And we also knew that the main character would not be silent, because he had too much to say (sometimes with a lot obscenities).Īnd, of course, we wanted to make sure that the player never, I repeat, never wanted to skip these cutscenes. Of course, we had a plot, but we hadn’t put it together into dialog yet. In fact, those were only a few of the issues that we had to work out, and it wasn’t like that. When you look at the work you’ve done in retrospect, that’s exactly what it sounds like. There’s just a few questions to tackle: “How long will it take to complete the story?” “How many active heroes will there be?” “Will your character talk as in Bioshock or will they be silent as in Half-Life?” “If there are cut-scenes, which ones will be in the first person and which will be in the third?” “How many will there be?” “Will it be all “action and explosions” or will it be full of dialog and Tarantino-esque gimmicks?” So now, all you have to do is figure out what to do with the plot and the script. You choose the system and the mechanics for the game, work out the smallest details to do with the genre, and figure out the game’s mechanical aspects, all while assembling your unique vision into a clear plan. There are a lot of unknowns waiting for you at every step, and every question-from which operating system to choose, to which genre (shooter or RPG?)-haunts a game developer in pre-production. Imagine – you are creating a computer game.
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