Sam Lake and the Remedy team shine a light on what it takes to make games like Alan Wake 2 | BAFTA
– This here is the bestselling writer Alan Wake. I don’t think that a lot of people realise all the different aspects that are part of a video game and make up a video game. And just the sheer complexity of it, – Well, I’m not sure if this is something that all developers know about, but people who don’t work on videogames basically don’t. Videogames play, feel and look like absolute hot garbage for like 90% of the whole development cycle. So if it’s in the works for like four years, it easily is not looking like a video
game for most of that time. – Just you know, people think, well, coding is one thing, but it’s actually so many different important parts of it, like creating the tools or creating the totally baffling and genius level mathematics of you know how light works inside the game engine and how things are rendered. And then the scripting of, you know, the logic of actions that we need to script in. All of that… kind of like so many areas of expertise just within that. But then on top of that like audio and music 2D art and concept
art, and animation – We care about like dialog pacing, we care about text on screen, we
there, and when everything starts to come together, then it starts to feel like an actual product. But before that, it really doesn’t look like that. And it really doesn’t even play fun. – The complexity of how much iteration on each side is needed and understanding each other and kind of making it all click into place. not to say anything negative about anything but compared to making a film, like how much added complexity there is to making especially that type of games that Remedymakes; a cinematic, story focused experience where all of that storytelling is part of
it. But so many other elements coming into play that that need to all work together. – It’s kind of amazing how we pull it off since the amount of organisation and the amount of communication and skill that goes into it. I think that games are very complex media in that way. So that’s always a pleasure. – “Along the way” – “No!” -” We have a good show for you tonight. Alan Wake! One of my all time favourite writers and guests on the show.” – “He’s here to talk about his latest book.” – This is all
the drafts of Alan Wake 2’s screenplay. Whenever we have a draft written and ready, I like to print it out. I like to chuck the notes on the paper and cross things over and then we create a new draft. The screenplay has been done for some time, so no, no papers added to this stack anymore. But this is what it amounted to through the whole project. – “Wake used the materials he had, the connections had… The people, the places. Wake put them in to make it true. – The narrative journey is extremely important for any
Remedy game. It’s important that the narrative can take many different shapes. Yes, it is about the characters, it is about the plot and the stories that these characters experience. But it’s also about the world. The world in itself we tend to treat it like a character as well. – We love world building and we take it very seriously. – We love to use live action video. – “… from a manuscript of a novel he has forgotten he’s written.” – We love to have in-world TV shows and radio programs that help build out the world. –
“Our musical guests, Poets of the Fall. Thank you.” – “At least I’d been funny!” – “The way that this touches all disciplines and everyone’s very passionate about building out the world with all kinds of detail is signature what makes a Remedy game. – This goes to the small details in the world like in quite a few of Remedy game projects there are bits and pieces in there that I have created. Like the first one I clearly remember in Max Payne 2 in the hospital scene we have a window and there are kids drawings on the
window. And if you look carefully, it kind of goes through Max Payne 1’s story but as if, you know, a smaller kid had drawn them and I drawed those with a crayon! And we just photographed them and put them in. In Quantum Break, there is this huge chalkboard as if there had been a lecture on Alan Wake and his writing. All of these theories as if there was a professor writing all of that down. I did it on a whiteboard, and then that was photographed and just kind of tweaked so that it’s chalk on chalkboard.
