Claire mysterious: Campaign 33 It is my favorite game for this year so far, with a pleasant battle system, excellent exploration, and dubatic soundtracks. But I am not the only one who loves it: the game has become a great success, as more than two million copies were sold after only 12 days It was released in late April. “It is a very surreal feeling,” says Guillaume Broche, CEO of Sandfall Interactive and creative manager.
According to Broche, the game leads “away from expectations” and that the team did not expect to “explode” as soon as happened. “We are still in denial, mainly,” he says. “I will wake up tomorrow, and this is all a joke, right?” Added the main writer Jennifer Sfldberg Yenin.
A large part of Campaign 33His success is its sweeping story. It made me go back to the game at every moment I just can see what happened next. The opening strikes you with Gutpunch. Playing as Kagsaf, crossed by recklessCharlie Cox, get to know the tragic conditions in the world, its characters, and the annual “Gommage” that makes everyone at a certain age disappear in a wave of petals when a giant called “the painter” is a new number on a giant monotony.
GUSTAVE is one of the next two engines who will strike and try to land the painter, and this team also includes Maelle, a teenager responsible for it. But he also loses the former, Sophie, to the reckless after drawing march 33.
It is a strong and emotional opening, and it made me interested in it Campaign 33 immediately. But there was a major scene later on the fact that it was about the game of the game from Good to Great for me-and I spoke to Brocke and Sveedberg-Yen.
The future spoilers. Do not go beyond this image unless you want to read about developing a large plot.
If you choose to continue passing, the moment I am talking about is at the end of Chapter 1.
A man with a mysterious white hair that slaughtered a lot of campaign 33 appears earlier in the story after an intense president’s battle. Without warning, the man stabbed Gustav with a huge sword, and after a short battle, he stabbed him again, and kills him – all in front of Mile, who was besieged in a dome of magic energy that makes her helpless.
When this happened in my game, it was jaw on the ground. Campaign 33 If you had photographed Gustav as the protagonist, and calculated that he had a conspiracy shield to make him to the end so that he could close when Sophie lost. (Heck, they threw Charlie Cox, who also plays with the superheroes in Marvel, to express it!) But within hours of the opening of the game, Gustave went.
“The place you need the story to go,” says Svedberg-Yen. As for the novel and the topics the team was, “this is the most organic.”
“One of the main topics of the story is very clear sadness,” says Brosh. He adds that the team wanted the team to “go through the terror that the characters are going through.” “It makes sense to attach the pain to the player strongly as much as the characters receive.”
Brock says that playing actually the same character creates a deep and attached link. “The loss of this is the hole that the characters face in the game mainly every year with The Gommage, and it is something here I felt comfortable with the game and narration.”
The scene is brilliantly designed to make death feel influential. After fighting the president and before the white hair man appeared, I had risen-I thought I would get a nice piece of celebration before moving to the next thing. But the surprise of what happened after that and the strong shows from the actors of the movement of movement and the vocal actors made the scene unforgettable and powerful.
I am particularly surprised by the killing killings: After the white -haired man stabbed Gustav, the game is going in a slow movement to stop at that moment, on the horror of Mile, and on the Gustav’s emblem full of “33”, which Sophie put on him shortly before to overcome it.
For me, I felt reminded us of the death of Gethine in Final Fantasy ViiBut Broche and Sveedberg-Yen say this was not intended. “If people find some similarities, this is not conscious of us,” says Brosh. (Sveberg-Yen said it hadn’t already played FF7So I apologized for spoiling Aerith’s death.)
Gustav’s recent words are also strong: “For those who come after that, right?” It is a slogan that the series uses for recognition for the purpose and insecurity of their mission, and throughout ACT One, it becomes a gustave game. But in the moments before the killing, he seems to know what will happen, and he says that because he gives a tragic look at Mile – who will have to wrestle alone with everything that comes yet – before the final attack. “This is his whole personality,” says Brosh.
The slogan itself has a broader meaning as well. “We really wanted to enter the idea that they are part of a larger tradition, and that they are a single exploratory journey in a series,” says Svedberg-Yen. “So we really wanted to know how to package it.”
Like the rest Campaign 33“The most influential moments, what makes the scene work is a mixture of items-writing, performance, music and more-that merge together to create moments that I cannot stop thinking about, even when it does not feature dramatic and unexpected death. Svidberg-Yen says:” When we think about telling the stories, all the difference together-the entire package-which made it really alive. “
