“I did not think this game would be successful.” “After much trying and much effort we managed to get somebody to pay us to make a game about a failed, underwater, objectivist utopia.”
“That was really our first stab at: could you start really interacting with characters without pausing, without cutscenes, without some kind of dialogue tree?” “I started thinking about: how can you make a dialogue between the player and SHODAN, is that possible?” And that mission has been to bring players-to turn players not into an observer of narrative, but a participant in narrative.” Because of that limitation we sort of stumbled into Irrational Games’ mission. What if we combined shooting and RPG?’ We really focused on story. So, we looked at the engine and we said, ‘Okay, well, it’s not going to run very fast, but it does have a lot of detail. It was sort of slow and a little clumsy, but it did certain things really well, it did a level of detail really well. And we were really wondering how we were going to make this game, because the Dark Engine, which was the same engine that Thief was built on, was not really a shooter engine, it didn’t compare to the Quakes of the time. I had worked on Thief but it hadn’t shipped yet. Here I was president of the company, I was lead designer, and I had never shipped a game. “At that point, we really didn’t know what we were doing at all. The full video is available online, with the rest of the Q&A in the second half (begins at 40:43), moderated by writer Simon Parkin. Here are some quotes from his talk, as well as a few from the beginning of the Q&A. In the first half of his BAFTA presentation, titled, “From Shodan, to Big Daddy, to Elizabeth: The Evolution of AI,” Ken Levine, creative director at Irrational Games, talked about creating meaningful characters in games, covering his work on System Shock 2, BioShock, and recently, BioShock: Infinite.
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