In Control there are a number of whiteboards in different research areas on all kinds of theories. I did multiple whiteboards, wrote them fully, and they were photographed and put in. This final thing here is Tim Breaker’s theories on what’s happening to him in Alan Wake 2. – “First things first. What’s your name?” – This is the mocap volume at Remedy. And normally, you know, you see all those cool animations on the body that you see in the game playing, you know, we normally get the actors in the space, we have the markers on them for
example, and then, you know, we shoot, you know, specific performances, whether it be for the gameplay. Like for the cinematics so all that magic happens here. And a part of that we have this scaffolding system here at Remedy as well. For example, you know, if you want to jump through the staircases, for example, you don’t want just step up or, you know, jump from a height. So all those things are possible, even though it’s a limited space. But the ioptions are unlimited, what we can shoot here. – “You are the killer. The cult leader.” –
“No! You’ve got the wrong man.” – If we go all the way back and to Max Payne and me loaning my likeness to the character in the first game, that was just photo shoots, nothing else. Just we were posing for photos, now being a part of it and kind of like acting as a character in it. It’s actual acting. So, so proper motion capture in motion capture suit, performance capture in our performance capture booth. It was very challenging. A great deal of fun I felt… And than anything, I feel that I learned a great deal
about writing and directing through it being in that role, you know, on the other side of the interaction made me think about writing from a new perspective. There were some flashes of insight like, yeah, I should be thinking about this when writing scenes like this. – “It’s for us. The text is about us.” – This is the second floor of the Remedy office. Right now. Here’s a lounge area. We have a couple of different game consoles in there for reference gaming, where every day we have some people there playing games like developers. So they are
not enjoying the game at all. They’re just looking into how did they do this animation transition or how does that lens flare work or how are these hit decals. when I hit that thing and is that actually leaving a mark and it looks silly and it’s not necessarily it’s not how the end user plays the game, but it is something that we sort of have to do in here. This is roughly the Northlight wing. So Northlight, of course, is the umbrella term for our proprietary engine and tools. And we have some of these posters here
on the wall, how people are sort of depicting or what people are saying about the engine, for example, they’re talking about it not necessarily being a shed of tools. We can’t do all kinds of games with Northlightnecessarily, but it’s very good at the types of games that we do. It’s like a scalpel for things that we make. All the games tha twe have made… and I think that this is industry wide is that technology goes forward so fast that we don’t exactly know what we can do in the project that we are starting now, which
gives you a couple of things. It’s exciting. You know, that you will be prototyping new ideas and trying out things, but you also know that it’s really, really hard to predict how long will it take and how much will it cost, which of course, from the business perspective is a tough challenge. Games are very iterative in the making and there is always like it’s always a prototype that that then advances into the final product. So yes and in every one something that in the previous game was not possible in this game, suddenly it is and
it keeps changing. It keeps being exciting. Because of that, we are making discoveries along the way. – “Fair warning. This is going to be weirder than usual.” – I’m sure that if you ask around even at Remedy, there are different answers to what a Remedy game is. – Being weird to be honest. – The little touch that for me is Remedy is like the spice of weird. – A Remedy game has a very signature style in terms of narrative. – Like whatever the project is we are making. There is always something weird about it. Sometimes
it’s about how we play with different media. – Our games tend to be placed in contemporary times within this world that they feel grounded and so on. But then we bring in elements that are surprising and unexpected. – We tend to… try to… get to take a lot of creative risks. So there’s a digital fingerprint on the stuff that we do. – Something strange, something weird, and also some fun and levity as well. – “Hey, hey, and she walked in looking like Dynamite! She said come along and boogaloo through the night!” – We want to
carefully balance those three different areas to make sure that there’s something really unique that I don’t feel like many other studios are out there doing. – A game that has a strong story focus that is character centric, that has a strong identity when it comes to style, that has a specific gameplay focus, no matter what the genre ends up being, is it pure action? Is it action adventure? Is it now, as with Alan Wake 2 survival horror, these different elements… like bullet-time superpowers involving manipulation of time, Using light as your tool for survival. Super powers
like more tied to physics in Control, a certain focus on an idea, and then spreading out from that idea. I think that out of these ingredients, like you have a Remedy game. – And I’m very happy that in Alan Wake 2, we also have a lot of weird moments that I hope players will be excited about. – I feel that when we ended up in this situation that we did the first game so long ago and only now got to the sequel, it feels like between these two, even if they are part of the same.
