From a portfolio video to game development: Tramdrey, the artist behind Echo Railway

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The Echo Railway game page was launched on Steam on May 14th and quickly attracted over 800 wishlists. This impressive result for an indie project confirms player interest, despite the presence of only a trailer and a few screenshots. Echo Railway promises a unique gaming experience, and the growing audience interest testifies to the project's high potential.

Andrey Negrul (Tramdrey), a 2D and 3D artist, is actively creating games in his spare time. His project, Echo Railway, combines elements that are close to his heart: the atmosphere of dark cyberpunk cities, trams, detective stories, and jazz music. When developing his pet projects, Andrey strives to reflect his hobbies and interests, making the game unique and appealing to fans of the genre.

The game is a captivating detective adventure centered on the conductor of an old tram serving a dying futuristic city. People are leaving Earth, but the tram continues its route—this is the main character's task. It's worth noting that he is a robot and must demonstrate his effectiveness or face recycling. The Great Exodus of Humanity is depleting resources, threatening the existence of not only the tram but also the protagonist himself. This story immerses you in the struggle for survival and the need to adapt in a changing world.

The game's storyline will be non-linear, allowing players to immerse themselves in a unique experience of exploring the city. Although the tram moves along fixed tracks, the possibilities for exploration remain broad. Players will have to independently choose routes, complete tasks for local residents, and ensure the comfort of passengers to avoid dissatisfaction. This approach will make the gameplay more engaging and varied, emphasizing the importance of interaction with the surrounding world.

We interviewed Andrey to gain a deeper understanding of the game's development process and his role in it. You can follow the game's updates and development progress through the author's X or his Telegram channel.

I've been following your work closely since you performed under the pseudonym Andrey Tramvaev. Now you're known online as Tramdrey. Your passion for trams is certainly impressive. Tell us how it came about and developed?

The idea for the game and its name came about simultaneously. It's difficult to pinpoint why trams became a source of inspiration for me. I come from a small town where minibuses and trolleybuses were the main means of transportation. After moving to a larger city in 2009 to study, I discovered that trams became an integral part of my daily life. There's something unique about them that's hard to explain. The sound of the wheels and the rails create an atmosphere that's different from everything else in the city, as if they were transport from another world. Trams represent movement and connection, which is what inspired me to create the game.

You originally created the trailer for your portfolio. When exactly did you realize this project was starting to develop into a full-fledged game?

My journey in game development began with a desire to create my own project. At some point, I realized I could handle most aspects except for programming. So, I decided to focus on developing concepts, ideas, and design documentation. I figured that formalizing all the main elements and visualizing my idea would help me better understand my project and make it easier to find like-minded people. I drew inspiration from the game Limbo, where an artist created a short concept trailer, which allowed him to find a programmer and launch the project. This experience became an important lesson for me about the importance of visualization and high-quality idea presentation in the gaming industry.

For six months, I created design documents, simultaneously developing environment and character concepts for visualization. At some point, I felt burnout and began to doubt my desire to dive into indie development for the next few years, as this is a serious step. Nevertheless, I decided to finish the trailer first and then decide on the next step. During the process, the trailer became filled with many details and began to resemble a trailer for a full-fledged game. When I finished the trailer six months later, it was warmly received by the audience, which inspired me to return to game development.

Echo Railway is reminiscent of several popular games that combine strategy and resource management elements. Most notably, Factorio, where players build complex production chains and optimize their actions to achieve goals. Similarly, in Echo Railway, players must effectively manage resources and organize cargo transportation.

Another game comparable to Echo Railway is Railroad Tycoon, which emphasizes developing a railway network and managing the economy. In Echo Railway, players also build and develop their routes, taking into account various factors such as demand for goods and available resources.

Furthermore, the game's planning and tactical mechanics may be reminiscent of Cities: Skylines. Here, it is important to think through every detail to create an efficient and balanced infrastructure.

