Bellwright offers a distinctive mix of survival and town administration features, where solitary players gradually add new recruits to aid in hunting, crafting, and expanding their growing settlement. Although players can perform most tasks individually, the game emphasizes the significance of cooperation: it’s much less laborious to delegate a villager to build a structure than to place each piece manually. Bellwright sets itself apart within a progressively congested genre by maintaining a consistent focus on realism and immersion, as the perspective never deviates from the player, and players themselves must also manage an adequate food supply to overcome the game’s obstacles.
In a chat with Game Rant, Florian “chadz” Hoffreither (project lead for Bellwright) and Sergii “serr” Greben (lead gameplay developer) shared insights into the making of Bellwright. They discussed the thoughtful arguments that influenced every design choice, the role of realism in shaping Bellwright, and also hinted at some thrilling new content on the horizon. For your convenience, this interview has been condensed and clarified.
How Bellwright First Took Shape
At the initial stages of its creation, were there specific fundamental concepts that you already had in mind, defining what Bellwright was going to represent?
In simpler terms, Hoffreither is saying that the game they’re creating aims to recreate a medieval world in a way that feels childlike and grounded. Players start as outsiders, but over time, they can build alliances, make friends, and even feel like they’ve personally constructed this world with their own efforts.
Much of our creative spark originated from films, particularly the classic Robin Hood movie. The concept of a ruler or leader concealed in the woods, gradually amassing a group of dissidents to resist an oppressive, ominous power—this was precisely the atmosphere we were striving to create.
A: In what ways does Bellwright resemble survival and urban management games such as Medieval Dynasty, and what unique elements did you aim to incorporate to distinguish it from other games within this genre?
In my opinion, Medieval Dynasty might not have been our main source of inspiration. Instead, I found myself drawn towards some older games such as The Settlers or Lords of the Realm, which are less well-known these days. However, what truly captivated me was the theme of rebellion – a concept that held significant importance for me.
In order for my creation to hold significance, I desired more than just a visually appealing town. Therefore, I aimed to instill a persistent feeling of danger within players, as this would add importance to their construction efforts. This idea underwent numerous transformations, but the fundamental essence persisted: the struggle between two opposing forces.
As your influence expands, you’ll face external pressures from all sides, especially as you become more prominent. This attracts hostility from adversaries who seek to hinder your progress. The resulting struggle allows each player to set their own pace. The overall concept has always been centered around combat, as it provides players with a distinct objective.
Behind it lies an intriguing backstory. It encompasses key themes such as vengeance, unfairness, and the opportunity to set things straight. Although it may not be flawless, it provides players with a compelling motivation to battle and construct.
Greben: Instead of inventing new things, I believe it’s more about incorporating appealing aspects from other games. Mount & Blade was one of my all-time favorite games, which inspired me to become a game developer. Honestly, I wouldn’t be here without it. Our work has deep roots in and pays tribute to that game, making Bellwright an homage to Warband.
In our team discussions, there’s a classic game that frequently surfaces – Majesty: The Fantasy Kingdom Sim. Particularly, it’s the way it handles indirect control that intrigues us. You manage these controversial characters who act independently, and while you can sway them, you don’t have direct authority over their actions. They make decisions for themselves.
Instead of replicating that system, we were undeniably captivated by the atmosphere it evoked. The sensation of being watched, not due to command, but out of a desire to aid in their unique fashion. It’s that particular feeling we aimed to convey.
Was there a crucial aspect in Bellwright that had to be executed perfectly? If not done correctly, the existence of Bellwright would have been jeopardized?
In order for your settlement’s fundamental operation to function effectively, it needs to be robust and dependable. This essential component should never fail, as its collapse would render other game elements irrelevant. Additionally, this is one of our most intricate systems that we have constructed.
As a dedicated film enthusiast, I pour my heart and soul into building a robust foundation for each cinematic project, come rain or shine.
In my viewpoint: I had anticipated his response, and I concur wholeheartedly; however, what truly matters to me is maintaining a tangible, or real-feeling, experience throughout.
As a film critic, let me express my stance: On numerous occasions, my team proposed creative directions that I resisted. For instance, the idea of incorporating a third-person or top-down camera for better understanding was suggested, but I firmly believed these would be mere shortcuts—easy and even lazy methods to address complex issues. Instead, I aspired to immerse players in an authentic experience, making them feel like they were lords walking the earth, not merely observing it from above.
