As a seasoned gamer with a penchant for all things horrifying and cosmic, I can hardly contain my excitement about Supermassive Games’ latest offering, Form 8020. With their unique blend of humor, despair, and cinematic brilliance, they have consistently managed to send shivers down my spine while simultaneously having me in stitches.
In the sequence of games, Directive 8020 will be the opening title for Season 2 of the Dark Pictures Anthology. For the first time, developers at Supermassive Games are venturing the franchise into space, which presents a fresh set of difficulties for the team. This upcoming game is expected to be the largest in the series so far and could pave the way for an exciting new chapter for the Dark Pictures series.
At Gamescom 2024, Game Rant had a detailed conversation with Dan McDonald, the executive producer at Supermassive Games. He shared insights about their upcoming sci-fi horror project, focusing on the significance of the actors, the connected universe of the series, and how Directive 8020‘s gameplay will build upon past experiences. For easier understanding, this discussion has been condensed and clarified.
Directive 8020 Takes the Dark Pictures Series to Space For the First Time
A: In your previous question, you asked about the main differences between the executive producer roles in all the Dark Pictures games and this latest one. Let me clarify it like this: You wonder what sets the executive producer role for this new Dark Pictures game apart from those of its predecessors.
B: We aim to launch a new game annually, and for the first four, we were successful. However, this latest project required more time due to extensive changes and experimentation we wanted to incorporate. This is necessary to ensure a high-quality final product.
We’re content with the existing elements in our game, yet we’ve been working on something fresh and exciting. While there have always been exploration aspects, we’ve generally stuck to familiar territory. However, we’ve begun to experiment with concepts like “House of Ashes” and “Devil in Me,” but nothing compares to the magnitude of changes you’ll see here.
The shift to an outer-space setting and the addition of fresh features mark a significant departure for us. From the outset, we had a clear vision of games we intended to unveil, but we’ve tweaked their sequence slightly. Admittedly, venturing into space was always part of our plan, and it presents a substantial hurdle for our team. This involves exploring uncharted art styles they haven’t tackled before, or at least not in their previous work at Supermassive, as well as designing new characters. All in all, it’s incredibly exciting to delve into the realm of space.
In essence, even though we aren’t demonstrating the traditional Dark Pictures gameplay elements such as choices, conversations, and stunning cinematics today, rest assured that they’re still part of the experience. We’re holding back because we believe you’re already familiar with our storytelling abilities, and we aim to offer more than just another tale. There are plenty of fresh, exciting additions waiting for you as well!
Q: Could you explain what makes Season 2 of Directive 8020 different from the games in Season 1?
B: It seems we have an opportunity to restart the world, make it new again, and explore every possible angle. We should re-examine elements like premonitions, clues, and other aspects from past games. These elements have been beneficial in the first four games, but are they still effective? Should we adapt and grow?
We want it to feel really fresh and new. That’s why I think, with the start of this new game and new season, there’s a real big change in terms of gameplay, and there’s a whole host of stuff that goes along with it. We’re incredibly proud of those games, but we need more options with what we can do. It feels like this is 2.0…Let’s go bigger and more expensive.
Directive 8020 Will Retain Its Interconnectivity With Other Games in the Series
Will the intricate connection between the current season and previous games persist even though it’s a fresh start?
As a gamer, I can tell you that our games are like a garden filled with seeds from past adventures. You might spot some hints or connections to future games too! Each game is set in the same expansive universe, but you don’t have to be a veteran player to enjoy them. If you love ships, you’ll dive into Man of Medan, and if you’re into witchcraft, Little Hope is your destination.
Once they experience Directive 8020’s captivating sci-fi atmosphere and the tense claustrophobia found within spaceship settings, where danger lurks beyond every thin metal wall, I believe we will attract a multitude of new enthusiasts while satisfying our existing fanbase.
A: When you talk about sowing seeds related to past games and creating a common universe, how does this influence your development process? Is it significantly distinct from crafting a self-contained, one-off game?
It’s important to ensure that the systems and tools we create are suitable for future needs. For instance, with “The Devil in Me,” we engaged in a lot of experimentation regarding the tool system. Initially, we introduced tools for this project, something we did for the first time, and we’re really proud of it, although it was only a small-scale implementation.
In this game, the tools we have at our disposal aren’t frequently utilized, but they’ve been crucial in shaping our current project. These tools are essential to the gameplay experience, and they’re designed to help players solve various puzzles that have been specifically crafted for them. Additionally, these tools will aid in discovering hidden secrets within the game.
For example, the new stealth segment we’ve showcased. It’s not that you’re going to be using stealth the whole game long. It’s still a Dark Pictures game. You still get all the choices and the narrative and all that great stuff that players enjoy, but now you’ve got some new ways to play as well.