There has been a lot of growing up in between and that… I don’t know. I hope that once this is done and out there and you look at the whole franchise, the first part and the second part that it gives you something really, really unique in the sense that there was that gap of time. There were all of those learnings and lessons and growing up in between. And yet it is very much the same thing. I just felt so happy that that there was that suffering along the way, that it didn’t happen earlier Because all
of those steps along the way have informed what Alan Wake 2 is. – We have a lot of new projects coming up that are really intriguing and exciting. – I am very excited about the concept of the Remedy connected universe that we finally got to establish with Control. Jesse Fagan could hear it. – “Jesse Faden could hear it. It was faint, reaching for her from a dark place.” Tying it to Alan Wake showing it in AWE DLC episode like that was a proper crossover. – There’s obviously a plan where we like write story or like,
try to think about, like, what we want to say. You’re like, okay, this we’re going to reuse this character from this other place or we going to we know that we have this connection already established from previous game. Let’s build on it. And then all the little accidents, all the opportunities that are like, oh yeah, we have this thing here where we need a character that does this purpose. What if this character was linked somehow to these bigger elements? And so we build… like we have this two way avenue where it’s like, okay, we have
a plan, but we also open ourselves to be like, what if we find something cool along the way? – Alan Wake 2 is very much a Remedy Connected Universe experience like a crossover experience with elements from Control. Mapping that out further with future Control games and Codename Vanguard as well. Codename Vanguard is interesting because we’re creating a new IP and a new world for players to play in together. And on Codename Condor we’re creating a world from an IP that currently exists which is Control. So we’re figuring out what a multiplayer game narrative looks like
in the Control universe. – Control is an interesting franchise to us because it demonstrates a different kind of direction compared to many other Remedy games. It’s very world oriented. And when we think about the franchise, as a whole, what Control is we want to ensure that there is this clear and strong direction for the world to take and how it evolves and changes over time. And that’s a huge part of the future of control. Can’t talk much more than that! – Figuring out how to translate that Remedy style of worldbuilding and Remedy narrative to these
multiplayer games where players can be experiencing them together is a really fun challenge. You have to consider how everyone’s experiencing the story together, so the narrative methods or features that we would pick might be different, but also the pacing is different because we want to leave players room to play together and to be talking to experiencing the world. But we would also like to produce an authored experience. So it’s in finding the balance between giving the players space to play and work together and then also us sort of creating that that story or that world
for them to be in. – It’s very, very exciting times you know just building on that foundation now. born eludes us. We find them in the aftermath of altered world events. They Yes. Right than. I am not a professional actor. I’m an amateur. And it felt like a huge privilege to be able to act against these massively talented professional actors. What I love about our fans is their attention to detail. They are very, very eager to dig into anything that we’re doing and being very excited about it and creating their own theories of what is
happening, what are the different mysteries that play and so on. And it’s always extremely fun to see what they come up with. I’ve got a quick question. that we finally got to establish with control, tying it to Alan Wake showing it in in AWP DLC episode like that was a proper crossover thing. Alan Wake two is very much a remedy connected universe experience like a crossover have experience with elements from control and, and, and kind of like mapping that out further with the like future control games and Vanguard as well. It’s it’s very very exciting
times Well, very many fans are obviously very smart people with impeccable taste. So as video game developers, if you are working on like some stage art, for example, you get the very like quick immediate feedback from them, from the audience. We might be pouring our hearts and souls into a video game for like four years, but we never sort of ever get to see the person the end user enjoying the experience. Even if they do so it feels extra good. Making games is hard. It feels extra huge when a fan actually fan actually reaches out
and lets us know that, hey, this person had really well with me or I have been geeking out over the same references that you clearly haven’t been using. So that always feels very good. And yeah, thank you to those fans who have been actually reaching out to us. It means a lot. Do you want to mention anything about the cuts? I think we do. Do you want to mention the thing about the cuts? It’s a nice anecdote which cuts the little mannequin across from. it always felt for these ten plus years trying to get the
