SOL Shogunate Interview: Ex-CDPR & Guerrilla Devs on Their UE5 ‘Samurai Space Opera’

A couple of months ago, independent developer Chaos Manufacturing unveiled its debut game, a sci-fi action roleplaying game titled SOL Shogunate. The game is quite different from your average science fiction setting: the developers describe it as a "samurai space opera". Essentially, the developers have imagined an alternate future in which humanity has colonized the Solar System, but society has somehow retained feudal Japanese culture. The game takes place primarily on the Moon, where the way of the sword is law under the rule of a powerful Shogunate.

The Moon features artificial gravity-creating cities, each designed as an homage to a revered era of Japanese history. These gleaming metropolises showcase towering space elevators, bullet trains, and opulent districts where the shogunate elite enjoy Earthlike comforts, including simulated night cycles. However, beneath the glittering surface lies a darker reality: countless workers quietly live and die in service to the Shogunate. Players control Yuzuki, the sole surviving heir of a once-powerful samurai family that was massacred by a rival clan. After her family's destruction, she becomes an outlaw ronin and embarks on a blood-soaked path of vengeance through the lunar cities.

The developer, Chaos Manufacturing, places great importance on music for this project. The studio already announced collaborations with various artists, including Japanese rock band AliA. Following the unveiling, I reached out through PR and set up an interview with the founders, Leszek Szczepański (Game Director) and Guy Constantini (CEO), both of whom have extensive experience developing triple-A games.

It was a very intriguing conversation that made me even more interested in SOL Shogunate than I already was. As a reminder, the game is in early development for PC (you can already wishlist it on Steam) and consoles. It may take a few years before we can play it, especially since the team is very small.

In this interview:

• From AAA to Indie - The Origins of Chaos Manufacturing
• SOL Shogunate: Creating a "Samurai Space Opera"
• Gameplay Deep Dive - Music-Synced Battles and Genetic Upgrades
• Tech & Philosophy - Unreal Engine 5 and the Studio's Stance on AI

From AAA to Indie - The Origins of Chaos Manufacturing

Welcome! Tell us about your respective backgrounds.

Leszek Szczepański: Sure. Hi, my name is Leszek Szczepański. I'm the Game Director at Chaos Manufacturing, which effectively means I drive the development effort. I gather a lot of talented and creative people and direct them in a way that helps us create this game. I've been in games for approaching 18 years. I'm Polish and worked in games in Poland for five years initially. Back in the day, I worked on mobile versions of Metal Gear and Castlevania, among others. After five years, I wanted to do bigger games. I looked around Europe and found Guerrilla Games in the Netherlands, part of PlayStation.

There, I worked on Killzone Shadow Fall, Horizon Zero Dawn almost from the beginning, and Horizon Forbidden West. Over this time, I’ve been an engineer, a designer, managed a few gaming projects, and used to be a professional Dungeon Master. After all this, I realized it was time to build something of my own. Around that time, I got introduced to Guy. I realized he is the yin to my yang; we complement each other quite well, so we decided to get Chaos going together about two years ago.

Guy Constantini: I’m Guy Constantini. I am the General Manager and CEO (or "wrangler of cats") at Chaos Manufacturing. I make sure that if there's something that needs to be done, there is either a person to do it, or I have to do it myself. We met a couple of years ago and have been working on this ever since. I grew up in Milano and Monza, where my dad brought home an Atari 2600, which tells you how old I am. From there, I decided I needed to make my way to the States. I studied in New Jersey at Rutgers, but none of my initial jobs on the East Coast were in games. I realized I needed to get into the industry, so I moved to the West Coast and found this company called Riot Games. At the time, they were working on a little indie game called League of Legends.

I worked on that for a bit, then went to Kabam in San Francisco to work on Marvel Contest of Champions. I realized I didn't want to work in mobile games, so I came back down to Los Angeles to work for CD Projekt Red. I split my time between LA and Warsaw during the tail end of The Witcher 3 and the beginning of Cyberpunk 2077. From there, I went to Skydance Interactive and worked on The Walking Dead: Saints & Sinners (Chapter 1 and 2) and Behemoth.

Eventually, I realized I had brought games to every platform currently in use. I decided to see if I could start my own company and make the games I finally wanted to make for the rest of my life. I knew I needed a competent Game Director because, while I know how to build projects, I don't know how to build a game from scratch myself.

You both have impressive credits. Guerrilla Games and CD Projekt Red are basically as AAA as it gets. Tell us more about Chaos Manufacturing. What kind of company did you envision, and how big is it? Is it remote or hybrid?

Guy Constantini: We learned a lot of lessons working on big and small projects. We always wanted to build something tight that punched above its weight. The idea was to find the right people because we think that if we do this correctly, those people will have wonderful lives.

Obviously, you have to have a concept for a company and cool games, but really, it's about the philosophy that drives us. We embrace the "chaos" of game development. I put it in the title so that if things ever feel frayed at the edges, we can point to the name!

