If anyone's interested, The New Yorker published a 6500 word profile of Sean Murray/Hello Games and No Man's Sky in its latest issue. Really good read.
Video about the article.
Sony agreed, and also decided to throw its resources into promoting No Man’s Sky as a top title—an unprecedented gesture for an unfinished product by a tiny studio. The video-game industry now rivals Hollywood; by one estimate, it generated more than eighty billion dollars in revenue last year, and marketing budgets for triple-A games have become comparable to those of blockbuster films. Sony’s marketing strategy for No Man’s Sky suggests that it expects the game to make hundreds of millions of dollars; this year, Sony will promote it alongside half a dozen mega-titles, including the latest installment of the Batman franchise. Adam Boyes, a vice-president at Sony PlayStation, described it to me as “potentially one of the biggest games in the history of our industry.”
All Murray has to do now is deliver. Last year, when an interviewer asked him when the universe would be ready, he said, “We are this super-small team, and we are making this ridiculously ambitious game, and all we are going to do in telling people when it is going to come out, probably, is disappoint them.” Sony’s participation meant that timing for the game’s launch had to be firmly decided, but No Man’s Sky is not an easy project to rush. Because of its algorithmic structure, nearly everything in it is interconnected: changes to the handling of a ship can affect the way insects fly. The universe must be developed holistically; sometimes it must be deconstructed entirely, then reassembled. Before I arrived, Murray warned me, “The game is on the operating table, so you will see it in parts. Other games will have the benefit of having a level that plays really well, while the studio works on other levels. We don’t have that.” The previous “builds” of No Man’s Sky that he had publicly shown—the ones that had generated so much excitement—contained choreographed elements. Features that might have been light-years apart were pressed closer together; animals were invisibly corralled so that they could be reliably encountered. Shifts in the weather that would normally follow the rhythm of atmospheric change were cued to insure that they happened during a demo. Imagine trying to convey life on Earth in minutes: shortcuts would have to be taken.
...
Each planet had a distinct biome. On one, we encountered a friendly-looking piscine-cetacean hybrid with a bulbous head. (Even aggressive creatures in the game do not look grotesque.) In another, granular soil the color of baked salt was embedded with red coral; a planet hung in the sky, and a hovering robot traversed the horizon. “Those are drones,” Murray said. “They will attack you if they find you killing animals or illegally mining resources.” On a grassy planet, doe-eyed antelope with zebra legs grazed around us. Mist rose off the grass as I headed down a ravine shaded by trees. “This is a place where no one has been before,” Murray said. The biome was Earth-like in light and in color, naturalistic. As I descended, the ravine deepened until rock façades took shape on either side. In spite of the work’s semi-finished state, the world was absorbing. “I’m sorry there’s no game-play element on this planet yet,” Murray said. His mind turned from the screen in front of us—the six planets, tidily assembled for the demo—to the full version of No Man’s Sky on the operating table on the studio’s first floor, below us. Until many improvements were fully realized, the whole of it would inevitably look worse than what we were seeing. “You can lose sight that it once looked like this,” he said.
Video about the article.