sequel made, that there was uncertainty. there was a feeling that, are we ever going to get there? We keep we kept trying in between every game project and and and so that kind of colors it a bit but but then we actually get to the got to the point where we were making it. You are the killer. The cult leader. you’ve got the wrong man. that goes into it. I think that games are very complex media in that way. So that’s always a pleasure. move forward. We are, I think, housing something like or the current
office fit something like 350 people in here. So we have started to actually run out of a lot of room already, a little bit in this office we have started getting these new meeting room cubes here, getting a little bit more cramped than it used to be, but it’s still good. It’s really nice having your own building rather than being in some sort of office building, just sharing the same floor with other companies. But this is it’s great to have your own building. And so we can for example, we had just finished our second sauna
here at the office, so that’s always good. Another thing that makes the Remedy game a riveting game, I think, is the strong worldbuilding. And I think that the way that this touches on disciplines and everyone’s very passionate about building out the world with all kinds of detail is signature. What makes a romantic It has its own mysteries and elements that you want to really learn more about, and that’s an important part of balancing the narrative. Those three different elements like that, actual stories and then the characters, and then what is the world where all of
these things happen with that I think it’s the narrative itself that it defines, you know, how a character looks, you know, in the end. But I think it’s the I would say the, the element of freedom that we give, you know, to the talent. for the most part, like the script is something, you know, that defines what can be shot, but still, you know, in that real I think we still believe that, you know, the talent that we hire, you know, the need to be part of a mini project. So we do give them, you
know, some leeway of, you know, what freedom or, you know, what what creativity they can add to the script. So yeah, there’s always space for that as well. sure that if you ask around even a remedy, there are different answers to what a remedy game is and and planning and designing all of that as is a crucial part of the remedy experience. What do you love most about working in the games industry? And regarding are we always afraid of people won’t get it? I think the one thing that we can say about the remedy found
is that they are like dedicated and we have like tons of video and Reddit post about like theory and that all are really fun to read. Amazing. I was going to ask you about the funds, but I have loved the journey of Alan Wake very many fans are obviously very smart people with impeccable taste. So as video game developers, if you are working on like some stage art, for example, you get the very like quick immediate feedback from them, from the audience. We might be pouring our hearts and souls into a video game for like
four years, but we never sort of ever get to see the person the end user enjoying the experience. Even if they do so it feels extra good. Making games is hard. It feels extra huge when a fan actually fan actually reaches out and lets us know that, hey, this person had really well with me or I have been geeking out over the same references that you clearly haven’t been using. So that always feels very good. And yeah, thank you to those fans who have been actually reaching out to us. It means a lot. Do you
want to mention anything about the cuts? I think we do. Do you want to mention the thing about the cuts? It’s a nice anecdote which cuts the little mannequin across from. yes, this is roughly the north right wing. So north side, of course, is the umbrella term for our proprietary engine and tools. And we have some of these posters here on the wall, how people are sort of depicting or what people are saying about the engine, for example, or talking about it not necessarily being a shade of tools. We can’t do all kinds of games
with Nord 11 necessarily, but it’s very good at the types of games that we do. It’s like a scalpel for things that make people when they are or are playing the game. So, for example, I’m very happy at seeing some of the stuff that we now got into along with Tool, and it’s going to blow people’s minds and they are not going to expect to see those things in the game. And I’m so happy that we got some of that stuff. Brilliant. And yeah, that’s pretty much. And so the thing that really makes me think
of the old objects and so designing those and kind of icons from that was the need to come up with some of those ideas. Coming up with the different ideas for all two items was extremely fun. And because there’s such a kind of broad sense of opportunities that you can have there, and sometimes finding the absurdity of what the object is and what it does was was fantastic. And it was also one of those things that allowed the whole team to participate, like come up with different strange ideas about what they wanted to do. And
it was an interesting time as well as a game director, because there weren’t any clear rules, right? Like because anything could be anything. So it was an interesting balancing act where you kind of had to find some kind of a line that was sometimes difficult to kind of form and so that it allowed people to kind of come up with crazy and weird ideas. I saw. Yet it felt right for the game. Yeah, absolutely. I mean, I just the Fringe is my favorite. I just absolutely love at the Fringe. You can’t look away from it.
