect. I found the mechanic especially clutch when I was running out of healing items. What inspired you to add that mechanic?<\/strong><\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>It came out of necessity. The Design Director, Bruno [Parenteau], and I both had this idea for a long time\u2014for creating a game where the stamina is tied to your health. It\u2019s like in real life. There\u2019s no such thing in real life where you just have one health point left, yet your stamina is full. It doesn\u2019t exist. How can you be on your last little health, and your stamina is full? It\u2019s a game, I know.\u00a0<\/p>\n

In terms of health, it\u2019s a bit different. But still, having full health and no stamina is also weird. For example, once a boxer\u2019s stamina is empty, having one health point is like when they can\u2019t even hold their gloves up to protect themselves anymore. Protection is almost as tiring as hitting.\u00a0<\/p>\n

So, we always had this [concept] of every time your health goes down, your stamina goes down with it. And we tried it, and then quickly we realized that it also creates a negative feedback loop: the less health you have, the less hits you can give because your stamina is short as well. Then, we needed a way to compensate [players] to rebalance it.<\/p>\n

Team Ninja\u2019s Nioh 2<\/em><\/a> <\/em>is great. That\u2019s a real Souls<\/em>-like game. The Ki Pulse is a way to spend your stamina. It\u2019s much harder in that game, more hardcore. But if you do a proper button ballet, you can recuperate part of the stamina that you spent. We got inspired by that, like, \u2018Hey, we can do a more midcore version of this.\u2019 [The button ballet] with the enemy is like a Guitar Hero <\/em>thing.<\/p>\n

[In Hell Is Us<\/em>], we call it the Lymbic Pulse. Even though there are references to Nioh 2\u2019s <\/em>[terminology] and inspired [mechanics], it wasn\u2019t easy to make our version of it. It was also [tough] to make it work, and fun\u2014not make it too easy, but not too hard to master either. It\u2019s been quite a journey, but I think it works quite well.\u00a0<\/p>\n

\n
\"Hell\"Hell<\/figure>\n<\/div>\n

Last question I always love to end off with: what is one thing that each of you hopes <\/strong>Hell Is Us <\/em><\/strong>players enjoy?<\/strong><\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>(Looks to Antoine) Don\u2019t say the music man.<\/p>\n

(Everyone bursts out laughing)<\/p>\n

Antoine Vachon:<\/strong> (Chuckles) <\/strong>No. I\u2019m a big gamer, and I know a game is good if when I go to sleep, I\u2019m thinking about it. [Also], I don\u2019t just shut off the game. Either a song from the game is stuck in my head, I have images, or I have a lingering emotion. If something is lingering, then I think the game succeeded. If we can do that for the players [on Hell Is Us<\/em>], then we\u2019re going to be happy.<\/p>\n

(Yves Bordeleau is about to speak)<\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>(Looks to Yves) Don\u2019t say the money.<\/p>\n

(Everyone laughs hysterically)<\/p>\n

Yves Bordeleau: <\/strong>Besides that,\u00a0 I really want the players to feel the joy of exploration and discovery. [I want players] to have that feeling, the real joy of like, \u2018Oh my God. Like, I found that! It\u2019s my own discovery.\u2019 Like when I played my own games [in my room] and I saw a puzzle that I was [stumped on], and then I eventually got it. I was like, \u2018Oh man, I\u2019m smart!\u2019\u00a0<\/p>\n

[It\u2019s that feeling like], \u2018No way anybody else in the world can figure it out. We have those little a-ha moments in [Hell Is Us<\/em>].\u00a0<\/em><\/p>\n

Jonathan Jacques Bellet\u00eate: <\/strong>Yeah, it\u2019s the same as Antoine for me, [and how that\u2019s] the signature of a great game. And I\u2019m not saying ours is a great game; that\u2019s up to the public and journalists, like you, to tell us.\u00a0<\/p>\n

But when you turn off your console or your PC, you\u2019re still caught [thinking about] what you were doing [in the game]. Either there\u2019s an emotion that lingers, or a weird thing that you\u2019re trying to figure out\u2014or you simply can\u2019t wait because of this thing you saw you believe is linked to that other thing. [It\u2019s the feeling that], \u2018first thing tomorrow, that\u2019s what I\u2019m going to try [when I boot up the game].\u2019 Games that do that are the good games.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

From the studio that worked on the Warhammer games, Mordheim: City of the Damned and Necromunda: Underhive Wars, brings a new title developed in-studio with Nacon publishing the game. The Montr\u00e9al, Canadian-based game studio Rogue Factor finally has the opportunity to create an original IP game: Hell Is Us. Hell Is Us is an upcoming […]<\/p>\n","protected":false},"author":1,"featured_media":293856,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[102,96695,12333,125213],"tags":[11513,22932,1256,1034,36707],"dealstore":[],"offerexpiration":[],"class_list":["post-293855","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gaming","category-interviews","category-montreal","category-nacon","tag-creating","tag-factor","tag-game","tag-original","tag-rogue"],"yoast_head":"\nCreating A Rogue Factor Original Game - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=293855\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Creating A Rogue Factor Original Game - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"From the studio that worked on the Warhammer games, Mordheim: City of the Damned and Necromunda: Underhive Wars, brings a new title developed in-studio with Nacon publishing the game. 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The Montr\u00e9al, Canadian-based game studio Rogue Factor finally has the opportunity to create an original IP game: Hell Is Us. 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