It was not our decision.” Bizarrely it even led to the situation where the game was being influenced at the eleventh-hour by a trailer. “We wanted to correct it as much as possible, but because the trailer was that successful, from a business point of view, it was good to maybe not correct it that much. “I think it made people confused,” admits Marchewka. It was the must-see trailer of 2011, but ultimately it had very little in common with the final game, creating yet another source of creative friction between developer and publisher. It was one of the reasons Dead Island was buggier than we thought.”Īrguably one of the most memorable and enduring aspects of Dead Island was the first time we saw it – that haunting slow-motion trailer depicting the death of a family on holiday in reverse. Sometimes other business aspects are important, and you have to keep to the schedule. Sometimes it might not be your only decision to make. Suddenly, your game is more ambitious than you initially thought there are more elements you need to polish. “And that’s what happened with Dead Island. That’s the hard part of working with a publisher. “Working with a big publisher requires you to work to a certain schedule, moving the product even though you might need to polish certain elements. “It can be difficult sometimes, especially when it comes to flexibility,” says Pawel Marchewka, Techland’s CEO. While visiting Techland, I spoke to designers, animators, artists, and even the CEO, and it was clear that after Dead Island, Dying Light was the game they had to make, and they were making it entirely on their own terms. So much of Dying Light began life as Dead Island 2, but it wasn’t meant to be, with publisher Deep Silver determined to take the series in a different creative direction. Those ideas belong to Techland, the ever-growing Polish developer which first experienced worldwide success with Dead Island.
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