![]() ![]() Ken P: We were really pressing for crappy characters and an educational message sort of like if PBS had developed the game, but that idea died in the focus groups. So, it was a bit of an obstacle to try and hit a moving target. Things that we thought were true in one build might not be there or completely changed in the next one for various reasons. Every production will change and evolve over time but with the game it seemed like it was in constant flux. I also found it a bit more difficult working on a process that shifts and evolves while production is going on. When we do the animated shorts we have full control over timing and pacing, right down to the frame! It’s a totally different ball of wax when dealing with those concepts in a game because so much of those elements are variable and driven by the player. Kenn N: It is definitely a different challenge than working in the more linear format that we’re used to. ![]() ![]() Was it difficult to implement this in the final game? The series features great characters and humour. ![]() I wanted to make it a game like World of Warcraft. I thought it would be great to make the game a MMORP. This results in severe neck and brain injuries, and at that point the ideas just flow. Ken P: We came up with the design concept the way we always do: by staring up at the ceiling until an idea drops down and lands on our heads. The game actually has gone through a few different versions with completely different game-play mechanics before settling into this final version. We wanted to come up with something that was a little off the beaten path than a fighting game, first-person shooter, or moss growing simulator. Kenn N: It was mostly the guys at Stainless that came up with the current design concept.
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