Iteration time is the most important thing. It was three and a half years, too, so we had a good amount of time. Our whole company, its only a little over 50-odd people. Q: How big did the Torment team start, and how big was it at the largest point? But again, I let those guys make that decision, in terms of what makes sense. And at the end of the day, the game is still pretty massive - it's probably a 40- to 60-hour game. But it's fun, because at this point we're the only ones that know what's not there anymore. And so yeah, they had to work themselves into pretzels a couple different times in order to do it. So I let them ultimately decide how they need to tell this really heavy, single-player narrative story, yet still remove things. It's always more time to iterate, because you get to polish more, and make what you have better. I tell the guys all the time, we're either going to have more levels or more time to iterate. I'd rather have more time in the iteration cycle, right. I'll extrapolate out and say well, at this rate, this thing is going to go too long by x amount, and we need to change something. As executive producer on this project, I imagine you had oversight of what was cut - how do you decide what stays and what goes, in a game like this?Ī: Well, ultimately I let the writers decide that. Q: I was talking to George and he mentioned that the game had been cut down a lot during development. It's 1.2 million words, so it's incredibly expensive to localize. Q: I can't imagine trying to localize something like this game, an RPG with a huge script that encompasses so many esoteric concepts.Ī: You have to understand the context of what you're doing in order to localize it. I've chosen several parts to quote below: Gamasutra offers an interview with Brian Fargo.
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