Thus, Echo Railway combines elements typical of games like Factorio, Railroad Tycoon, and Cities: Skylines, offering players a unique experience in managing a railway system and optimizing logistics processes.

From the very beginning, I envisioned a game in the adventure genre, but with more complex gameplay compared to visual novels. I analyzed my preferences in various games, wrote down ideas, and drew conclusions. One example that comes to mind is Out There, an indie roguelike in which the player moves between points, each of which represents an event. This game lacks combat; instead, the emphasis is on resource management. At its core, this game is about developing a story and exploring the world around you, which is an important aspect for creating an engaging gaming experience.

I envisioned a similar core gameplay, but with an emphasis on interaction with characters, quests, and tram simulator elements. At stops, the player will be able to move around, interact with NPCs, and explore points of interest, creating an atmosphere similar to classic adventure games like Grim Fandango. Mini Metro, known for its simple yet ingenious mechanics, also provided inspiration. This approach will create a unique and engaging gaming experience, combining elements of simulation and adventure.

These are preliminary ideas that require testing, but it is important that passenger flow be taken into account when planning routes. Inefficient use of space in the tram will ultimately lead to a decrease in the overall efficiency of the system. Optimizing routes based on real demand will improve passenger comfort and operational performance.

Interaction with NPCs in the game is reminiscent of the mechanics of L.A. Noire, where the player must select relevant clues for a successful interrogation. This requires a deep understanding of the context of events. I'm not a fan of dialogue-driven guessing, but rewarding the player for paying attention creates engaging gameplay. We're working on an idea to introduce environmental cues. For example, a billboard featuring a police officer holding a soda with the caption "This drink is the police's choice" could influence the course of a dialogue. By offering the officer this drink, the player will be able to better establish rapport and increase the chances of a successful interaction.

Echo Railway creates a unique atmosphere that evokes positive emotions. However, I'm still having trouble pinpointing exactly what it resembles. What works inspire you and shape this mood? It could be games, films, books, comics, or music—all options are important. Share your sources of inspiration to better understand how they influence the perception of Echo Railway.

Thank you for your interest! I didn't have a clear reference point; I simply took one of my favorite settings as a basis and added elements that are important to me. The visual style is inspired by the work of Syd Mead and Moebius in The Long Tomorrow, which defined the iconic look of Blade Runner and its successors in the 1980s. I recently read the original Blade Runner novel and was surprised by how much darker the book was compared to the film. This contrast also influenced my work.

Among more modern films that have already achieved classic status, the first Matrix movie stands out. Particularly memorable are the scenes in which the metropolis appears empty, like a large-scale set. Think of the moment when Neo searches for a phone and walks through abandoned laundries, creating the feeling that this part of the city has been abandoned and forgotten for decades. This perfectly captures the atmosphere I'm trying to convey. I should also mention the photographs of Europe from the late 19th and early 20th centuries, which I collected in large quantities and constantly use as reference. In games, the closest analogue is Prague from Deus Ex: Mankind Divided, which also has a unique atmosphere of abandonment and mystery.

Have you developed a backstory for your city? What are the living conditions of its inhabitants remaining in this world? Is it a dystopia?

According to the classic canons of cyberpunk, the world depicts the decline of human culture against the backdrop of rapid technological progress. Although there is still a significant human population, the general atmosphere has not reached a post-apocalyptic state, but gradually everything around is falling into decay. At this stage, the name of the city, where it is located, what year on the calendar, and how alternative history is in this world are not so important. Much more important are the feelings it evokes: mystery, melancholy, a sense of deep history and the interweaving of different times and cultures. This unique context creates an atmosphere that allows you to immerse yourself in reflections on the future and the past at the same time.

In my youth, I was greatly impressed by the Strugatsky brothers' novel "The Doomed City." The atmosphere of this work was quite dark, and the city it described had a depressing atmosphere, but some parallels can be drawn between it and modern realities. While it's difficult to classify the novel as a dystopia, it does indeed contain the idea of ​​the Great Revision and its perpetrators. However, the main emphasis is on corporatism, characteristic of classic cyberpunk. This work makes you think about the influence of large corporations on society and individuals, which remains relevant today.

