IbizaPocholo
NeoGAFs Kent Brockman
https://www.3djuegos.com/noticias-ver/189172/ya-hay-ideas-para-un-nuevo-videojuego-de-metro/
On this occasion, and given the close relationship between 4A Games and the novelist Dmitry Glukhovsky, in 3DGames we had the opportunity to chat with the scriptwriter of the video game about the future of the Metro series.
"We already have an idea of what's going to happen next, after Metro Exodus," Glukhovsky acknowledged. "It's going to depend on how the launch goes commercially. This is the most expensive and ambitious video game we've ever made for the franchise, and it will all depend on how players receive Exodus.
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https://www.3djuegos.com/noticias-v...vela-el-recorte-mas-doloroso-de-metro-exodus/
We had the opportunity to chat with the writer Dmitry Glukhovsky. The author of the novels of the Metro saga and, in addition, a key character in the writing of the three video games of 4A Games. Of course, of all his ideas and his initial script for the title many things stay in the inkwell, and the writer has reviewed for 3D Games the most painful of the losses.
"I'll never forgive them if the giant postnuclear mammoths couldn't get into the game," the writer laughed. "I would have loved to have them in the video game. Okay, this time it can't be. Maybe in the next video game. But, think about it... giant mamuts, the size of a house! It was going to be amazing.
He then went on to explain how the relationship between scriptwriter and developers works. "The creative process at the script level for a game like this is a two-way process," Glukhovsky explained. "We needed a train ride through a wilderness nuclear´, and then I told them that I loved the concept; that, in fact, one of my great ideas was to make a video game about a train ride.
"So, they say to me, `All right, then... how's the story going to be? Tell us! ´". So I start telling them what's going to happen. Artyom's motivations, what's going to happen on the train. Then they ask me, `who's going to be on the train? ´ Artyom, his wife, Miller... And I have to start intertwining the complex relationships between all of them. And who's going to accompany them? And I have to shape all those secondary characters that accompany them. Then they ask me about the locations, I have to think about them...", he continues. "Then they tell me what they like, what they don't like. They tell me that Miller can't be a nice guy, that he has to put some tension in situations. It's a tug-of-war very much like a relationship.
On this occasion, and given the close relationship between 4A Games and the novelist Dmitry Glukhovsky, in 3DGames we had the opportunity to chat with the scriptwriter of the video game about the future of the Metro series.
"We already have an idea of what's going to happen next, after Metro Exodus," Glukhovsky acknowledged. "It's going to depend on how the launch goes commercially. This is the most expensive and ambitious video game we've ever made for the franchise, and it will all depend on how players receive Exodus.
--------------------------------------------------------------------------------------------------------------------------------------
https://www.3djuegos.com/noticias-v...vela-el-recorte-mas-doloroso-de-metro-exodus/
We had the opportunity to chat with the writer Dmitry Glukhovsky. The author of the novels of the Metro saga and, in addition, a key character in the writing of the three video games of 4A Games. Of course, of all his ideas and his initial script for the title many things stay in the inkwell, and the writer has reviewed for 3D Games the most painful of the losses.
"I'll never forgive them if the giant postnuclear mammoths couldn't get into the game," the writer laughed. "I would have loved to have them in the video game. Okay, this time it can't be. Maybe in the next video game. But, think about it... giant mamuts, the size of a house! It was going to be amazing.
He then went on to explain how the relationship between scriptwriter and developers works. "The creative process at the script level for a game like this is a two-way process," Glukhovsky explained. "We needed a train ride through a wilderness nuclear´, and then I told them that I loved the concept; that, in fact, one of my great ideas was to make a video game about a train ride.
"So, they say to me, `All right, then... how's the story going to be? Tell us! ´". So I start telling them what's going to happen. Artyom's motivations, what's going to happen on the train. Then they ask me, `who's going to be on the train? ´ Artyom, his wife, Miller... And I have to start intertwining the complex relationships between all of them. And who's going to accompany them? And I have to shape all those secondary characters that accompany them. Then they ask me about the locations, I have to think about them...", he continues. "Then they tell me what they like, what they don't like. They tell me that Miller can't be a nice guy, that he has to put some tension in situations. It's a tug-of-war very much like a relationship.
