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I think games should be braver about what subjects they tackle. Films do it, books do it, why can’t games? Wasn’t it Ken Levine who said that we’re great at making games about shooting people in the face, but not really great at the other stuff yet? It’s gotten better, and there is really inspiring stuff coming out more and more, but I still think it’s kind of true. That was definitely part of the pitch – we think there could and should be many more games dealing with these topics. Of course, larger productions are first and foremost expensive, so they tend to make more conservative decisions about narrative direction and what to show in the game. Bigger games just choose, for many different reasons, to not always engage with these topics. I do think that people are interested in these topics. That’s a great question! But first off, if you look at something like Bioshock, that’s not always true. How did you convince your publishers to give White Shadows a punt? They’re not themes you associate with blockbuster successes.
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To be able to work on something that feels important. It’s just such a great privilege to spend your days trying to tackle these topics. So even though it was really hard, I wouldn’t call it a burden. And that’s kind of the reason you get up in the morning, isn’t it? To learn new things. But mostly, we learned a lot about perspectives we didn’t even know existed. So it wasn’t easy, and it took a long time, and it can be nerve-racking, too. It even reached the friends and families of friends who came out of nowhere and helped out. And I don’t just mean that we had a friend or two look at the game we engaged consultants, had sensitivity readers in, we showed it around to a lot of different people with different sets of expertise, inside and outside the games industry, and there has been intense discussions amongst ourselves, with our publishers and more. And since we deal with so many difficult subjects, we felt it was our obligation to make sure and understand what they represented to others. We built a world that we wanted to keep open to interpretation, that is purposely vague at times. We tried to check our own blind spots as well as we can, tried to figure out what the symbols and messages in our game world mean not just to us, but to other people. And so we talked to a lot of people from very different backgrounds about what we are representing in the game world. But it was our own choice to tackle them. Of course, it can feel like that, it was a tremendous responsibility for the whole team. Of course we did our utmost to tackle them sensitively, but I’m not sure that calling it a burden is the best perspective. But in principle, it was always the idea to show things in the game world that you can also see in the real world around us.ĭo you feel a burden to tackle them sensitively? You learn, you see how your ideas look once you put them in the engine, and you adapt and tweak them over time. However, this has been more than 3 years of development, so of course things change over time. The concept had always been to build this world, and it was always going to show some ugly stuff. Were these topics that came up organically, or did you set out to tackle them? There are some mature themes here – topics like racism, social mobility, structural inequality. We have put years into making this as impactful as possible, so yeah, it’s great to see that there are people looking forward to it. People have been really complimentary about the visual style and the game’s atmosphere, and there have been guessing games already at what different things could mean, which is particularly cool.
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Humbling, too! It makes you appreciate the awesome power games have to reach people – and also the responsibility of living up to all that anticipation.