Humans are leaving a dying Earth, embarking on starships in search of new worlds. However, tram conductors and other urban robots will likely not be taken along. This raises an important question: will only machines devoid of human presence remain on Earth? With climate change and resource depletion, the role of robotics in everyday life is becoming increasingly significant. But what will happen to these automated systems when humans leave the planet? Will they simply remain soulless service units, or are their programming built into them that allow them to adapt to a new environment? This situation raises many ethical and philosophical questions about the future of human-machine interaction.

The question of the priority of humans and robots in the context of space travel remains open. Ineffective robots will likely be discarded, while humans will be offered fewer opportunities to participate in interstellar missions. Efficient conductors may not be in demand on space rocket carriers, but their skills can be adapted for other tasks. They may even manage transportation on new planets, opening up new horizons for the application of human potential.

The main character's job as a conductor involves monitoring fare collection and ensuring passenger comfort during travel. They are responsible for collecting tickets, checking for travel documents, and resolving any issues that arise. They may encounter fare dodgers along the way, with whom they must interact, resolving situations with understanding and patience. Furthermore, the conductor plays a vital role in creating an atmosphere of communication with passengers, which contributes to the improvement of their experience and the positive image of public transportation.

Work in the transportation industry involves managing routes according to specified conditions and organizing passenger transportation. Payment can be processed automatically, which is relevant in the context of modern technology. However, conductors will still resolve any issues that arise during the process. Although money is not the primary metric, empathy remains an important aspect. Conductors can choose their work style: they can focus strictly on their tasks, ignoring external events and characters at stops, or they can interact with the environment, which can enrich their experience.

Passenger delivery and city exploration can be harmoniously combined. Passengers seek convenience and efficiency, and if a tram route offers interesting places and attractions, this can significantly enhance their experience. Instead of perceiving the route as a diversion, passengers can view it as an opportunity to discover new corners of the city. Proper wayfinding and information about attractions along the route can make the ride not only comfortable but also educational. Thus, combining passenger delivery with city exploration can enrich the transport experience and attract more tourists and locals.

This is an important question I've been asking myself from the very beginning. It would be simpler if it were a handcar in an empty city with rails or a regular train. However, a completely different game emerges in my mind, primarily in terms of mood. Urban transport has a unique atmosphere that makes it special.

I thought about this topic, and the setting itself suggested a solution. The city is in decline: important resources are being taken away for the needs of the space program. The transport system is also suffering, and even outdated trams and their drivers remain in operation. This situation testifies to the chaos in which city residents are content with even minimal transportation options. People are becoming less demanding about schedules and route lengths. However, the absence of routes is impossible: what urban transport can function without clearly marked routes?

To avoid narrative dissonance in the game, it is important to limit the ability to freely move around the map. I've developed a solution: at the start of each game day, scheduled for seven days, the dispatcher will indicate a series of mandatory stations to visit. This will allow us to structure the route. The tram will have a charge limit, and mandatory stations will display counters showing the number of current passengers and their destinations. Passengers will be able to express dissatisfaction, which will affect their rating, but proper game balance will help find compromises. As a result, the route completed will influence the overall performance of the game day. Let's consider the importance of risk awareness in gameplay. Sometimes a player decides to change the route to visit an interesting location. This allows not only to explore the world but also to maintain focus on the main task. For example, in the game Papers, Please, one could offer the opportunity to take a break, spend some time and resources, but in return receive valuable information from a security guard. These elements make the game more engaging and add depth to decision-making.

The mechanics of moving around the city are organized in such a way that the tram can move in both directions. In the presented video, you can see how the tram has reached a dead end, which is a common practice for tram systems. This allows the train to turn around and continue moving in the opposite direction. Tram routes are designed to ensure ease of movement and minimize waiting time for passengers. Thus, the tram transport system effectively copes with the task of moving along city streets.