Yeah. Thanks for showing it. Yeah. So good. the emotional connection, you know, with with the characters that we do. I think that’s what at the heart I feel like makes a remedy game feel like a remedy game You know use Well, first of all, I think remedy games needed to be games that we are proud of and we really want to make. like moment for the player. And then when the projects move forward, it’s all about like producing and it’s we have dialogs that are written by the writer that are like recorded, and then we
implement them in-game using our engine and our tool. And it’s like, okay, when a player enters his area, plays is dialog to kind of like summarize quite a lot. And nowadays, now that we are like on the final stretch of the project, it’s a lot about debugging, so just making sure everything’s run accordingly, but also trying to do this like final polish in I was talking earlier about dialog pacing. It’s like all this dialog land a few second too early. Let’s see if we can move the next one a bit later akin to what like
we would do editing in a like linear video format, for example. Here it’s more about like, let’s make sure that the dialog trigger in this place. But if the player decides, let’s not trigger it and wait for this to happen, it’s kind of like this very complex web of condition and actions that we need to kind of like wrangle around to make sure that the experiences of best possible What I think makes the Remedy game a Remedy game is a unique blend of humor, strangeness and reliability. paper still plays a role like they’ve been talking
about paperless office for eight years but there is just something about when when when doing notes on writing, printing it out and reading it and adding notes to the margins. This is all the drafts of on week two screenplay. whenever we have a draft written and ready, like to print it out. I like to chop the notes on the paper and cross things over and then we create a new draft. screenplay has been done for some time, so no, no papers added to this stack anymore. But. But this is what it amounted to through the
whole project On the board like something that I this goes to the small details in the world like I’m in in quite a few of remedy game projects there. There are bits and pieces in there that I have created. Like the first one I, I clearly remember in Max paid to in the hospital scene we, we have a window that supposedly, you know the children’s ward and there are kids drawings all in on on the window. And if you look carefully, it kind of goes through Max Payne one story, but as if, you know, a
smaller kid had drawn them and I draw dolls with a crayon and and we just photographed them and put them in in in quantum break, there is this huge chalkboard with as if there had been a lecture on Alan Wake and he is writing all of these theories as if there was a professor writing all of that down. I did it on a whiteboard and and, and then that was photographed and just kind of tweaked so that it’s chalk on chalkboard and in control. There are a number of whiteboards in different research areas on all
kinds of theories. I did multiple whiteboards, wrote them for, and they were photographed and put in this final thing here is the imprimatur of theories on on what’s happening to him in one way to forward. We are, I think, housing something like or the current office fit something like 350 people in here. So we have started to actually run out of a lot of room already, a little bit in this office we have started getting these new meeting room cubes here, getting a little bit more cramped than it used to be, He was chasing a
writer. Someone knew they were here. Was playing a game with them. But this is the second floor of the Remedy Office. Right. Here’s some lounge area. We have a couple of different game consoles in there for reference gaming, where every day we have some people there playing games like developers. So they are not enjoying the game at all. They’re just looking into how did they do this animation transition or how does that lens flare work or how are these hit? Because when I hit that thing and they start actually leaving a mark and it looks
silly and it’s not necessarily it’s not how the end user plays the game, but it is something that we sort of have to do in here. here? Some are Polaroid wall, so some sort of snapshot of the current remedy. And in here I think we are roughly something over 300 right now. And apparently we are getting as shiny, tiny diamond on our Polaroid for every five years that we have been here at Remedy. I’m currently at two, but in two years I will be getting my third diamond, On the board like something that I this
goes to the small details in the world like I’m in in quite a few of remedy game projects there. There are bits and pieces in there that I have created. Like the first one I, I clearly remember in Max paid to in the hospital scene we, we have a window that supposedly, you know children’s ward and there are kids drawings the window. And if you look carefully, it kind of goes through Max Payne one story, but as if, you know, a smaller kid had drawn them and I draw dolls with a crayon and and we
just photographed them and put them in in in quantum break, there is this huge chalkboard with as if there had been a lecture on Alan Wake and he is writing all of these theories as if there was a professor writing all of that down. did it on a whiteboard and and, and then that was photographed and and in control. There are a number of whiteboards in different research areas on all kinds of theories. I did multiple whiteboards, wrote them for, and they were photographed and put in this final thing here is the imprimatur of theories