Apart from her role as an astronaut and the lead character, could you share some other details or background information about Brianna Young?
B: Brianna is a powerhouse of a woman, and her mentor, Commander Stafford (portrayed by Danny Sipani), happens to be on the same ship with her, serving as its captain. You might recognize him from the Halo TV series; he’s quite the talented actor. For Brianna, this journey represents a long-cherished dream, as she has previously undertaken space missions.
Despite having visited other locations, this particular assignment, featuring the Chief among its members, represents a lifelong aspiration—it’s more than just a mission; it’s her destiny. However, the complications that arise during this mission, with unexpected twists, will create internal conflicts for her, conflicts she must navigate. A central theme running through our narrative is: when faced with difficult decisions, what matters most? Is it the advancement of humanity or personal concerns? Is it self-sacrifice or salvation? These are questions she, and perhaps all of us, must grapple with.
Lashana Lynch is currently involved in several tasks together with the rest of the team. Given how things might unfold, she could take on an even more significant part. We were incredibly fortunate to have her as part of our crew. Her acting skills, showcased in films like “No Time to Die” and “Matilda”, are simply remarkable. Moreover, she is a delightful individual to be around. It’s a privilege to work with such talented individuals, allowing me to observe them closely.
In their current arrangement, they aren’t isolated within separate soundproof rooms. Instead, they work together, even when not actively required, they tend to gather nearby, observing, and this shared experience fosters a strong bond among them. During intense scenes like a character’s death, their collective emotions are palpable, whether it’s sorrow or laughter at humorous moments. Lashana was exceptional on set and found great joy in her character.
Directive 8020 is the Dark Pictures Series’ First Attempt at Cosmic Horror
A: In terms of the cosmic horror genre, could you share your specific take or distinctive twist in the ‘Dark Pictures’ style on this theme overall?
For this exhibition, we’re veering away from our typical cinematic approach, which gives a movie-like feel to our games, such as what you see in games like Dead Space. However, we have a deep appreciation for all sci-fi horror games and share your love for that genre. We’re thrilled to be part of this community and congratulate everyone on their success. Yet, we have our unique cinematic style that sets us apart, and we’re also introducing fresh gameplay elements into the mix.
It seems that humor and fear are the key elements you frequently emphasize. In this instance, we aim to entertain you with jokes, yet simultaneously give you a good scare. This production offers us a greater chance to accomplish both.
In our games, there are lighthearted moments where characters act like regular people, allowing for laughter and relaxation. However, these scenes can abruptly shift to intense emotions as a character you care about dies or another is brutally attacked. This creates a palpable sense of despair. When we release these games, the response from players is overwhelmingly positive, with many sharing their feelings and reactions on social media.
Question: How important is sound design in horror video games, and could you share some insights on the audio aspect of this particular game?
B: Our audio team based in the UK is simply outstanding, having garnered numerous accolades for their work in sound. A significant portion of this success can be attributed to our dedicated audio director and his talented crew. We put a great deal of effort into working closely with actors on set, ensuring lines are recorded accurately and that there are no unwanted distractions, such as helicopters overhead or external noise. Nowadays, we’ve essentially created an acoustic bunker for ourselves to minimize any potential disturbances. In our office, we have a state-of-the-art sound suite system designed with soundproof walls to prevent any leakage of sounds.
If you inquire any member from our audio team, they would assert that they consider themselves to be the most crucial team. Naturally, other team members might have their own points of emphasis, but the audio team strongly believes in their significance. It’s an ongoing battle because they always find themselves at the final stage of the process.
1. We need to hold off on starting until every bit of animation and sequence is complete, including our extensive pre-production work and research. For instance, figuring out how a ship creaks. All these elements get carefully layered together. Even the audio team joined in just a few days before we arrived, but it’s always worth the wait! They often finish right under the deadline, but the results are always impressive!
A: Given that we’ve transitioned from annual games to slightly extended periods between releases, I’d like to address those loyal fans who have been eagerly awaiting new content. To them, I’d express my deepest gratitude for their patience and say that the wait will be worth it as we aim to deliver an exceptional gaming experience.
B: I appreciate your understanding, as we’ve been receiving a high volume of comments lately. The feedback, especially on Reddit, has shown some frustration, but rest assured, it won’t be much longer. We’ve had tremendous backing to allow us the time necessary, and our ultimate goal is not just to release the game, but to ensure it’s the best it can possibly be. I believe our fans would appreciate this approach, and we have strong support from the company in achieving this.
[END]
Directive 8020 is scheduled for release in 2025.
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2024-08-30 16:24