Brigador devs think it’s crucial that their abrasive, hardcore mech sims aren’t for everyone: ‘I think we make boy slop, but that’s okay’

Featured image Brigador devs think its crucial that their abrasive hardcore mech sims arent for everyone I think we make boy slop but thats okay

When talking about game design, the tension between depth and accessibility is often the defining struggle for creators. This balancing act becomes especially acute when attempting to create complex, immersive experiences that require genuine passion, a challenge exemplified by the developers of Brigador Killers.

Jack and Hugh Monahan, lead artist and designer for Stellar Jockeys, reflected on how market demands affect their creative process. They noted that while there is a need for mainstream buy-in to sustain a project, focusing too heavily on superficial trends risks homogenizing the experience. Their journey with Brigador Killers, which initially faced sales hurdles before evolving into a cult classic, provides a fascinating case study in this dynamic.

The conversation quickly shifted to the philosophical implications of creating challenging games. Jack Monahan posited that the challenge lies in designing for the players who passionately engage with the world, acknowledging that not everyone will click immediately. He suggested that demanding depth and complexity can lead to an inversion: creators might be unintentionally reflecting their own biases back onto the audience.

“We have to hold a weird mirror up to people,” Jack explained. “It creates an inversion of saying, ‘I think you’re idiots,’ but instead it becomes, ‘Here is what I think idiots want.’”

This reflection led to a deeper dive into the role of difficulty in community building. Hugh Monahan drew parallels between approachability and reading comprehension, citing literary giants like Ursula K. Le Guin, whose work balanced profound depth with wide accessibility, versus Fyodor Dostoevsky, who offered intensely challenging literature.

The concept of friction—the barrier to entry—is crucial for cultivating a dedicated community. Hugh argued that if a game is too easy, it doesn’t incentivize the necessary effort; if it’s too difficult, players give up before they can prove themselves. He compared this dynamic to games like Dark Souls, suggesting that true community identity forms when players overcome meaningful obstacles.

This required friction helps establish an implicit bond within the player base. When a barrier exists, those who manage to navigate it share a deeper sense of belonging. This insight is particularly relevant for assessing how much prior knowledge or investment players need to enjoy a game, questioning what minimal experience is necessary versus what full mastery is sought.

Ultimately, Jack and Hugh recognized that creators cannot escape their influence. As they pointed out with an example regarding the 50s and 90s-style portraits in Brigador Killers, subtle artistic choices inevitably leak into the work. Whether intentional or not, the creator’s passion leaves a visible thumbprint on the final product—a truth that, whether good or bad, must surface eventually. The core lesson remains: authenticity, born from genuine interest, is what truly defines a piece of art.

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