![]() The game features incidents in which characters are ‘possessed’ by unknown forces. Many of his experiences have made it directly into the game, like the time he would be going out hunting with an ancient World War 1 rifle, the times he had to rescue sick colleagues and radio for help, and the time he survived a plane crash in a blizzard. The game was rated PEGI 12 for occasional non-realistic looking violence towards human characters, the use of sexual innuendo and offensive language. After seeing his incredible photos, I knew we had to set it in that time period. Available on: PS4, Xbox One, PC, Nintendo Switch, Android, and iOS Where Until Dawn saw teenagers trapped on a remote snowy mountain, Oxenfree sees them stranded on a remote island. The original idea was setting it in the age of exploration, around 1910 – 1920, but incredibly I discovered a family friend was part of the British Antarctic Survey in the 1960s. There’s one section set in Antarctica where one of them comes across a stranger on the ice and is called upon to make a life or death decision, to shoot or not to shoot, and I thought it was an incredible set up for a game. It deals with politics and the identity of two migrants leading up to World War 2. Luke Whittaker: Going way back, it was a novel I read called The Amazing Adventures of Cavalier and Klay. I think that’s the real strength of video games, you can connect with people in a more direct way and make different points than in books, TV or film, when things are always happening to someone else.Īs for making games relevant for the market, I think this is the key, to make sure you have both something compelling about the story and something compelling about how you interact with it.Ĩ0.lv: Could you tell us a bit about the way South of the Circle was born? What is the underlying inspiration? Games like Oxenfree, NITW, Gone Home, Firewatch Question Recently, Ive been on a narrative game binge because of lockdown. It’s something people expect of film, literature, theatre, graphic novels, but only recently come to think of as relevant to games, and perhaps these things are harder to sell in the games market because someone will always ask well, how does it play? So the secret to making stories compelling in games is to find that way people can live it. The secret to that is creating believable and compelling characters and placing them in a fascinating situation. Luke Whittaker: Stories are universally engaging, and I think this is one of the ways games can connect with a wide audience. 80.lv: What's the secret of making an engaging video game today?
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