From a spreadsheet of Easter eggs to a few creative liberties, the publisher speaks about The Patrick Star Game.
(Image credit: Outright Games)
The world of SpongeBob SquarePants has captivated and amused viewers for over 25 years, and it continues to expand. The game publisher Outright Games has now brought the Starfish Patrick's spin-off show to PS5 and PS4 with The Patrick Star game. In the process, it had to transform Bikini Bottom, the setting of the 2D animated series, into an expansive 3D playground.
Players can skydive with a parasol, search for buried treasure, or release the rage in Mrs. Puff’s Rage Room. And they can use any object they find, from a reef blower to a paint can, to make the world more Patrick as they take on challenges set by SpongeBob, Sandy Cheeks, Mr. Krabs and more. I caught up with Chris Rose, production director at Outright Games, to learn more about how the game was designed and the vision for the physics-based chaos that ensues and.
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What have been the main challenges you’ve faced when transforming Bikini Bottom from 2D to an explorable 3D world?
(Image credit: Outright Games)
We were fortunate to have a strong foundation thanks to Paramount's previous work on 3D movies, toys, and other adaptations. These gave us a great starting point for translating Bikini Bottom into an explorable 3D environment while maintaining the authentic feel of the show. The biggest challenge was piecing together the geographical layout of Bikini Bottom itself, as it’s not always consistent in the 2D version!
How did you decide which locations would make the game, and why?
We initially focused on outdoor environments, which helped narrow down our options. Indoor or cramped spaces can feel limiting, especially with the game’s playful, over-the-top physics, so we prioritised open areas that encourage exploration and creativity. Once we selected the environments, we worked on designing Bikini Bottom’s layout, ensuring each location offered enough opportunities for engaging gameplay. Some locations, while iconic, were ultimately left out because they didn’t provide enough interactive or fun elements to make them worthwhile.
What was the general process you went through to transfer the show to 3D?
(Image credit: Outright Games)
We mainly looked at the movies and other 3D animation works, so there wasn’t too great a process in figuring it out overall. What we had to do was make sure that the things we added in (such as the Destruction Derby’s Rage Room, or the Krabby Patio) felt as though they fit into both the 3D world, but could retrospectively then be made into 2D and feel it belonged. We worked really closely with Paramount to make sure we had that art style down in those areas.
How hard is it to make visual humour work in a video game?
(Image credit: Outright Games)
It can be tricky if the universe you're working with doesn't naturally lend itself to humour. Fortunately, SpongeBob's world is inherently funny, and Patrick is the perfect character for delivering visual gags. This gave us a great foundation to build on. We had a lot of fun figuring out how to incorporate iconic moments from the show while also adding our own original humour that fits within the playful and quirky tone of the game.
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What other influences helped get the style and animated feel just right?
We took a look at a few open world games, and also other titles that go “3Dification” (I’m trademarking that word), and used those as a guide on how to make sure we hit the elements that actually mattered, such as level of detail on key areas, little Easter eggs that fans would enjoy, and also how the playable character behaves.
We also drew inspiration from physics-based games like Gang Beasts, Goat Simulator, and Fall Guys for character animation ideas. However, we mostly relied on existing SpongeBob 3D animation to stay true to the show, using these other games more as a source of gameplay inspiration to strike the right balance between animation and fun gameplay.
How did you decide which niche references to include? Is there a secret spreadsheet somewhere?
(Image credit: Outright Games)
We basically watched hours and hours of the show, and we did indeed have a master spreadsheet of Easter eggs that we were adding to as we went along, and incorporated them as we could. Some references were left out because we felt they might be too obscure, but we managed to sneak in plenty for fans to discover. It was all about striking a balance between fun nods that long-time viewers would recognize and making sure the game remained accessible to everyone.
How did you consider navigation and exploration in the game, and its environments?
Since the show doesn't provide a clear layout of Bikini Bottom, we worked closely with the team behind the show to develop a logical map. Once we had the layout, we ensured it was easy for players to navigate by using clear in-game UI to indicate when you're entering a new area. We also included an interactive 2D map where players can set waypoints to guide them to their next destination. Additionally, familiar characters like SpongeBob, Sandy, and Squidward appear in the environment with indicators above them, suggesting they might need some help, which adds a natural flow to exploration.
Did you take any creative liberties with the 3D design of Bikini Bottom?
(Image credit: Outright Games)
We did take a few creative liberties, mostly in terms of scale. We compacted the distances between certain locations so it wouldn’t feel like a chore to travel between them. One of the bigger changes was reimagining the Destruction Derby Arena—rather than being focused on cars, we made it a place where Patrick can run around and unleash his inner rage on destructible objects, whether on foot, in a Bamboo Rolling Cage, or, if you prefer, in a car. It gave us more freedom to inject fun and variety into the gameplay.
Which location or aspect of a scene do you think has really worked in 3D, maybe better than you expected?
It’s hard to pick because everything just works so well, as we expected! The concept of running around as Patrick getting into all sorts of trouble is such an easy and fun idea to grasp. Personally, I find myself spending a lot of time in Glove World, riding the rides, or heading to the Dump for some dumpster diving - both of these areas have a lot going on. But I also love the wide-open space of Jellyfish Fields and the fun challenge of grabbing a jellyfish and trying to reach the high platforms. There’s always something entertaining to do!
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Joe is a regular freelance journalist and editor at Creative Bloq. He writes news, features and buying guides and keeps track of the best equipment and software for creatives, from video editing programs to monitors and accessories. A veteran news writer and photographer, he now works as a project manager at the London and Buenos Aires-based design, production and branding agency Hermana Creatives. There he manages a team of designers, photographers and video editors who specialise in producing visual content and design assets for the hospitality sector. He also dances Argentine tango.
