You were saying that the cutscenes are not in the engine.
NC: Yeah, absolutely. So, it's basically sort-of a 2D animated sequence -- cartoon animated, that's the easiest way to describe it. We released the trailers actually on the internet -- and again, it was to give a contrast.
The game is a lot about contrast, you know, contrast in the different levels, and it was really to make them stand out. We wanted people to take notice; we wanted people to look at the story, and understand the story, because that's very important to us. We feel that you have a much stronger experience if you understand why, as you progress, and things change, and there are twists and turns.
So do you see the actual character model largely only through reflections, and things like that?
NC: Yeah, yeah, absolutely. And I think that's really cool, you know; gives it a mystique. It makes Faith -- you know, I think if you're constantly looking at [characters], you just switch off to them, almost, and when you get that into Faith, it's like, "Oh, this is really cool." You see the shadow, as well, there's a connection with the shadow, and I just think that really adds to the allure of the game.
That's almost a Valve kind of thing.
NC: Yeah. Absolutely. And I think that it's something we were -- certainly personally, I think, gives it its uniqueness, and it's really cool. When you see Faith, it's like, "Wow, that's really cool. I've just seen her. I've seen her reflection," and, you know, I think it just adds to it.
The first person perspective, puts a really explicit focus on your surroundings, and on the very stark art design. You guys have a very specific art design going on.
NC: Yeah. And that's specifically because that's how she sees the world; it's that the game is played out through her eyes. When you're on the rooftops, that's how she sees the city now. It feels like a very cold, austere place to her; it's lost its vibrancy that it once had, through the control. And that's how we make that connection.
We knew we wanted the levels to feel very different, so when you go from a change -- like the storm drains that you may have seen, to the factories, and you go down through buildings, and then down to street level, they all have an identity. A real contrast. And again, that was really important, that you're constantly seeing different things, and it feels different.
The color design almost feels somewhat impressionistic -- the color is so sparse, but then there's a bright splash of red or yellow. What's the thinking there?
NC: Right. Yeah, so the red itself is what we call "runner vision". Faith sees the world differently; because she's become so adept at what she does, she sees objects in the world as aids, if you like; things to help her.
I think if you look at parkour, what we see as some stairs or something, we'll just see them to walk down, and they'll see them as something to jump down or to run across.
It's the same sort of feeling -- that the red elements, and the runner vision, are elements that she feels that she can use to her advantage as she runs through the levels. And, obviously, it plays out really as helpful hints and tips to the user as they play through the game.