EDGE - - THE MAKING OF... - Rex Crowle Lead cre­ator

It seems that with Tear­away you wanted to avoid more overtly chal­leng­ing game­play. Why was that? A lot of game en­vi­ron­ments try to pro­vide chal­lenge and slow you down, and maybe make [the game] seem longer than it is. So you have these bar­ri­ers all the time, like hav­ing to go into a room and kill 400 people, which un­locks the door to the next room, and it’s just like the last one. I was keen to get a feel­ing that the world wants you to go through it. That, to me, came from the idea that each foot­step should be plea­sur­able, so you’ll see the paper squash­ing down or mov­ing when you’re go­ing through the long grass, or splash­ing in the pud­dles. Hav­ing this gen­tle pos­i­tive feed­back all the time [en­cour­ages you to] keep go­ing. This is a jour­ney that needs to hap­pen, so let’s help you on your way, rather than putting spike pits every­where.

Did you have any rules for the way you wanted to use Vita’s dif­fer­ent fea­tures?

We had to make sure all the in­ter­ac­tions made sense. You can have this very fan­tas­ti­cal world, but what you’re do­ing from the out­side [has to feel] nat­u­ral. So you’re not hav­ing to trace a sym­bol on the rear touch pad to pull off a fire­ball move or any­thing. It’s more, ‘I can see the floor is thin­ner here, so I’m go­ing to push my fin­ger through,’ and then it’s up to you to what you do with that. Rather than learn­ing some spe­cial move, you’re slap­ping g[ [a drum skin] to make some­thing jump in the e air, and that’s much more im­me­di­ate. It was im­por­tant to us that the nar­ra­tive could use all l of these fea­tures so that they felt they were part of the story and part of the world.



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