My preferred example has always been battles. There was this 1998 game, Battlezone, which I adored – until it switched to a satellite view. That’s when the immersion was lost for me. It felt like a quick fix, stripping away the atmosphere the game had carefully cultivated.
In our game, I didn’t want an occurrence that seemed unrealistic. I consistently advised our designers to avoid such pitfalls, not only by considering how to present the information easily to the player, but also by asking, “How can we maintain the sense of being immersed in the world, of truly feeling like a ruler among your subjects?
Among the games I cherish most, one shared a common flaw. For me, this lesson has always been evident: avoid losing the sense of connection. Instead of hovering above them, you should be strolling through your town, engaging with your troops – you’re not just an observer, but a part of their world.
Occasionally, Mount & Blade might give the impression that you’re watching over an empire rather than actively participating as a commander.
Or, in some instances, playing Mount & Blade can make you feel like a spectator or more like a commander in a real-time strategy game.
From the very beginning, we discussed whether it was feasible to achieve what we intended. Our goal was to integrate features similar to those found in games like Mount & Blade: Warband or Bannerlord into a world that is completely open and seamless.
The issue isn’t solely about whether it can be technically achieved; it also presents a complex dilemma in game design. For instance, we experimented extensively on the spatial arrangement of villages alone. Initially, you could exit one village and encounter another immediately, or leave one and not see the next until 15 minutes later on the horizon. To achieve the optimal feel, we even developed a tool that allowed us to shift villages around effortlessly, so we could explore every potential distance and combination.
As a cinema enthusiast, it’s fascinating to observe how people often comment on a finished movie, “Of course, this is how it should have been.” But standing before the uncharted territory of an empty script, it’s far from obvious. You’re there, contemplating, “Should I set the scene at 500 meters or 800? I’m uncertain—let’s experiment and discover together.
A: In terms of iterations, was there a time during the development process where an attempt resulted in something less than ideal or even disastrous?
To put it simply, being a game designer inevitably involves going through the process I described. Anyone who claims otherwise is being dishonest.
If you aren’t encountering setbacks in your game creation process, it might indicate that the game isn’t challenging or innovative enough, as it suggests you haven’t ventured into uncharted territory. The iterative aspect is a peculiar yet crucial component of game design; I believe it sets game development apart from conventional software development.
During the process of releasing a game, approximately 90% of your initial work gets discarded or significantly altered. To put it another way, you might end up discarding twice as much work because, like the Ship of Theseus, you’re constantly rebuilding and transforming it into something entirely new. This is what game development entails. If you approach it with the mindset that you’ll stick rigidly to your original idea, you’re likely to fall short. Instead, you need to remain adaptable, but also possess enough experience to discern when change is necessary.
The primary hurdle lies in this: you experiment with something that seems unpleasant. Yet, is it disagreeable due to its inherent flaw, or simply because it lacks proper refinement? Navigating this fine line can be tricky, and the key to mastering it lies in accumulated experience.
Designing games is often the most challenging aspect, as it’s something that can’t be easily taught – it primarily comes from hands-on experience. I’m thrilled to announce we’ve assembled a team with extensive expertise in precisely that area. Moreover, they possess an intuitive understanding of atmosphere, because game design isn’t an exact science.
If it were a science, making games would be easy.
It’s quite challenging to handle survival matters on top of all the other responsibilities. In addition to taking care of my settlement, I myself need proper sustenance as well.
In essence, the gameplay consists mainly of survival mechanics, yet these repetitive aspects and problems associated with survival can be balanced out by other game mechanics.
It’s rather amusing – the questions you’re posing are actually the same ones we used to ponder daily, many times over. We grappled with them repeatedly, and it wasn’t until we took action that we finally found the answers.
We engaged in thoughtful discussions, not actual combat, concerning various aspects of our game such as: What defines survival in this game? Does town-building constitute a survival mechanic? Is there a toggle for this, or does it gradually evolve? Does the world continue to progress while you’re away from your town? Can players visit your town when you’re busy with quests? These questions may not be visible in the finished game, but they significantly impacted the overall gaming experience. They fundamentally transformed the gameplay dynamics.
