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“The pressure of having one of those reveal deadlines can galvanize the team”
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They only have to make one character, and we had to do like 20 of those at the same level of fidelity, with as many as 10 of them on screen at a time, running in frame rate.” You spend so much of your time just trying to fight the technology as opposed to solving your core design problems, in other words, figuring out what it is you’re trying to make. And then I thought, “Well, wait a second.
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But if you were to do that with something like Star Wars, you would be making something very avant-garde for the license.Īmy Hennig : I was thinking about this while playing Hellblade, which is amazing and beautiful. It’s more than two, but if we decided that we can make a great game with an arbitrary single-digit number of characters, and it fit with the story and the theme that we were going for, and what the gameplay was like, we can just decide that. Sean Vanaman : With Star Wars especially, you can’t - I get to decide how many characters are going to be in In t he Valley of Gods. Visceral Games/Electronic ArtsĪmy Hennig : I wonder how much team size is dictated by the expectations of a big franchise IP, or is it more because we’re shooting for photorealism rather than a stylized look? Is it graphical fidelity and level of detail that makes the difference? “That’ll be $19.99.”Īmy Hennig : Now you just have to deliver on it.Īn early look at Visceral Games’ Star Wars project. We sort of know what we’re doing, but making that trailer is getting that full-page photograph of the meal, and going, “That’s the shit, right there.”Īmy Hennig : It is amazing, by the way, that trailer. We have all the ingredients written down. If I’m looking through a new recipe book, I don’t like to cook anything that doesn’t have a photograph of what the final thing is supposed to look like.Īmy Hennig : You want to know what you’re shooting for. I like to cook, but I’m not a very great cook. Sean Vanaman : We build trailers to set the tone for the rest of development. Īmy Hennig : You just come back and watch the trailer for In the Valley of Gods, and figure out what you were making? The fact is, most early trailers are - I don’t want to say “fake,” but when you’re that early in development, it’s almost an animatic of your intentions, right? To see all of the stories, visit our hub. Polygon a sked some of our favorite game developers and writers to reflect on the games we played in 2017. Sean Vanaman : I turned off my computer for two weeks, and then turned it back on, and I had no idea where to begin.
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Sean Vanaman : I can tell you what the past six hours of video game development have been like for me, because that’s as long as I’ve done it in 2018.Īmy Hennig : I’m glad you are feeling as fuzzy-headed about things after the holidays as I am, because I feel like, “God, is it that easy to forget how to do what we do?” We’re going to talk about video game development in the year 2017.Īmy Hennig : Can we talk about 2018 instead? And I’ve obviously known your work for a long time. Sean Vanaman : And we’ve never met in real life.Īmy Hennig : Well, we just did, downstairs. They met in the Campo Santo studio in San Francisco and talked about how their teams have used trailers to guide their creative process, why some games get canceled, and the differences between making an indie drama and a AAA blockbuster. Polygon asked Sean Vanaman, a founder of Campo Santo and the lead writer of Telltale’s The Walking Dead: Season One, and Amy Hennig, the director and writer of the first three Uncharted games, to meet in person to discuss the present and future of video game storytelling. And Visceral Games, a studio that had been working on a single-player Star Wars game led by Amy Hennig, announced that it was closing. In 2017, Campo Santo, the studio that made Firewatch, announced that it was working on a new game, In the Valley of Gods. Sometimes video game developers make games.