As a seasoned storyteller with a knack for blending reality and fiction, I find myself deeply moved by the tales of collaboration and creativity shared by Dave and Tim. Their lives have been a rollercoaster of trust-building, creative guide construction, and earning the respect of developers from various corners of the gaming world.
The series titled “Secret Level” builds upon the experiences of “Love, Death & Robots“, focusing more on video games instead of robots. It draws inspiration from 15 well-known game titles that players might recognize. Each story, while varying in length, maintains a central theme, aiming to highlight each game’s unique charm through fresh interpretations. Regardless of how the stories resonate with players, executive producers Tim Miller and Dave Wilson aspire to evoke some emotion in the audience by the end.
In this conversation with Game Rant, Tim Miller – the mastermind behind ‘Secret Level’ anthology – discusses his journey that started with ‘Shadow the Hedgehog’ at Sega, leading up to his role as an executive producer on all three ‘Sonic the Hedgehog’ movies. Similar is the case for supervising director Dave Wilson, a creative director at Blur Studio, who has worked on projects such as ‘Destiny 2’, ‘Hellgate: London’, and ‘BioShock Infinite’. This interview offers insights into how these two industry veterans collaborated on the anthology, given their extensive experience in both video game and film directing. (For clarity and conciseness, this interview has been edited.)
How the Idea of Secret Level’s Episodes Came to Be
Question: In what ways did the creative process vary among episodes? Did it change based on the specific game, or was it fairly consistent throughout the 15 episodes?
The methodology was similar, but the components varied; it’s like preparing meals in the kitchen, yet the dishes you’re cooking are distinct. The kind of game played had a significant influence on this. We aimed to recruit authors and writers who resonated with that specific game. By creating an extensive creative manual, we sourced various writers for pitch submissions. Instead of repeatedly generating repetitive ideas by just Dave and I in a room, we wanted a diverse range of perspectives.
Wilson: That is as exciting as it sounds, by the way.
Miller: [Laughs]. To capture a wide range of perspectives, we invited not just the authors we collaborated with, but additional ones from the series Love, Death & Robots. We asked them to review our materials and share unique ideas with us. They delivered, and subsequently wrote prose versions that were later transformed into screenplays.
Q: What was it like working with such a large variety of game developers on this project?
Wilson: The experience was fantastic! We’ve been acquainted with this kind of work for quite some time now; Blur Studio has been operational for thirty years, and we’ve had ties with the gaming community for nearly the entire period, making some of them our friends. The developers of Exodus at Archetype are the same team behind the Star Wars: Old Republic projects that we collaborated on extensively. We have a good rapport with them and, in certain instances, they even grant us significant creative liberty. James Ohlen, who heads Archetype, entrusted us with…
Miller: Too much freedom. [Laughs].
Wilson: Yes, it’s almost unsettling because we have the power to make mistakes, given that it’s essentially our responsibility. Now, there are certain traditions to follow in some instances, but overall, I believe we can trust Amazon and the IP owners quite a bit.
Miller explains that they hold a great deal of regard for the Intellectual Property (IP), appreciate why it’s popular, and understand the time and affection invested in it. Simply creating a new version isn’t enough; one must respect the franchise, acknowledging its significance.
Wilson: Each game is unique in its own way. For instance, Derek Yu is the sole creator of Spelunky, so when we’re discussing it, we’re essentially speaking with one person. On the other hand, expansive franchises like Warhammer and Dungeons & Dragons require more input during our discussions due to their large teams. However, even in such extensive universes as Warhammer, there are a few passionate individuals that we engaged with who deeply appreciate the IP and everyone involved in its creation on their end. Despite their vastness, these massive IPs ultimately boil down to tight-knit communities of enthusiasts who all aim to produce exceptional episodes and series.
Miller: We adjust the difficulty level of the game slightly to make it more approachable for those who are new to it, aiming to appeal to a wider audience.
Secret Level Wishes to Make Viewers Feel Something With Its Tales
Q: How much freedom with the source material did you have with these stories?
Wilson: We found more leeway with well-known intellectual properties, such as Pac-Man, which might make you think, “Yes, there’s plenty of room for creativity here.” For games that are still finding their way, like Exodus, which hasn’t been released yet, we’re making a conscious effort to stay true to the IP’s tone and principles. This helps ensure that the game has a consistent voice right from the start.
Miller noted that many of these individuals were ones we’d collaborated with earlier, and they held confidence in our abilities.
Wilson: Lots. No more than Amazon, which was…
Miller: You’ll encounter a broad spectrum of opinions when it comes to managing IP details, ranging from those who meticulously oversee every comma, to those who simply trust us to create something interesting without much supervision. Navigating both approaches is familiar territory for us in our everyday operations, and we are adept at adapting to either stance.
Wilson:Can you establish trust throughout the process? It’s important to note that when we initially collaborate with the developers, we develop comprehensive creative guides that encapsulate the entire franchise. These guides serve as a tool for us to communicate the essence of the series to our authors and anyone else on the creative team involved in the project. Interestingly, these creative guides have become so accurate and detailed that the developers now utilize them to train their own employees at their studios.
We’ve managed to gain their trust, not just from our regular clients, but also from new ones we haven’t had long-term relationships with yet. Every day offers an opportunity to build on that trust further, and I believe by the end of it, they would be content to entrust us with their brand.
Question: Are there any specific episodes that you believe will make a lasting impression on viewers as the end credits begin to roll?
Wilson: All of them.
Miller: Yeah.
Wilson: [Laughs]. When we were deciding on the order, I suggested starting with Pac-Man because it would evoke some kind of emotion, but Tim disagreed, saying “People won’t stick around if we start with that one.” It was like suggesting they jump into boiling water; he thought they’d bolt immediately.
As a gamer, I believe that every tale weaved or franchise crafted, the ultimate goal is to stir emotions within our audience. The most disheartening outcome would be an indifferent, empty experience. Whether it’s an intense reaction, a humorous one, or anything in between, my aim is always to evoke some sort of feeling in people.
I have a strong expectation for the movie Exodus as it is adapted from one of my beloved short stories by Jack London, An Odyssey of the North. The film offers a touching father-daughter take on the story that was originally a romantic tale.
As much as I playfully tease the idea of Pac-Man meeting Warhammer, it’s more than just a joke for me – I’m a diehard fan of that universe. Stripped down to its core, the narrative poses an intriguing question: “Can we shape our children’s destinies?” This resonates deeply with me because I was engrossed in a conversation with the writers at Games Workshop when I received news that my father had passed away. Consequently, I eagerly anticipate that beneath all the rich lore and detail, there are stories that touch hearts sincerely.
Miller: Dave was that amoral child.
Wilson: Yes, covered in blood in the rain.
[END]
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2024-12-13 01:17