One deliberate choice we made was ensuring your villagers seldom face starvation. This wasn’t just a design decision; it was about eliminating the stressful situation where players might worry, “Oh no, I must return before 7 p.m. or my people will perish!” Such tension isn’t enjoyable. We believed that a lord wouldn’t act in such a way, as he would trust his people to feed themselves when they’re hungry. This perspective significantly influenced our game design.
A significant aspect we incorporated from the outset was modding. This was crucial as it allowed for diversity within our design team, each member having unique perspectives on essential game elements.
The discussion about our new inventory system was intense, with differing opinions flowing freely – thankfully, no actual fistfights took place! Some team members felt it was utterly mad, while others thought it was brilliant. Ultimately, we split into two distinct groups, and guess what? My side emerged victorious. Although we’re uncertain if it was the correct choice, we all acknowledge that it provided an excellent foundation for our future endeavors.
Modifying (modding) plays a crucial role in our approach. We’ve got numerous adaptable options at our disposal, and we’ve presented one optimized version – our unique take, infused with subtle nuances. Yet, we’re well aware of the vast array of potential modifications out there, and it’s thrilling to anticipate the creative solutions players may devise using it.
Last week, we had a passionate discussion concerning the restrictions on traveling within our game. Following a prolonged exchange of views, we came to an agreement that no alterations will be made in this regard. We believe in preserving the challenge of navigating the game world, and easing up might diminish the overall gaming experience. The individual advocating for change, after all the debate, eventually conceded, saying “Alright, I understand.
It turns out the story has a cheerful conclusion, yet it’s challenging in the process. Game designers take great pleasure in creating games, however, it’s impossible to design a game that appeals to everyone’s vision since, to be frank, many ideas are misguided. The goal is to create a cohesive experience for players. As a creative director, it’s quite difficult to tell someone who is enthusiastic and seems certain they’re right, “I understand your perspective, but unfortunately, we can’t go ahead with that.
It’s difficult because it seems like they could be correct, but you must still take charge. The problem arises when too many opinions are involved, leading to a disorganized and inconsistent result. Ideally, there should be one individual or a team who all share the same vision. If not, it will feel as though the project is being pulled in various directions simultaneously.
frankly, one aspect of my job that I find challenging is delivering the message, “Your concept is impressive, but we’re unable to implement it.” It’s a tough pill to swallow. I understand that dampening a creative spirit’s enthusiasm for their idea isn’t enjoyable—yet sometimes, it’s essential. Failure to do so might lead to a disorganized and chaotic project outcome.
A: Given my experience with modding, I’m interested to know what types of modifications you envision for Bellwright. Are there any in particular that you’re really looking forward to seeing developed?
Greben: Exactly! It’s their creations that I’m eagerly anticipating. I’m intrigued to discover what they are capable of, using tools we hadn’t considered. For me, that’s the most thrilling aspect.
A: How do developers manage to strike a balance between making the game feel authentic yet enjoyable? In other words, when constructing structures, why do they opt for placing each separate piece instead of simplifying the process, and how do they determine whether a feature is included because it’s realistic or just for fun purposes?
Interestingly enough, it was me advocating for this intricate architectural setup, yet here I am advising our game designers against relying on realism when making design choices. In other words, realism should not serve as the basis for any design decisions.
In my perspective, it wasn’t just about anything ordinary. I yearned for you to establish a bond with those structures, the buildings. My aim was for you to be able to assert, “Every structural element I observe in this city was either built by myself or another person.
If something appeared unexpectedly, it would be unsettling for me. It came as a shock to discover that many people construct more buildings manually than I do. Once I complete the initial structure, my attitude is usually, “You’re taking over now? That’s your role.” I wouldn’t build more than two and a half structures because it would become monotonous for me. However, I find it surprising that many people don’t mind doing it, as this wasn’t the intended main focus.
I advocated for this method because it underscores that in the game, you, as the player, are no more unique than your teammates. You don’t possess extra health or skills; you share the same attributes with your soldiers and companions. You’re not superior to them. The only advantage you hold is the strength of the people who work for you or rally around your cause—the people you hire or those who choose to follow your lead.
To me, that particular aspect was crucial. I intentionally made the initial structures seem somewhat laborious to underscore the idea that you’re not solely responsible for everything. Instead, those surrounding you are.
We pondered over whether to prohibit this action by players, but ultimately decided against it. Instead, it’s crucial for them to grasp the importance of their teammates. They should realize that these teammates aren’t just figments of imagination, but rather, they possess genuine logic and true value.