We wanted to find autodidacts with a passion for knowledge. People who pursue mastery on their own. In a startup, you have to do things you're great at and things that simply need to be done. In exchange for this massive autonomy, we wanted to give people something worthwhile. Everyone in the company has at least a piece of what we're building. Eventually, once equity stops mattering, it'll be profit sharing. The idea is that people making the game should partake in the results of their success.

We also wanted to give people ultimate flexibility. We don't want you to move across the ocean just to see if something works out. That's why right now we're pretty much remote. The intent isn't to be remote for the sake of it, but to ask the people how they want to work together and have the company adjust to them. A company is a group of people, so the people should inform how the company functions. We think that is a more sustainable way of building a business.

We've been up to five people full-time, and that number fluctuates depending on where we are in our go-to-market path. We have a constellation of fractional people helping us out. One of my pet peeves is when people say, "This was a one-man job." It never really is. We will always credit the people involved. At the very core, I just want to treat people the way I want to be treated.

Are you self-funded? I know it's a tough environment for the industry right now.

Guy Constantini: I joke that I picked the best and worst time to do this. I have learned a lot about how tough fundraising is. Everything we've raised so far has been from angels—small checks cobbled together to build things. We definitely have some financing partners that have come to the table recently.

Our approach has always been: find the right partners, raise the money we can, and build responsibly with that money. Our model allows us to only grow as much as we need. We could always use more funding, but I’d rather not start than take money from the wrong people and end up in a situation where we grow too much, things go wrong, and people are out of a job.

Is the goal to self-publish, or would you consider a publisher?

Guy Constantini: I am very open to financing partners of various sorts. I know how to build a publisher; I've done so before efficiently. However, some publishers have capabilities I don't have. For the right partner, we are flexible, provided we retain creative control and they bring something to the table we lack. We don't have a publisher involved yet, but we are open to it depending on the partner.

SOL Shogunate: Creating a "Samurai Space Opera"

Moving on to the game, SOL Shogunate. The setting is quite interesting; space opera isn't usually connected to samurai. How did that idea come about?

Leszek Szczepański: The act of creation is inherently selfish. To create anything of value, you need to really believe in it, and to do that, you use the things you are passionate about. We looked at what we love: hard sci-fi, cyberpunk, near-future sci-fi, samurai fiction, Japanese music, and anime. We took these fascinations and put them together into a coherent whole. SOL Shogunate is what we call a "Samurai Space Opera," a mix of all these things we are passionate about.

Guy Constantini: We wanted to find a space that hadn't been explored a ton. We’ve seen samurai fiction and sci-fi alt-futures, but we wanted to architect a surreal future that feels fresh. We wanted to surprise people with the mix we put together.

Originally, the idea came from a piece of concept art by a wonderful artist who works with us, Aaron Nakahara (Kobaltplasma). He had this stylized image of a warrior who looked like a traditional samurai but had a burning light in the middle of his face. It reminded me of times we've seen samurai or ninja aesthetics in the future where it felt like just a coat of paint. I wanted to build something with an intentional aesthetic that came from a specific reason.

The protagonist, Yuzuki, is an outlaw out for revenge, which is a bit common nowadays. How do you plan to make her stand out compared to the average Ronin?

Leszek Szczepański: Honestly, the revenge part is just the first domino to fall. The story is not typical samurai fiction; it’s about unraveling mysteries regarding creation and destruction. The tragedy sets you on a path, but that path takes you to unexpected places.

Secondly, there is a reason we put Yuzuki in the future on the moon. She is a future samurai. The way she moves, fights, and looks is different. She has a sword, but also a thruster pack and grappling hooks, fighting in low gravity. We asked ourselves: "What is a future space samurai on the moon?"

Also, the idea of genetic modification is deeply ingrained in the story and setting. Yuzuki has unique genetic modifications. Her armor is inspired by samurai armor, but it's also part of her genetic augments that allow her to survive in the vacuum of space.

Guy Constantini: If you read The Book of Five Rings, you know that to be a samurai means to become the ultimate warrior. We wanted to ask: what does someone who idolizes this ethos do when they have access to technology 200 years in the future, like personal jetpacks and bioceramic skin? What does that do to the ultimate warrior? We carved out a character that behaves differently from a warrior in feudal Japan or a standard sci-fi soldier.

Does she have ranged capabilities, or is she meant to be a melee-only character?

Leszek Szczepański: The vast majority of her skills are based around melee weapons. She has grappling hooks to close the distance quickly. Through our upgrade system, she will unlock certain additional abilities, some of which might work at a distance, but ultimately these are there to enhance her fighting capabilities.

Gameplay Deep Dive - Music-Synced Battles and Genetic Upgrades

You mentioned unlocking skills. How does progression work in SOL Shogunate? Are there levels?

Leszek Szczepański: We have two elements of character progression. The simpler one is finding different weapons and unlocking armors as the story progresses. The major element is our genetic upgrade system.

