Syl­vain Te­groeg Il­lus­tra­tor


Colour is a com­mon tool in game de­sign. Were you ever tempted to add it?

That's some­thing we dis­cussed at the be­gin­ning of mak­ing the game. My art style was black and white. I wasn t com­fort­able with adding colour. I like to work with colours, but I find it re­ally dif­fi­cult – I don't have as much ex­pe­ri­ence with it as draw­ing in black and white, so I'm a bit ret­i­cent about it. If we had added colour, it would have maybe felt too much like Where's Waldo – even though it's now a re­ally ob­vi­ous ref­er­ence! I think if there was colour, there would be a huge change in the art style but also in the how the game would play.

What did you learn from the process of mak­ing Hid­den Folks?

How to make a game. I had all this gam­ing ex­pe­ri­ence, think­ing, what's the trick? And now when I'm play­ing games, I see the strings be­hind it. And work­ing with a game de­signer like Adri­aan – as a prod­uct de­signer, that's some­thing I was al­ways ea­ger to do. As a free­lance de­signer, you work with a client, and you don't have this part­ner­ship. I learned a lot about mak­ing com­pro­mises: things that you would love to be in the game, but ac­tu­ally they can't, be­cause there's a way a game has to be.

Hid­den-ob­ject games are very pop­u­lar as a genre. Why do you think that is?

Some­times I’m won­der­ing if it’s not just voyeurism. Some­times peo­ple in­ter­act with things just to be like, ‘Oh, what’s in­side that closet or that drawer?’ They just want to have a look. They are just cu­ri­ous. There are so many lit­tle sto­ries and lit­tle things hap­pen­ing, and your head is just like, what’s hap­pen­ing? You just want to know!

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