Bellwright Never Uses Realism as an Excuse
A: What level of difficulty did you aim for when designing the intended user experience, considering its overall challenge?
Greben: Answering this question is quite tricky due to the diverse elements in our game and the varying preferences among our players. Some players may find combat too simple, while others might find it overwhelming. The same applies to food management – some struggle with it, whereas others find it a breeze. Each player faces unique challenges. For now, we believe we’ve struck a balance: the default setting offers a moderate challenge for newcomers, but not an insurmountable one. For those who find it too easy or too hard, we provide adjustable difficulty settings.
A: In your artwork, the representations of structures and activities appear quite authentic. Did extensive research go into creating an accurate portrayal of a campfire during this particular era, and similar details? Could you share some insights on how you represent such structures in your work?
As a devoted cinephile delving into the world of filmmaking, I must affirm that our team was indeed immersed in the discourses surrounding our project. Countless hours were dedicated to research, with the artists spearheading this endeavor, yet realism wasn’t the primary objective.
For instance, the architectural structures we depict are grounded in authenticity, derived from meticulous research, focusing particularly on the materials employed. However, we didn’t strive for the same level of historical precision as games like Kingdom Come: Deliverance might do. Instead, our approach aimed to strike a balance between accuracy and artistic interpretation.
I must admit, I was quite amazed at how much knowledge I gained from playing Kingdom Come: Deliverance. However, it wasn’t our aim for the game to serve as an educational tool. Instead, our depiction of the medieval world is more like a simplified, almost idealized version—it leans towards being more black and white, and yet, in a peculiar way, more vibrant. As I reflect on it now, we did put a lot of thought into various types of buildings, but we didn’t emphasize sticking to those tiers strictly. Our main focus wasn’t on adhering to that, but rather, highlighting the contrast between early, makeshift wooden shelters and later, more sophisticated structures. For instance, we used materials such as wood, but realism wasn’t our primary concern. Instead, we aimed to illustrate the difference in architecture.
It appears to have a stronger internal logic. Crafting a bench requires two pieces of wood, which are evidently used in its construction.
It feels strange because when I compare our game to others, I’m amazed by their consistency. However, when I examine our game, I find everything to be quite inconsistent. The reason is that when you’re working on your own project, every minor imperfection and detail stands out. This leads me to think, “I don’t prefer this; if given more time, I would have done it differently.
A: Since we’ve been in Early Access for some time now, I’d love to share some insights into the feedback we’ve received. Was there any specific feedback that made a significant impact on our development process, something that really caught your attention?
Based on our interactions, it seems that the players’ requests align perfectly with our internal goals. Our team is incredibly passionate about their work. Jokingly, we say that when a Slack conversation reaches 1,100 replies, it gets a special tag. At times, these discussions can reach up to 300 replies, and it might be 12 midnight, prompting us to say, “Alright everyone, let’s wrap this up; someone compile a summary!” Naturally, no one wants to read through all of that. We have developers who are highly driven and genuinely invested in the game.
Our internal conversations mirror those on Steam forums and Discord chats. It’s an incredibly rewarding moment when we find our creative aspirations align with the community’s expectations. Indeed, it seems our path is concurrently charted. This harmony brings us immense relief, demonstrating that we’ve created a game tailored to its intended audience. At present, I can’t recall a specific instance, but everything appears to be moving in unison towards the same goal.
As a movie buff enthusiast, I’m always brainstorming various strategies to tackle challenges within our cinematic universe too. Each day, I dive into countless comments, finding an abundance of valuable insights that significantly aid us in our creative journey.
Previously, we discussed your preference for making the player feel immersed and engaged in the game. Could you share your thoughts on how you determined the optimal size of the player’s domain and what they could practically handle within it?
As a movie enthusiast, I can’t reveal everything just yet. We’re still a long way off from where we ultimately aim to be. Our dreams for this project are far grander than its current state. I can’t help but be secretive, but let me tell you, we’re eager to test the limits of what we can achieve with this. We want to venture as far as possible before someone says, “Whoa, this is too much!” While I may be overselling it a bit, the essence lies in the question: What if we transform from an underdog into a champion, then take it to the extreme?