on on what’s happening to him in one way to screenplay. whenever we have a draft written and ready, like to print it out. I like to chop the notes on the paper and cross things over and then we create a new draft. screenplay has been done for some time, so no, no papers added to this stack anymore. But. But this is what it amounted to through the whole project I think that I don’t think that a lot of people realize all the different aspects that are part of a video game and a make up a
video game. And and just the sheer complexity of it, Well, I’m not sure if this is something that all developers know about People who don’t work on videogames basically don’t. But videogames play, feel and look like absolute hot garbage for like 90% of the whole development cycle. So if it’s in, you know, works for like four years, it easily is not looking like a video game for most of the time. So it only comes to sort of magic comes together at the very end when the pacing starts to be there, when the lighting is there,
when the audio is there, and when everything starts to come together, then it starts to feel like an actual product. But before that, it really doesn’t feel like that. Then it really doesn’t even play one. just you know, people think, well, coding is one thing, but it’s actually so many different important parts of it, like creating the tools or creating the totally baffling and and genius level mathematics all you know how how life works inside the game engine and how things are rendered and all. And then the scripting of, you know, the logic of all
actions that that, that we need to script in north side, of course, is the umbrella term for our proprietary engine and tools. And we have some of these posters here on the wall, how people are sort of depicting or what people are saying about the engine, for example, or talking about it not necessarily being a shade of tools. We can’t do all kinds of games with Nord 11 necessarily, but it’s very good at the types of games that we do. It’s like a scalpel for things that make all of that kind of like so many
areas of expertise test within that. But but but then on top of that like audio and music and and and do the art and concept art and animation so many different areas coming together to create one thing that is the game and and and the the complexity of all of how much iteration on each side is needed and understanding each other and and kind of making it all click into place. I you know not not, not, not to say anything negative about anything but compared to making a film like, like how much added complexity there
is to to making especially that type of like games that really makes a cinematic story focused experience where all of that storytelling is part of it. But so many other elements coming into play that that need to all work together. yeah, this is the, the ah mocap volume at remedy. And normally, you know, you see all those cool animations and on the body that you see in the game playing, you know, we normally get the actors in the space, we have the markers on first for example, and then, you know, we shoot, you know, specific
performances, whether it be for the gameplay. But l you know, like for the, for the cinematics or all that magic happens here. And a part of that we have this start folding system here at Remedy as well. For example, you know, if you want to jump to the staircases, for example, you don’t want just step up or, you know, jump from a height. So all those things are possible, even though it’s a limited space. But the idea that the options are limited, what we can shoot here. I have loved the journey of Alan Wake it
always felt for these ten plus years trying to get the sequel made, that there was uncertainty. And then there was a feeling that, are we ever going to get there? We keep we kept trying in between every game project and and and so that kind of colors it a bit but but then we actually get to the got to the point where we were making it. I just felt so happy that that there was that suffering along the way that that that it didn’t happen earlier because all of those steps along the way have informed
what. Alan way to ease. I feel that when we ended up in this situation that we did the first game so long ago and only now got to the sequel, it feels like between these two, even if they are part of the same. There has been a lot of growing up in between and that I don’t know. I hope that that once this is done and out there and you look at the whole franchise, the first part and the second part that it gives you something really, really unique in the sense that that there was
that gap of time. There were all of those learnings and lessons and growing up in between. And yet it is very much the same thing. Yeah. So the day changed quite a lot, depending of the moment in the project, but a lot of designer is a bit What is a level designer to the environment artists? We are here to provide structure framework for a writer to like tell a good story. So we care about like dialog pacing, we care about text on screen, we care about a flow of information that a player receive. What are
the objective? When do you get them? What word exactly we use to kind of like be like, okay, tell things in minimal amount, but still convey the right information. So in the beginning of the project, we are with all the designer level designer, a game designer, kind of like trying to imagine what will be the player experience. And we are kind of like challenging game design all over design and trying to find meaning in everything that we do inside the game is like, Why does this character needs to go there? Why does this puzzle exist?
