Video games offer analogous experiences through updates, custom settings, changing rules, uncertain outcomes and an infinite multitude of other variances that appear in them. But while the modified underlying work may speak out to us differently, to fundamentally change the original artifact erases its identity and create a new one in its place. How does this work with other art forms? We can watch a new performance of a play updated for modern times or listen to a remastered version of an album. It’s us and our perception of movies that changes. Railly: “If we can’t change anything…because it’s already happened, then we ought to at least smell the flowers.”
#Dear esther art movie
The movie never changes - it can’t change - but every time you see it, it seems to be different because you’re different - you notice different things.” Funny, it’s like what’s happening to us, like the past.
#Dear esther art full
A movie full of themes of temporal disorientation and loss of identity playing in a movie about those same two themes, Hitchcock’s masterpiece prompts a dialogue exchange that has always stuck with me:Ĭole: “I have seen it, but I don’t remember this part. It sounds like you freelance a lot.There is a powerful moment in 12 Monkeys (1995) when the protagonists Railly (Madeleine Stowe) and Cole (Bruce Willis) are hiding from the authorities in a movie theatre playing Vertigo (1958). Now i really feel like this game was made for Source, both on and artistic level and in the fact that Source represents a great platform in which to push ideas of traditional FPS gameplay Is there something you would have liked to change, that you might not have been completely satisfied with?Įarly on i probably would have said the source engine due to it's restrictive nature, but now I really think it's those restrictions that have really helped define the art style of the game and force me to work efficiently and creatively than ever before. I love that it doesn't spoon feed you anything, that it only gives you just enough info to allow your imagination can fill in the gaps, that every play-through gives a slightly different twist on the story allowing everyone to have their own unique interpretation of the the events, history and even the reality of the story itself. What did you, think of the story after the game was made? Ok some great questions here, hopefully I answer a good bulk of them! Going to call it a day now, I've been at this for 6 hours straight, I'm exhausted! Thanks for all of your questions and your time, and I hope you enjoy the game! Oh and dont forget it's also 50% off on steam right now until Thursday 4pm (PST)! :) I will try to answer as many questions as I can, hopefully Dan (writer and creator of the original Dear Esther) will also be able to drop by at some point to also answer any questions regarding the more deep philosophy and thinking behind the game.
It's been an extremely tough journey, but ultimately a rewarding one, and with the recent Steam sale helping us reach a whopping milestone of over 100k sales last night, I thought it would be nice to reach out to everyone who've supported us and helped us get here and do a bit of an AMA for anyone interested. Originally starting out as a simple visual overhaul it gradually evolved into a fully fledged indie title. I wanted to do a small side project during this time to keep my creative juices flowing, and whilst searching for inspiration I stumbled across Dan Pinchbeck's experimental mod, Dear Esther. After it was completed I decided to take some downtime and return to the UK to spend time with my family and plan my next move. I worked on the Storm drain (level 2) and Shard level (Last level) and well as most of the DLC - Timetrial Map Pack which followed shortly after it's release. I started out making maps in the hl2 modding scene and slowly worked my way up and eventually landed a job as an environment artist at Dice, working on Mirror's Edge. First a brief intro about myself - I'm the artist/designer/scripter/+more behind Dear Esther (the retail release).
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