Over the next year or so, we’ll be concentrating on this particular aspect – imagine if you were given your own estates, your own realm, your own piece of land? What if you started engaging in politics with other settlements? I can’t guarantee anything, but these are concepts that we’re considering, and they align well with the feedback we’re receiving from our community. This seems to be the path we’re leaning towards in terms of ambition, while also keeping a realistic perspective.
As a film critic, I’ve had the privilege of exploring many intricate worlds through gaming. In my recent adventure, I stumbled upon an exquisite detail that required a tremendous amount of work to bring it to life. However, I fear that players might overlook this masterful touch due to its subtlety. It’s like a hidden Easter egg in a Pixar movie – if you don’t know where to look, you might miss it completely!
I believe in AI applications like pathfinding, but we acknowledge that our AI isn’t perfect. Despite the effort we invest, there comes a time when we must draw the line. Fight scenes present another significant hurdle. Truthfully, I am envious of those working on shooter games because creating animations for shooters requires an astounding amount compared to combat games – it’s simply astonishing, and sadly, not everyone appreciates this aspect.
Despite not expressing dissatisfaction, it’s essential to acknowledge that the choice was ours to incorporate a shooter mechanic. With this feature comes an array of shooting animations, a sense of recoil, and intricate aiming systems. In a combat system like this, you have to consider every direction, every block, and anticipate reactions between all these elements. This system is incredibly complex, with real-time calculations for animations that also factor in motion capture data. We’re currently grappling with an overwhelming number of animation files—tens, if not hundreds of thousands! Frankly, we’re struggling to manage them effectively.
Here are a couple of initial hurdles that stand out amidst the numerous challenges, and let me tell you, developing medieval combat games can be quite a formidable task. I’d encourage any game developer to give it a shot, but do proceed with caution. Regardless of your assumptions, you’ll consistently find that there’s even more complexity waiting to surprise you.
Q: Similarly, is there anything about the game you’re especially proud of how it turned out?
The overall journey was indivisible, with periods of discouragement where we feared it might not succeed. However, we managed to flip the situation around. We needed to pause and evaluate our resources, and things improved significantly when we started letting others play it. Initially, we asked close friends and family for a quick spin, and surprisingly, my brother, who’s known for his bluntness, confessed, “I’m hooked.” I thought he was just being polite, but he persisted, “No, I see the rough edges, I see the amateurish aspects, yet I can’t stop playing.
That incident served as a major eye-opener for us. Many others have had similar realizations. When you’re deeply involved, the intricacies and faults can cloud your judgment, causing you to overlook the broader context. However, for newcomers, it presents a wealth of opportunities. It’s challenging to break free from preconceived notions. Designing games often means being one’s own toughest critic within our team, which is nerve-wracking because you never truly know if what you’re creating is good or bad until someone else experiences it.
A: In our conversation, I shared that developing AI pathfinding for Bellwright proved challenging. Now, could you tell me about the main difficulties you’ve encountered during your work on this project?
Working with AI can take a lot of effort, as you constantly strive to make it better, but achieving significant improvement might be elusive. The process involves brainstorming ideas and making assumptions, which can be quite challenging for me.
It’s amusing because our arguments align, with my emphasis being on the performance aspect rather than the core gameplay. To be honest, I find myself reluctantly drawn towards it, yet I dislike the work involved. There’s so much exciting stuff I yearn to create, but instead, I find myself grappling with debugging crashes or trying to understand why performance is deteriorating.
When it comes to matters like interviews, you soon understand that someone must manage everything, regardless of your preferred areas of focus. For instance, I’m passionate about creating game mechanics, but a wise person once likened being a CEO to constructing solutions for all the challenges others avoid. As a tech enthusiast, this means taking on tasks that others find unappealing. I might not fully comprehend some aspects of these tasks—for example, I’m unsure about what triggers certain GPU problems—but who else is equipped to handle it? Consequently, you end up tackling those issues, which has meant less time for gameplay over the past year and a half, despite my preference to focus on it.
Bellwright’s Future Plans
Q: Do you have an “elevator pitch” for Bellwright you’d use to describe the game to a stranger?
Hoffreither: The most satisfying moment for me is discovering that someone is discussing my game without even realizing I had a hand in it. This kind of validation is incredibly rewarding—it’s like a silent endorsement. It’s when someone genuinely expresses their positive feelings, not to flatter me but simply because they’re being honest. For instance, if you overhear someone watching the trailer for my game and exclaim, “That’s amazing!”, there’s no higher praise than unsolicited appreciation from an unbiased source. I don’t actively promote the game much because I believe it can stand on its own merits.
