Soulframe’s Incredible World Is Built, In Part, From Scottish Slang And Ancient Bear Mythology

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This weekend, Digital Extremes is hosting its 10th TennoCon event to mark 12 years of Warframe and the debut of their upcoming project, Soulframe. Prior to the festivities, a gameplay demo for Soulframe was unveiled by Steve Sinclair (CEO), Geoff Crookes (Creative Director), and Sarah Asselin (Senior Community Manager) from Digital Extremes, and we had the opportunity to interview two members of the Soulframe development team.

Sydney Hills, the Soulframe narrative designer, along with lead designer Scott McGregor, graciously responded to our inquiries regarding their latest game’s revamped skill system, the enigmatic French-speaking witch Verminia, the melodious bear Bromius, and other intriguing aspects.

In simpler terms, Soulframe is a game where you can play for free, explore an expansive world filled with magic and mystery, and it’s quite different from Warframe as it’s set in a fantasy landscape rather than a sci-fi one. Instead of using weapons like guns or lasers, you’ll find yourself wielding bows and practicing magical abilities in the lush wilderness of Midrath.

For those eager to experience the game firsthand, you can register immediately on the official Soulframe website. By signing up during TennoCon weekend, which ends on July 20 at 11:59 p.m. ET, you’ll receive access to Soulframe Preludes from Digital Extremes.

In an earlier discussion, Steve expressed concerns that the skill trees in Soulframe might seem dull or not ideal for a live service game like Soulframe. He also shared some concept art depicting a revised skill system. Could you elaborate on the modifications to managing and acquiring skills in this new system, and how it suits Soulframe better as a live service game?

In the initial phase of Warframe, there was an iteration of a skill system. However, it didn’t function as intended. Regrettably, we faced the same issue again [laughs]. In Soulframe, our aim was to link this skill system more closely to various categories of weapons, to ensure it aligned with the extensive gameplay duration we were planning. Our games are designed for thousands of hours, and we hope to keep players engaged for a long time, as many have been with us for Warframe’s 12-year journey.

As a gamer, I understand the struggle of crafting intricate gaming systems that keep me engaged for extended periods. However, in our current setup, we found ourselves falling short of that goal yet again. So, we’re making a shift towards a more flexible and adaptable system, one that allows for seamless additions and doesn’t adhere to a strict timeline. Unfortunately, the skill tree approach seems to have its limitations, as it requires us to honor all the time and effort players have invested in it.

If you introduce something exciting and novel into our game, a player who has been with us for quite some time may be able to unlock the item at the very top of the skill tree. Conversely, a player who joined five years ago or someone who merely watched a developer stream and found the new skills appealing but only recently started playing might find the extensive hours required to reach the end of the skill tree daunting.

As a fan, I’m thrilled about our approach of creating an evolving system – one where additions and removals are part of the development process. This way, both newcomers and veterans can enjoy the continuously expanding content. Essentially, it’s like crafting a universe that mirrors our growth as players.

McGregor: The development of the number and types of skills you can equip won’t be set in stone but rather connected to the progression of weapon categories. For instance, if you choose bows, you might have access to a scroll-like item for bow techniques and skills that can be swapped out as you become proficient with more bows. As your skill level increases, you’ll gain more slots to fill with these skills. The acquisition of individual skills will be determined by exploration; you could discover them from ancient relics or find rare ones as loot drops, among other methods.

We encountered a witch named Verminia who speaks French, and I must say I appreciate her since I speak the same language. Is the use of multiple languages significant to the storyline in Soulframe, or is it more about creating an overall atmosphere as you develop and enrich the world?

Sydney Hills”: Absolutely, a significant aspect of Soulframe lies in its multilingual and diverse accents. We’ve collaborated with voice actors hailing from numerous regions so far. For instance, Kim Bonifay, who voices Verminia, is French but based in London, England. Moreover, for the Bromius quest, we brought on board Øystein Kanestrøm, who plays Bromius and records his lines in Finland.

In my writing process, I draw a significant amount of influence from ancient languages and colloquial expressions of yesteryear. For our recent update, we recruited several voice actors with a Scottish background for all our NPCs in Dendria, our fictionalized Scottish village. This experience was both educational and entertaining as I delved into the rich tapestry of Scottish slang. Often, I would incorporate some of these terms into the script during recording sessions, only to discover that they were commonly associated with being intoxicated rather than tired, as I had initially assumed. The actors would often question if a character was drunk when I intended them to be tired. It turns out that almost every Scottish term for slang can be interpreted as meaning ‘drunk’ if you dig deep enough [laughs].

In the Bromius quest as well, we drew significant inspiration from Finnish folklore and language. There’s a fascinating Finnish term that translates roughly to “tears of the deep forest spruce.” Interestingly, it serves as another veiled reference to moonshine or homemade alcohol in our storyline.

McGregor: Oh, really?

Hills: Conducting such preliminary language studies undeniably serves as a catalyst for many of the themes. It played a significant role in shaping the Bromius quest. As for a tree’s tears, they would be sap.

In the initial phases of developing a live service game, when players are engaged with preludes and the game isn’t completely open, what kind of hurdles must be overcome in constructing an engaging narrative? Furthermore, how much should the development team plan ahead for a game that intends to expand over several years?

During the early stages of creating a live service game, while players are still playing the preludes and the full game hasn’t been launched yet, what difficulties arise when crafting an appealing narrative? Additionally, how much long-term planning should be done for a game that aims to grow over multiple years?

