EDGE - - THE MAK­ING OF... - Bren­don Chung Founder, Blendo Games

What is your favourite as­pect of the game?

I think Thirty Flights Of Lov­ing does a good job of re­spect­ing the player’s time and in­tel­li­gence. I like its scope. Short-form work has a lot of ap­peal to me.

Would you ap­proach any­thing dif­fer­ently if you could do it again?

The area with Borges shoot­ing down po­lice drones was the most tech­ni­cally de­mand­ing part. It’s in­tended to dy­nam­i­cally cre­ate a rhythm, then ramp up the rhythm to a cli­max. Con­sid­er­ing I have no mu­si­cal skill, this was one of those parts where I had to reach be­yond my com­fort zone. I spent a con­sid­er­able amount of time tweak­ing the tim­ing of ev­ery­thing in the area. For the most part, it works. Were I to start over again from scratch, I think I’d have a clearer idea of how to struc­ture the un­der­ly­ing sys­tems that run it.

The game fea­tures nu­mer­ous ref­er­ences to cinema – why did you in­clude those?

The en­tire game is a bit of a love let­ter to Wong Kar-Wai. I grew up en­joy­ing his work and his process. His tight fo­cus on es­tab­lish­ing mood and tone is be­yond com­pare. I have a fond­ness for film. While grow­ing up, I was fas­ci­nated by how in­de­pen­dent film­mak­ers made so much with so lit­tle: Robert Ro­driguez us­ing a wheel­chair for his dolly shots; Dar­ren Aronof­sky’s mom pro­vid­ing cater­ing dur­ing the shoot. It was hugely in­spi­ra­tional to see how they didn’t need big bud­gets or big teams or big stu­dios. Films are hard to make, and these film­mak­ers found a way to do what they loved. It made the pos­si­bil­ity of mak­ing videogames on my own feel more tan­gi­ble.

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