We’re overjoyed about achieving 80% positive reviews – it’s a significant achievement for us. We’ve poured our heart and soul into this project, and the recognition we’ve received feels well-deserved. It might sound boastful, but we’ve been showered with so much affection. There are still areas for improvement, but our spirits are high at the moment. Our ultimate aim is to refine every aspect, but for now, we take pride in what we’ve accomplished and will continue striving for perfection.
As I gaze into the future, my primary focus lies in delving deeper into the vast realm of cinema. There are several projects that have piqued my interest and I’m eager to explore them further.
Greben: It’s not just about one aspect; rather, it involves multiple elements. Essentially, advancement and stability are our main focus. We’ve already made strides in this direction, but there’s still room for improvement to make it flawless. Additionally, we aim to introduce new playable locations as exploration plays a significant role in the game. In fact, since last year, we have been incorporating various elements such as these.
As a creator, finding the right balance between enhancing existing elements and introducing fresh features can prove challenging. While I yearn for horses, warfare, and kingdoms, I can’t help but feel disheartened when an NPC stumbles with a basket, only to fall over. In those moments, I am reminded that these aren’t living, breathing entities, but rather mechanical beings moving stiffly. It’s this realization that the game doesn’t feel alive that leaves me wanting more authenticity and immersion.
What’s your approach to maintaining that equilibrium? To be honest, there isn’t a simple solution. We strive to find balance based on our passions, focusing on addressing issues that truly bother us. If someone is deeply frustrated by something, they won’t hesitate to address it without waiting for instructions or permission—they’ll take action because the problem is so bothersome to them. It’s far from perfect, but it’s the method we’re currently using with some level of success.
It’s truly daunting. Giving someone a job and saying, “Go ahead, you can manage,” is simple enough, but later, finding a solution for the problems isn’t as straightforward as it appears. It’s not merely about delegating tasks; it’s about having the motivation and persistence to actually resolve them. Keeping focused and making steady progress can be challenging at times.
Hoffreither: The most challenging aspect of game development for me is that whenever I begin testing, I notice numerous issues that irritate me. This leads me to halt the testing process to rectify them because I can’t progress until they are addressed. It results in an unhealthy cycle, and I find myself stuck within it due to my slow progression in the game. I feel compelled to correct things before moving forward, and it becomes addictive. Many game developers might empathize—when working on your own game, you can seldom advance far because you’re constantly focused on fixing what’s wrong. When playing other games, I find myself thinking, “I appreciate this,” but simultaneously considering ways to enhance it in my own creation. It’s a peculiar sensation. I play less than I used to not because I dislike games, but because when I do play, I feel that I would have more enjoyment creating my own games instead. It’s an odd feeling.
A: Have I been expecting you to ask about something specific that we haven’t covered yet?
Hoffreither: I think that may be one of the most thorough interviews I’ve ever experienced.
Greben: A major Spring Update is on its way! This update will introduce exciting new gameplay elements such as animal farming, offering more possibilities for personalizing your settlement.
However, it’s not merely about personalization; rather, it implies that a medieval setting is incomplete without the presence of pigs.
One of my cherished childhood games was The Settlers, and the sight of the wandering pigs was a captivating aspect for me. Re-experiencing that nostalgia is essential, something I feel is lacking in our current game.
As someone who’s been truly impressed by the ingenuity displayed within our vibrant community, I must share an amusing tale. One of our game developers, while tinkering with our modding toolkit, crafted a mod that introduced exploding pigs. It was undeniably whimsical and left me chuckling. Instead of pondering its purpose, I simply thought, “Why not?” This little episode served as a reminder of the boundless potential within our creative minds. If this idea sprang to life in merely half an hour, can you imagine the wonders that will emerge if our community is given a full month to explore and experiment? Based on what I’ve witnessed so far, our community is brimming with drive, imagination, and fervor. I eagerly anticipate a deluge of unusual creations—some may be questionable, but the majority will undoubtedly inspire us in the most delightful ways.
Q: Any last thoughts before we head out?
User: Your inquiries are truly impressive! It’s evident you have experience in the field, and it’s a pleasure to engage with someone who asks such thoughtful questions. For us, this is a positive indication. Game development can be quite challenging, and your appreciation for it is genuinely inspiring.
[END]
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