Both versions maintain the original meaning but are rephrased in a more natural and easy-to-read manner.

hills: A significant amount of speculation is involved when it comes to the narrative. There are numerous elements that have been established for certain. For instance, we have major plot points associated with our key villains and heroes, as well as characters we must rescue. However, many aspects emerge naturally during the process of penning weapon descriptions or in-game location text.

As an enthusiast, I find myself gradually unraveling a captivating tale, occasionally introducing new elements like a hidden world named ‘Skelflind.’ Each fresh piece adds depth to the story, and I eagerly hope that everything will coalesce harmoniously at some point.

That sounds really difficult, I’m not gonna lie [laughs].

As a gamer, I’ve always found it fascinating how developers like McGregor plant seeds throughout the game world. These are tiny clues or hints that may not make sense immediately but can be revisited years later to reveal a deeper meaning about certain aspects of the game. In the case of Warframe, these early, subtly referenced lore elements have grown into significant parts of the game’s universe. I believe Soulframe will follow this same intriguing path, with initial hints leading to expansive revelations as the game evolves.

McGregor: Sidearms are a distinct group within our weapon inventory. For the moment, they can only be used in designated slots. While it’s not impossible that we might allow you to interchange these slots in the future, currently, we keep them separate. Think of it as having two different boxes for sidearms and main weapons.

Instead of only traditional weapons such as blades and maces, you’ll have diverse options for your sidearm. These could include a magic casting wrist gauntlet or a wrist-mounted bow. Essentially, the selection will extend beyond just these types of weapons, offering a wide range of tools in both categories.

I believe Sarah Asselin, our community manager, mentioned it, and she pointed out that the sidearm isn’t just a regular secondary weapon.

McGregor: It seems that Steve [Sinclair] is influencing Sydney as well. They have a habit of naming things, even for Soulframe, which can make my life tricky because I often trip up when we discuss these in public. Since it’s more like “It’s your sidearm,” but actually, it’s your secondary weapon.

What I appreciate about the games we create is that we strive to add an extra touch to give them a distinct taste and individuality. Instead of simply following a common formula, we aim to infuse elements that set our game apart from others.

McGregor: As for my personal favorite so far, I’d say the alt fire for bows takes the cake. It’s like a shower of arrows affecting a specific area, which I found quite refreshing since bows are common in many games and there are numerous ways to implement them. However, I felt that this particular approach made our creation stand out distinctly.

The standout feature from the demo we’ve been eagerly discussing is the mirroring of magical attacks, akin to a wizard duel. If you witnessed it in the live demonstration, you would notice that the player can return the magic projectile, similar to a parry with swords. When timed correctly, the projectile can be sent back and forth, amplifying in power each time it’s exchanged. This interaction could create a thrilling sensation if you’re the one firing it. This aspect has garnered significant attention in the studio, providing an incredible gaming experience.

Hills: Magic ping-pong. Has anyone called it that yet?

McGregor chuckles, “I must confess, I’m as clueless as a owl in broad daylight! It’s up to all of you to come up with something, and I’ll trip over it charmingly at a later point.

Hills: Magic ping-pong. Write that down [laughs].

McGregor: As for what lies ahead, I refer to it as Motes. In our game, there’s a system called Motes, but it’s rather plain – just numbers representing stats. We’ve thought of an innovative concept where Motes are creatures living within your sword, imbuing it with extraordinary abilities that set it apart from others.

As the system evolves and pieces fall into place, with modifications and enhancements along the way, it’s taking shape in a distinct manner that feels specific to this game. Consequently, I’m eager to see where this project is headed for future development.

As a passionate admirer, I’m curious to know if Soulframe deliberately focuses on incorporating more dialogues or melodies from animal characters, similar to the captivating encounter with Bromius, the bear, in the demonstration. I find myself longing for an experience that combines elements of Disney’s enchanting narratives, but with a darker, more perilous twist. Is this something we might expect?

Hills: At present, only our Omen Beasts can speak in the game’s lore. All other creatures make adorable chirping noises for now. Today, someone made a funny comparison to the Pied Piper story, imagining a group of animals following a bard as they sang and danced. I thought it would be charming if these critters could actually sing too.

Instead, I believe it is accurate to say that our Omen Beasts represent a kind of combined essence or spirit of the animal species they symbolize. For instance, Bromius embodies the collective spirit of all bears in Midrath, thus granting him an additional power enabling communication with the Envoy. As we continue to introduce more Omen Beasts, I am confident that this concept will grow and develop further.

Do you draw inspiration from any surprising sources, like stories or anecdotes, when creating your narratives?

While engaged with Soulframe, my fascination for historical mythologies has grown substantially. When discussing the idea of creating a bear Omen Beast, I delved into various cultures to discover those rich in bear folklore. To my surprise, there are numerous such cultures. Ultimately, we opted for Finnish inspiration because Finland exhibits an exceptional level of affection towards its bears.

Bears continue to be central figures in various cultural folklore. Going way back, even before the Common Era, they were significant in mythology, as exemplified by Otso, a legendary bear from Finnish epic poetry that serves as a creation myth. In this tale, Otso is portrayed as the ruler of the forest, eliciting both awe and apprehension, much like Bromius.

In the remainder of the demonstration, you’ll encounter him more frequently, but don’t be fooled by his imposing appearance. He possesses a delightfully gentle and tender aspect that I find truly captivating.

I mean, he was singing to a plant.

Hills: [laughs] Yeah! You’ve seen it. It’s there.

Yeah, I can’t wait to see the rest of the demo.

Soulframe is still in pre-alpha. The game is set to launch for PC later this year.

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2025-07-19 20:40