Announcing: All Walls Must Fall – A Tech-Noir Tactics Game

When we started inbetweengames after leaving YAGER and going indie, we decided that we wanted to make a game that we could stand behind as both a game and a piece of art. After about six months of pre-production, concepting and prototyping, we’re super excited to share with you what we’ve been working on.


All Walls Must Fall is a tech-noir spy thriller set in a Berlin of 2089 where the Cold War never ended. A game in the isometric action tactics genre, you command secret agents using time travel, social stealth and combat. Prevent nuclear annihilation. Bring down the Wall. Love, kill, and remix reality to explore the meaning of freedom in a parable reflecting upon current global issues in the mirror of a fantastic future past.

After the break there are some handy links and another of our self-interviews! Let us know what you think on Twitter and Facebook!


What is this?! You guys are doing another self interview?

David: People liked it last time so we’re doing it again! It’s also good practice for us to try to talk about the game and gather our thoughts a bit. Catharsis for us, hopefully entertainment for you, everybody wins!
Isaac:  Yeah we also wrote a press release but this is a much better format for getting across our thoughts in our own words.

The Disco Generator: Procedural Level Creation in All Walls Must Fall

Hello, I’m Isaac, the programmer at inbetweengames, and in this post I’m going to outline the algorithm we’ve developed for creating levels in our game All Walls Must Fall.

All Walls Must Fall takes place primarily in the nightclubs of Berlin. One campaign takes place over a single night in the city, and will see you visit multiple clubs to carry out your missions. Each venue is procedurally generated to be unique for each playthrough. We call the system that creates these levels the DiscoGenerator (Disco here being short for Discotheque, the venue, rather than Disco, the musical genre…).

Clubs created by the DiscoGenerator, shown in Unreal

Above you can see how a few layouts currently look in-engine. Of course, it’s still early days for our project, and this is a somewhat rough version of the algorithm. It’s very much subject to change as we continue development, but I’ve had some requests for detail regarding how it works, so here we go!

Design Goals

Guiding the design of the generator is, of course, the design of the game in general. We have to take into account both the spaces we want to create themselves, but also how we want our toolchain to work for authoring content. As a small team, we want to be able to reuse assets as much as possible while still creating spaces that feel different each time you play. As such, we have a number of high-level requirements:

2nd Press Roundup Announcing: All Walls Must Fall


First off we want to thank YOU for taking the time to look at this and paying attention to All Walls Must Fall. We’ve been blown away by the positive reception of our announcement both on the internet and at the A MAZE festival. We would especially like to thank Michael Liebe from Booster Space and Carlos Liévano from Amazon for enabling us to show the game at the conference as well as the entire team behind the organization of the festival and the wider Games Week Berlin. Last but not least we would like to thank Ina Göring from the Medienboard Berlin Brandenburg for supporting us in developing our game concept for the application with the Medienboard which in turn also benefited the clarity of our messaging greatly for the announcement, as well as Helge Jürgens for taking the time to check out our little booth at A MAZE and listening to our pitch.

In the following we want to give an overview over the press reception All Walls Must Fall was able to gather.

English Motherfather! Do you speak it?

Press Release Announcing: All Walls Must Fall

Berlin, November 11, 2089 – A blinding flash of light eradicates the divided city.
For a moment, there is peace. Then time rewinds.

Berlin, April 18, 2016 inbetweengames, a new indie studio from some of the people behind Spec Ops: The Line, Dead Island 2, and the team of The Mammoth: A Cave Painting, are terrified to announce their first commercial game.

All Walls Must Fall is a tech-noir spy thriller set in Berlin 2089 where the Cold War never ended. A game in the isometric action tactics genre, you command secret agents using time travel, social stealth and combat. Prevent nuclear annihilation. Bring down the Wall. Love, kill, and remix reality to explore the meaning of freedom in a parable reflecting upon current global issues in the mirror of a fantastic future past.

About All Walls Must Fall

All Walls Must Fall on Steam Early Access in Fall 2016.

Berlin, November 2089For 150 years of Cold War both sides have used temporal technology to counter each other’s every move. But this deadly love is finally coming to an end as a rogue nuclear strike has both sides sending agents back in time to find out who did it and how to prevent it before everything turns to ash forever.

All feet in the air – Where inbetweengames is and what is coming up..

We wanted to take a little bit of time to talk with you guys about where we are currently and how things are going. It’s also one of those announcement of an announcement kind of things.