We don't have a typical skill tree. Throughout the game, Yuzuki collects "Gene Slices" by defeating enemies or finding them in the environment. These connect to specific abilities or passive buffs. You equip these on a "Gene Board." Depending on how they are placed, they might interact with each other to unlock new abilities. You can also mutate genes together to create new combinations.

Realistically, every playthrough will be a little different regarding the skills and upgrades the player discovers. This feeds not only into combat but also into how she interacts with the world and the story.

Can you respec these mutations, or are they permanent?

Leszek Szczepański: You can reorganize your Gene Board at almost any point. However, once you mutate two genes to create a new one, the original two are consumed and gone.

Guy Constantini: The intent is that you have to make decisions that can't be reversed, but there is a lot of flexibility in how you rearrange your build.

One of the main official features is the multi-phase boss fights. You mentioned they are cinematic but dynamic. How do you plan to make them exciting?

Leszek Szczepański: Calling them just "boss fights" isn't precise; we think of them as epic set pieces. Some will be boss fights, but others might be elaborate encounters with multiple enemies. We treat these set pieces as puzzles; you need to figure out what tools you have and how to utilize them, similar to Metal Gear Solid.

Since SOL Shogunate is a samurai space opera, music is fundamental. We are working with a number of Japanese rock bands to create specific music pieces for these encounters. A good song tells a story, and so does a good encounter. We want to synchronize them perfectly.

The music flows and evolves: intro, chorus, bridge. We ensure the encounter evolves exactly on the beat of the song. If a boss changes phases, it happens on the beat, and the music adds layers, like a choir or orchestra. I call it an "overwhelming cocktail of emotions," where the player is overwhelmed by what they see, hear, and interact with.

Will there be difficulty levels so that players can customize the level of challenge in SOL Shogunate?

Leszek Szczepański: Yes. Our aim is to make a game that requires effort to finish, without overwhelming everyone. If you are a casual player, there will be an easy difficulty. If you want a proper challenge, there will be a hard mode.

Guy Constantini: For those looking for a challenge, the harder difficulties will require you to really dig for ways to overcome enemies. Our systems are interlocking; once you understand them, you become stronger. I personally like games that "beat my face into the ground," so there will be something for that type of gamer.

Regarding the narrative and space opera aspects, how are you tackling exposition and world-building?

Leszek Szczepański: SOL Shogunate is a Japanese-style Action RPG, so we focus on strong characters and a vibrant world. We want to create the Moon (and maybe something larger later) full of life, factions, and people with their own stories. We want an intricate story with mysteries, misdirection, and puzzles, set in a rich world with conflicting truths.

Guy Constantini: The premise, a samurai caste in charge of humanity, is just the tip of the iceberg. You have large rotating city biomes inside the moon with simulated gravity connected by train lines. Outside is the dangerous lunar surface with remnants of a solar system-wide war.

The story is about two characters. Yuzuki is the primary playable character, but it’s a story of two people from different walks of life whose worldviews are shattered and pieced back together. Yuzuki’s skin is reminiscent of Kintsugi (repairing pottery with gold) because she is the "shattered heir" rebuilding herself. We believe in storytelling through gameplay, including artifacts, radio comms, and cinematics.

Just to clarify, only Yuzuki is playable?

Leszek Szczepański: Yes, correct.

Do you have an estimate on the scope? 15-20 hours, maybe?

Guy Constantini: We aren't ready to talk about specific length or pricing yet, but philosophically, we think the world wants quality over quantity. Everyone has a stack of unplayed games that are hundreds of hours long. We want strong gameplay quality and visual fidelity that respects your time and wallet. It will definitely be beyond 10 hours, priced generously.

Tech & Philosophy - Unreal Engine 5 and the Studio's Stance on AI

Are you talking about a launch on next-gen consoles?

Guy Constantini: We want people on all kinds of devices to play. We are definitely coming to PC and Console. We’re developing controller-first, but PC will have a strong keyboard configuration. We want to build something tight, like Arkham Asylum, and if players want more, we’ll make Arkham City.

Are you using Unreal Engine?

Leszek Szczepański: Yes, it’s not a secret that we are working on Unreal Engine 5.

I noticed the Steam page previously had minimum requirements like a GTX 970, which seemed way too low.

Leszek Szczepański: Apologies, that was an error. We removed them. We aren't at a stage to talk about target requirements yet.

Guy Constantini: That was my fault! But generally, we want to make games that run on a wide range of hardware, though obviously, they will look incredible on the latest gear.

A bonus question about the recent controversy with Larian regarding AI usage. What is your stance on AI?

Guy Constantini: Our game art is handcrafted. Our principal concept artist went couch surfing all over Japan to take pictures to build worlds inspired by real life. I like to let artists inform what tools they use, not tell them to use something just to save a buck. So far, our artists say making things by hand works best.

That said, anyone who says they know what they’ll be doing in two years is lying. Technology changes. If a new tool is great and artists love it, no problem. But right now, we prioritize the handcrafted approach.

Nice. Well, thank you both for the lovely chat.

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