#Alan wake 2 footage tv
I think TV is a good template for games, and two, I think it is a great way for an audience to experience a game. The whole season–this is season 1–escalates towards what should be a satisfactory ending and closure.
In each episode, you should have a bit of foreshadowing, introducing environments and some other characters, and you build up towards the action, and leave it with a cliffhanger.
#Alan wake 2 footage series
What we wanted to do was use the TV series format as story arcs. And with Alan Wake we knew we were going to build something much larger, and just extending a film-type of storytelling structure over such a long period, it becomes a bit diluted. Previously, with Max Payne, we used the film template, and kind of stretched the film-style of storytelling over a game. A game is a much longer experience than a film. In terms of the TV series pacing, we felt that it’s a perfect match for a game. We wanted that vibe that someone is filming you with a handheld camera. If you really start to sprint fast, it’s like your camera man gets left behind ever so slightly until he catches up to you. Just the way the camera behaves, it’s almost like we wanted a virtual camera man. We wanted that bit of motion blur and post-processing effect that is like a film grain, those are some of the techniques we used.
#Alan wake 2 footage movie
Is that the reason why you adopted a TV structure and other movie motifs? There is the voice-over narration, and there is a slight blur that feels like film. And try to build that into something of our own, but something that is familiar to the audiences: themes and motifs they can relate to, but hopefully something that hasn’t been done in games before. We usually look more for inspiration outside of games, than within them. We are mass consumers of popular culture.
And some of the current stuff inspired us, like Lost–but maybe it’s more in terms of pacing of a thriller: how they start off each episode, have that strong, tightly paced story in each episode, and how it ties into the whole. We have grown up on Twin Peaks, Twilight Zone. I think we wanted to acknowledge a lot of the inspiration behind the game.Īnd then there are the Twilight Zone-esque “Night Springs” shorts throughout the game. We certainly point to Twin Peaks, with the diner as the first set piece. I think we also do that with Alfred Hitchcock, with the birds the scene with the hedge maze just outside of the lodge, that’s inspired by The Shining and the fisherman in the yellow jacket, that’s I Know What You Did Last Summer. King of course, being a master of the genre. What’s in your head and what is really happening? We wanted to tip our hats to some writers, Mr. It’s about playing with that line of subjective and objective reality, what’s true and what’s not. We wanted to have those references to the world in which the audience inhabits. Tolkien.įor whatever reason, a lot of games shy away from tying into the real world and only stick to the virtual. You start with a Stephen King quote and other writers are referenced in the game: H.P. Those three things were what inspired us in the beginning and have carried us through to the very end. We wanted a familiar setting, but something that hasn’t been done to death in games. Our town of Bright Falls has echoes of Twin Peaks. And the third thing we wanted was this setting of an all-American small town.
I am a writer.” The second thing was the theme of light and darkness, not only in the fiction, but also carrying on to the gameplay mechanics. From the very beginning he starts to narrate, “My name is Alan Wake. A writer is a natural storyteller and it’s very much Alan talking about his own story. The first one was establishing a strong central character.
We had three things from the very beginning that we wanted to do, pillars throughout this long process. We thought that horror has been done quite a bit in games–and that’s usually monsters and blood and gore–but we wanted to go into thriller aspects and build something that is more about intrigue and messing with the audience’s mind. Matias Myllyrinne: We wanted to establish what we feel is the first real thriller in games. Kevin Ohannessian: How did Alan Wake come together?