Ian Dal­las


Which of the sto­ries went through the most changes?

Wal­ter’s. Es­sen­tially, it was a riff on the Weep­ing An­gels story from Doc­tor Who and also The Pris­oner. There’s this guy try­ing to es­cape this strange world of 1950s Amer­i­cana, and he walks around with a flash­light, and when he turns around this crowd of peo­ple with pitch­forks gets a lit­tle closer. Then there’s a grad­ual re­veal that you’re ac­tu­ally in a model train set, and this gi­ant hand comes down pe­ri­od­i­cally to move things around. Wal­ter picks up this lit­tle per­son who had tried to es­cape, and then re­alises that he him­self has to es­cape and then goes out the tun­nel [as in the fin­ished game]. The ver­sion we shipped with was the last 5% of this ab­surd dream, and the whole can-open­ing part was a very late part of that process.

Were you con­sciously tr ying to avoid the au­dio-log ap­proach to sto­ry­telling?

Yes and no. For me as a player, that’s just not what I think games do well. The part that’s in­ter­est­ing to me is: what does it feel like to be a gi­ant ten­ta­cle? Or what does it feel like to be e on a swing? And so from the early days, that’s where we spent all of our en­ergy, just mak­ing these in­ter­ac­tive pro­to­types, and the story didn’t ’t come in un­til pretty late in de­vel­op­ment.

Unusu­ally, you can spoil the re­veal of Edith’s preg­nancy by look­ing down.

I’m gen­er­ally not a fan of bod­ies in first­per­son games, par­tic­u­larly feet. But our tech artist Chelsea Hash held onto this dream of be­ing able to show [the pro­tag­o­nist’s] body for so long, and then it was as easy to show it as not. I do re­ally like that it’s some­thing play­ers can dis­cover on their own. Some play­ers are re­ally blown away by it, and some like Neil Druck­mann [who is cred­ited as a playtester] – he just looked down, I think it was in the kitchen, and he said, ‘Oh, I’m preg­nant’. And then he moved on (laughs).


Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.