Something that we stumbled across then was this interesting relationship equivalence between set design in theater, like stage theater, and video game work. We were making these little scenes in Unity, these little 3D scenes, and setting up props and stuff with a whole lot of consideration for the angle the player was going to be looking in from. They started to really look like theater sets. Then we started looking at modern American mid-century theater, and looking specifically at set designers. We found a few set designers that we really liked. That theatrical influence started to really transform the game, and moved it away from being what it was originally, which was a kind of exploratory platformer that was not challenge-oriented, but more about climbing around in the caves. That pushed it more towards this dramatic, more theatrical kind of game that was totally character-driven.
RPS: Now that you mention it, that does make a lot of sense. I felt a lot like I was putting on a performance whenever I was playing it. Almost like the bits where I could pick dialogue were improv. I could add a little bit to Conway based on what I wanted to bring to him, but my choices didn’t change the overall plot progression.
Jake Elliott: Yeah, totally. We’re thinking of it like the way that an actor chooses… They don’t necessarily choose the dialogue or the plot, but they choose how to inflect it and how to think about, depending on their method of acting, the inner life of the character. There’s a lot of construction that happens, creative construction that happens at the level of the actor in a play. We’re trying to put the player in that role.