This is a process of step-by-step movement on a map consisting of many nodes, similar to the games Out There and FTL. Unlike realistic simulators, tram control is not provided here. Although in the initial stages of development I had the idea to implement the possibility of direct control, in the end the emphasis was placed on strategic management of movements along the route.

The tram can reach a dead end, but the player has the opportunity to return to the previous location. This will be implemented through screen dimming and "teleportation" to a previously visited location. This approach simplifies the development process, as it eliminates the need to create two-sided models of each location, which would introduce unnecessary complexity without significantly improving the gameplay. I may consider other solutions in the future, but for now, this seems the most rational.

The game's detective mechanics play a key role in creating an engaging gameplay experience. They include exploration, collecting clues, and interacting with characters who can provide quests and clues. Players will be able to immerse themselves in a world of mystery, uncovering secrets and solving puzzles. Characters with unique characteristics and knowledge will offer tasks that will help advance the story. Participating in detective elements not only enriches the gaming experience but also promotes the development of players' analytical thinking, making the game more exciting and interactive.

Movement and passenger transportation in the game can be considered part of the arcade portion, while the remaining elements represent the adventure aspect. This aspect includes quests, dialogues, riddles, and other mechanics. The detective component develops from these elements: some quests will be multi-level and will last throughout the game. Other quests will be simpler, but the emphasis will be on the importance of correct decisions and dialogue choices. In some cases, quests may conflict with the main storyline, and the player will have to make risky decisions to successfully complete the tasks.

Currently, as I understand it, you are developing a demo version. You probably won't have time to prepare it for the "Games Will Be" event in June. What about the October event? When can we expect the demo release?

There are no specific plans yet, as we first need to test the prototype and evaluate its playability. This is a pet project, and work on it is only being done in our free time, so the deadlines are still uncertain, although it is also important to set approximate deadlines for pet projects. A key step is to forecast the technical aspects, which will be developed by another specialist. After this, it will be possible to more accurately plan further steps.

The game is currently in active development. Key stages have been completed, including concept creation, mechanics, and core gameplay. The team is currently working on graphics, sound, and testing the first levels. The main characters and environments are already ready, allowing for preliminary testing and player feedback. In the future, we plan to add new features and improvements based on community feedback.

The game design is now fully prepared for the prototyping stage. Subtleties and nuances need to be worked out during testing. We have unique assets for buildings, items, interface elements, and some animations. Draft quests of various types and several dozen events with varying degrees of difficulty have been developed. In parallel, I am testing technical art in Unreal Engine and continuing to refine the visual aspects of the project.

Are you developing the game alone? Are you considering building a team in the future?

At the moment, the project is being implemented purely out of passion, and I can't handle the technical aspects on my own. If we can come to an agreement, a programmer will join the team soon. We can discuss creating a minimum viable product (MVP) together. It's important to note that I'm in favor of compensation because I believe teamwork should be rewarded.

Was it Blender? Did you have any experience with 3D modeling before starting development, or did you learn on the job?

I've made rare attempts to master 3D modeling, but they were limited to random experiments, like creating an unsuccessful model in ZBrush. However, about four years ago, I began studying Blender in earnest. I immersed myself in the basics and gradually began mastering the program's more complex features. While working on the trailer, I continued to learn new tools and techniques. This process seems endless, especially considering that Blender is constantly updated and adding new features. Mastering Blender opens wide horizons for creativity and allows you to create high-quality 3D work.

When learning new aspects of development, I actively use various tools and technologies. It's important to understand that working with code and engines requires constant updating of knowledge. I prefer to study documentation, take online courses, and participate in webinars. These resources help me quickly master new programming languages ​​and frameworks. In addition, I practice on real projects, which allows me to consolidate my theoretical knowledge in practice. Sharing experiences with colleagues and participating in developer communities also significantly expands my horizons and helps me solve complex problems.

