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Team Atmos is proud to present our Gold Milestone trailer. SubRay has been in development for over a year now and we're excited to continue working on it into the summer.

Just in time for GDC 2014, we're proud to show you a new trailer for SubRay marking our progress since Pre-Alpha. We're now nearing content completion: showcasing an intro, all-new levels, a new boss fight, and an ending sequence. Stay tuned for more updates in the future as we continue development!

Pre-Alpha marked SubRay's progress before winter break and the turn of the New Year. Our visual fidelity increased ten-fold from Prototype Milestone, and we started to flesh out our world even more.

During our level creation phase, flipped collision normals made their appearance in our spline-interpolated geometry quite often. We thought they were harmless, but one such flipped normal served to break the heart of a small lonely charger enemy.

...All he wanted was a hug.

Our very talented Concept and Game Artist, Annabelle Bowie, began preliminary work on the weapon modules you would pick up during the game. 

Some of these modules have't made it into the current design, but are still great concepts that helped solidify the visual design of our sub.

Our second game presentation, shown at the Prototype milestone, came only a few short weeks after Engine Proof. At this stage the game was now playable, some minor bugs and glitches notwithstanding. 3D positional sound, improved graphical effects, and the start of the sonar behavior were implemented along with many other additions.

This milestone also marks the beginning of our teases for the first boss.

While our Engine Proof demo showed a lot of peaceful and tranquil things, concept work needed to be done on the later portions of the game, where things get much more twisted and hostile. This audio visualizer demo was put together by Seth Weedin in an attempt to create that atmosphere.

Engine Proof was the first time people really saw SubRay. This short non-interactive engine demo showcases a lots of tech, from particle systems and glow/lighting shaders, to beat syncing and layered music.

These tracks date back to when the game wasn't fully realized visually. Seth Weedin composed and produced them to help the team get a strong feel for the atmosphere we were shooting for.