The last couple of months we have been really busy getting the organizational side of our team in order, getting our company incorporated and applying for some grant funding for the development of the game so we can stay as indie as we aspire to be.

Pretty boring stuff overall – but it has to be done. It has also helped us to be forced to formulate our thoughts about the game in a coherent manner that would be subject to a fair amount of scrutiny. Because unless you can explain something simply you don’t really understand it yet. On top of that we also had to figure out our business plan. But now with a few exception of some last remaining details we’re all set up and ready to go.

Play OSHIYA! PUSH! now!

やった YATTA! We did it!

So after our entry last Jam, The Mammoth: A Cave Painting (17th overall, 6th mood), we decided this time around to go for the fun and humour categories. The Mammoth was a little bit on the sad side and we opted out of the humour category completely then. This time around we focused on the gameplay and tried to make it a light-hearted celebration of a certain aesthetic. Let us know what you think by rating OSHIYA! PUSH!

We re-used the crowd AI framework that was used to power the hunters in The Mammoth for the passengers in this game, and also pulled in a rhythm framework that we’ve created for another project. Everything else we did from scratch in the 3 days of the jam using Unreal Engine 4, with a team of 4 full-time developers plus our friend Almut Schwacke, who provided the audio. Check out this timelapse of development from Isaac Ashdown, showing c++ coding and Blueprint and UMG scripting:

We’re starting to get into open development – the NDAs of AAA are a hard habit to break, but we’re trying – The Mammoth already available as an open source project if anyone’s interested in the codebase. Feel free to pass on any development questions you have to @eyesiah or @inbetweengames!

Announcing inbetweengames

We’re proud to announce that we are going indie! Wooohoo!

inbetweengames are three former AAA developers who worked together at YAGER in Berlin on Dead Island 2. When that game got cancelled, we started thinking about what we wanted to do next. Turns out we wanted to keep making video games! So now we’re happy to announce that we’ll keep doing that as an indie team!

To celebrate, we’ve released our Ludum Dare 33 game, The Mammoth: A Cave Painting, on iOS and Android! You can play it here!

Follow us on on Twitter and Facebook to see what we’re up to.  If you’re into these kind of things you can also check out our Presskit.

Here’s who we are and also a little interview:

Isaac Ashdown
aka Disruptive Technology – 1st Horseman of Indiepocalypse
Isaac Ashdown is the best gameplay programmer you’ve never met. With over 7 years in the industry including at YAGER and Zeroscale he worked on a myriad of games including Demolition Inc. and Dead Island 2. He’s also very excited to be finally responsibile for his own failures: no more blaming it on the publisher! Even though according to credible industry source KPOPSTARZ he was ‘Deep Silver Boss’ all along!

Jan David Hassel
aka Low Barrier of Entry – 2nd Horseman of Indiepocalypse

David was raised on German medieval festivals before being adopted by YAGER for 8 years where he helped develop Spec Ops: The Line, an undisclosed project and lastly Dead Island 2 as Staff Designer. In his spare time David enjoys talking to imaginary characters and his cat while hitting people with swords and wearing silly costumes.

So who’s the Monster in The Mammoth anyway?


David here from inbetweengames. After giving everybody a bit of time to maybe check out our game ‘The Mammoth: A Cave Painting‘ and reading the awesome comments on the page, I wanted to talk with you guys a bit about the interpretation of the theme that we decided for. This is going to be somewhat of a spoilerfest so if you want to check out our game with fresh eyes best do it now before reading this. We’ll be waiting here.



Everybody good? Are you ready for a hippie, arty rant? Cool, let’s go. 🙂

Developer Timelapse – The Mammoth: A Cave Painting


Want to watch 3 days of coding in 10 minutes? Here’s a timelapse video of inbetweengames’ Isaac Ashdown writing the gameplay and UI code for The Mammoth in Unreal Engine 4:

All of the team currently work at YAGER in their day jobs, where we’ve been using UE4 for several years on a AAA project that was recently cancelled. We thought it would be interesting to see what we could pull off in the engine in just 3 days, which for us is a pretty big change of pace compared to our normal way of working. We’re really happy with how it turned out!

We created the entire game, including the concept, in the 3 days of the jam. Beforehand we did some prep for some of the systems we knew we’d need for the game we wanted to create: a custom 2D flipbook material that allows us to animate sprites similar to Paper2D while giving us the full functionality of Unreal’s material editor; controls for a top-down or “isometric”-style game; and finally a basic framework for flocking/crowd AI. This last system was pretty heavily hacked up to create the AI for the hunters and mammoth babies.