Over the past two years, I've made significant progress in the field of technical art. Until you encounter this topic directly, it's difficult to understand its importance. You have a general idea, but nothing more. In practice, especially when working with Unreal Engine, which I primarily interact with, many questions arise, even when simply importing models from Blender into Unreal. Technical art plays a key role in the game development process, ensuring optimization and visual consistency. Understanding the nuances of this discipline helps avoid common mistakes and makes working on projects much easier.

Rendering and lighting function differently in a game engine, and materials are displayed differently, especially in the context of stylized graphics. This is one of the reasons why I decided not to transfer everything to Unreal for the trailer and not record similar footage from there. Such a process would have probably taken several additional months.

As a result, the image in Unreal Engine will look significantly better thanks to the careful work of lighting, which I pay special attention to in my art direction. I did not delve into the details of the code, but I have mastered working with Unreal nodes and recently started using the sequencer to create animation and visual effects.

If it's a pet project, does that mean you are not going to attract investment or look for a publisher?

No, it does not. It means that I do not have the opportunity to do this full-time. The reason is simple - my day job and the need to make a living. I've already spoken with several publishers, and they've expressed interest in further collaboration, but of course they want to see a demo version. Without it, the chances of successful cooperation are extremely low.

You've already started Promote your project? If not, what platforms do you plan to use and in what format? Don't forget that wishlists won't just accumulate. The right promotion strategy will help draw attention to your project and increase its visibility. Consider social media, blogs, and specialized platforms to reach your target audience.

On the first day, I posted an announcement on social media, which brought in 500 wishlists. On the second day, another 200 were added. In the following days, without any additional effort, the increase averaged 30 wishlists. Despite this, getting that many from a single trailer without significant expectations is a great achievement for me, and I'm very happy about it.

I actively create posts in thematic communities on Reddit and comment on indie-related accounts on X. I also privately messaged several YouTubers who cover indie projects. One of them responded positively, and now we can only hope for further development of this interaction.

In the first devlog, you mentioned your love of jazz. Will there be jazz in the game and where do you plan to get it from?

I'm really passionate about music, and jazz perfectly captures the atmosphere of this genre. I'm especially attracted to subgenres such as dark jazz and jazz combined with electronic music. Inspiring examples include The Kilimanjaro Darkjazz Ensemble, Bohren & der Club of Gore, and early albums by the Polish duo Skalpel. However, it's important not to overdo it with jazz, so I want the musical accompaniment to also include more traditional ambient music that harmoniously complements the overall mood.

I'm inspired by the music of 2814 and Lorn. I put together a playlist of tracks that are close in spirit and listen to it periodically for inspiration. I'd love for the game to have a great soundtrack that would harmonize with these styles, but that remains a challenge for now.

Do you have a design document? While it's not strictly required, it's important to have a general understanding of the project. This will help avoid creating unnecessary mechanics and delaying the development process. A clear structure and understanding of goals will allow you to move forward effectively and optimize your workflow.

I didn't initially consider developing without design documents. My main task was to create the foundation of the gameplay, and I worked purposefully towards this goal. I am grateful to my game designer friend for listening to my ideas and helping structure them into a logical concept.

As a result, the game can be partially played in a board game format, which adds a new level of interaction. I have numerous drafts of quests and events, as well as sketches of various endings, which are planned to be varied. An important aspect is progression, including character selection and different types of trams, which creates the prospect of further expansion of the gameplay. Effective planning is key, and it's important to keep the process simple by starting with small steps.

How long will it take to fully develop a game? The estimated timeframe depends on many factors, including the project's complexity, team size, and the technologies used. Typically, game development can take anywhere from a few months to several years. It is important to take into account the design, programming, testing and finalization stages, which also require a significant investment of time.

At the current pace of work, devoting time to this in your free time, it will take a year to create a demo version and another year to complete all the remaining stages of the project.