What is the context for all of this to exist? So we can have an experience that makes sense from beginning to end and feel like a cohesive like moment for the player. And then when the projects move forward, it’s all about like producing and it’s we have dialogs that are written by the writer that are like recorded, and then we implement them in-game using our engine and our tool. And it’s like, okay, when a player enters his area, plays is dialog to kind of like summarize quite a lot. And nowadays, now that we are like
on the final stretch of the project, it’s a lot about debugging, so just making sure everything’s run accordingly, but also trying to do this like final polish in I was talking earlier about dialog pacing. It’s like all this dialog land a few second too early. Let’s see if we can move the next one a bit later akin to what like we would do editing in a like linear video format, for example. Here it’s more about like, let’s make sure that the dialog trigger in this place. But if the player decides, let’s not trigger it and
wait for this to happen, it’s kind of like this very complex web of condition and actions that we need to kind of like wrangle around to make sure that the experiences of best possible forward. We are, I think, housing something like or the current office fit something like 350 people in here. So we have started to actually run out of a lot of room already, a little bit in this office we have started getting these new meeting room cubes here, getting a little bit more cramped than it used to be, He was chasing a writer.
Someone knew they were here. Was playing a game with them. But this is the second floor of the Remedy Office. Right. Here’s some lounge area. We have a couple of different game consoles in there for reference gaming, where every day we have some people there playing games like developers. So they are not enjoying the game at all. They’re just looking into how did they do this animation transition or how does that lens flare work or how are these hit? Because when I hit that thing and they start actually leaving a mark and it looks silly
and it’s not necessarily it’s not how the end user plays the game, but it is something that we sort of have to do in here. here? Some are Polaroid wall, so some sort of snapshot of the current remedy. And in here I think we are roughly something over 300 right now. And apparently we are getting as shiny, tiny diamond on our Polaroid for every five years that we have been here at Remedy. I’m currently at two, but in two years I will be getting my third diamond, On the board like something that I this goes
to the small details in the world like I’m in in quite a few of remedy game projects there. There are bits and pieces in there that I have created. Like the first one I, I clearly remember in Max paid to in the hospital scene we, we have a window that supposedly, you know children’s ward and there are kids drawings the window. And if you look carefully, it kind of goes through Max Payne one story, but as if, you know, a smaller kid had drawn them and I draw dolls with a crayon and and we just
photographed them and put them in in in quantum break, there is this huge chalkboard with as if there had been a lecture on Alan Wake and he is writing all of these theories as if there was a professor writing all of that down. did it on a whiteboard and and, and then that was photographed and and in control. There are a number of whiteboards in different research areas on all kinds of theories. I did multiple whiteboards, wrote them for, and they were photographed and put in this final thing here is the imprimatur of theories on
on what’s happening to him in one way to paper still plays a role like they’ve been talking about paperless office for eight years but there is just something about when when when doing notes on writing, printing it out and reading it and adding notes to the margins. This is all the drafts of on week two screenplay. whenever we have a draft written and ready, like to print it out. I like to chop the notes on the paper and cross things over and then we create a new draft. screenplay has been done for some time, so
no, no papers added to this stack anymore. But. But this is what it amounted to through the whole project On the board like something that I this goes to the small details in the world like I’m in in quite a few of remedy game projects there. There are bits and pieces in there that I have created. Like the first one I, I clearly remember in Max paid to in the hospital scene we, we have a window that supposedly, you know the children’s ward and there are kids drawings all in on on the window. And if
you look carefully, it kind of goes through Max Payne one story, but as if, you know, a smaller kid had drawn them and I draw dolls with a crayon and and we just photographed them and put them in in in quantum break, there is this huge chalkboard with as if there had been a lecture on Alan Wake and he is writing all of these theories as if there was a professor writing all of that down. I did it on a whiteboard and and, and then that was photographed and just kind of tweaked so that it’s
chalk on chalkboard and in control. There are a number of whiteboards in different research areas on all kinds of theories. I did multiple whiteboards, wrote them for, and they were photographed and put in this final thing here is the imprimatur of theories on on what’s happening to him in one way to paper still plays a role like they’ve been talking about paperless office for eight years but there is just something about when when when doing notes on writing, printing it out and reading it and adding notes to the margins.
