Jessica Curry’s score is really quite remarkable. And you have to believe in what you are making, and that the themes in Rapture are, despite the very specific setting, kind of universal. We’ve always taken the line that we think gamers are smart, imaginative people and if you work from that basis, they are usually up for new experiences. I’m a huge fan of Stalker and Metro and they are really squarely Eastern European in feel and sense of place, and it doesn’t stop you from getting it. Were you ever worried that the rest of the world wouldn’t ‘get’ the period British feel? ![]() That’s special, it makes it all worthwhile. It’s why it’s so rewarding to finally get it out into the world and get people’s responses back – who are experiencing it as a fully realized world and are getting so immersed into it. Especially at the end, you walk around and all you see are issues and bugs, and you have to be really careful to keep remembering what this thing is. It’s never that simple, I wish it was! It’s such a long and complicated process that you have to remind yourself of what it is you’ve made from time to time. We are looking forward to being able to go outside without seeing everything in terms of whether we could use it in the game though – the biggest inspiration is literally on the doorstep.Īnd how did it feel, the first time you ‘walked’ around the completed environment? Getting that sense of place, of believability is crucial and we invest a lot of time and effort into it. But also we just really care about the worlds we build, it’s a big part of who we are as developers. Well, Jess and I both grew up in the 80s so I think there’s a lot of that. W e’re captivated by the environment in Everybody ’ s Gone to the Rapture – it’s like stepping through a window into our collective childhood here at Thumbsticks! It feels like a very personal love-letter from The Chinese Room to a time and place long gone can you tell us about your inspiration for it and the process of bringing it to life? The critical response is just amazing though, can’t quite believe a game as left-field as this has done so well. It’s just one of those things you get used to if you are not self-publishing, it was the same with Machine for Pigs. We don’t have any of that information as it’s all handled by Sony – it’ll be a while before we get to know how well it’s done. The critical response has also been excellent have you any indication on sales performance you can share with us? Any pre-order or download figures? We’re just really grateful that people like what we do. Thumbsticks: Congratulations on the release of Everybody’s Gone to the Rapture! The world and his dog (ourselves included) have been aquiver with excitement for its release were you surprised at how a slow-paced, combat-free storytelling experience seems to have captured the attention of the gaming world?ĭan Pinchbeck: Yeah! The first-person story game has been building for a while now – it’s definitely a different world to when we first made Dear Esther as a mod back in 2007 – but it’s still amazing to think people are really excited about something you’ve made. ![]() Today sees the release of the massively anticipated Everybody’s Gone to the Rapture – a masterclass in first-person experiential storytelling with nary a crowbar or shotgun in sight – and it’s something of a big deal.Įxcitement has been building over this one for some time and it’s finally here, but Dan Pinchbeck, Creative Director of The Chinese Room, very kindly found a few minutes to answer our questions before heading off for some well-deserved rest and relaxation: It’s a busy old week for Brighton-based studio The Chinese Room.
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