But why is the end of the world taking place in a sleepy rural community? Jessica Curry the composer of Everybodys Gone to the Rapture and the studio head of its developer, The Chinese Room tells me it all leads back to a conversation she had with Dan Pinchbeck, the games creative director, years and years ago.
Dan said the most amazing thing to me at the beginning, she tells me. He loves games and hes passionate about post-apocalyptic games, and he said, If we went through this in real life, theres no way Id be the square-jawed hero running through saving everybody. Id be a pile of ash and bone on the floor. Dead.
He said, Thats the game I want to make. I thought that sounded really, really good. It turns it around completely. Theres no hero in this game thats going to save everybody. We really wanted to make it feel real and tragic and beautiful and frightening.
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In Metro: Last Light, theres a wonderful scene where a father and his little girl are fishing in radioactive water, Pinchbeck tells me. She turns to him and says, Will we catch fish, dad? And he says, Well, we might do. She says, Will we catch cancer, because mummy caught cancer in the water? He has to explain to her what the difference is, and its so heartbreaking because its a little moment of actual human contact. You turn away and go shoot like a million mutants and thats kind of fun, but that moment really stopped me in Metro. I thought thats beautiful, brilliant game writing, because it understands that the people who are playing this are human beings and they have a frame of reference that is human and emotional, and thats about their relationship with other people.
And if were going to make a game about the apocalypse, lets make a game about people in the apocalypse, not about the concept of the apocalypse or the big bang of the apocalypse. Lets make a game saying, When it comes down to it whats important? And this is about people and their relationship with each other. Thats where we should focus.
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There are lots of designers out there who do lots of really clever and brilliant stuff with systems and mechanics, but what were interested in is what emotional experience the player is having and starting much more from a story-, atmosphere- and immersion-driven angle.
All of the scripts which Ive written have been very rooted in story. And for that often Ill go out to literature around that because were pushing depth into the story, and emotional depth in story is one thing we still dont do particularly well as an industry. You cant easily name the game stories that inspire you. Well, I could write it on the back of a Post-it note. But there arent that many out there that are really doing it. We want to go back and produce games that are narratively deep, rich and as interesting as books.