What was it like for Swordfish abandoning Covert
One and moving on to Blood On The Sand?
Given that show’s cast we thought, ‘We’re onto a winner here, it has no chance of failing.’ But it just didn’t hit at all. However, Swordfish had always worked that way. It came from a mentality we had starting out as a small indie, when we had to be lean to survive. Everyone was very flexible and prepared to reset and go at a new title from a new angle.
How often would you hear from 50 Cent or the G-Unit while you were making the game?
Originally we made a kind of proof of concept, particularly based around the setting, to show we could put the 50 Cent character in there and make it work and make sense. After that there were set points, normally around the big release builds, that they’d be shown the game by one of our guys and provide their feedback and critique, and we’d go away and work based off of that. ‘We like this, we don’t like that, next build we want to see some things improved, some things removed,’ and so on.
How do you feel about the game, particularly the final part of development, in hindsight?
It worked out OK so it’s easy to remember those times as nicer than they were. But those driving levels didn’t work until very late in the day and it was the first time for us that we’d had to rely on a lot of outsourcing. We had maybe four months left to go on it when Activision and Vivendi merged and decided that several studios – almost everyone in Europe, in fact – were going to be dropped and sold off to other publishers. It’s testament to the team that they stayed and finished the game.