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.