"We learned a work ethic and attitude to how we pursue and portray a story in a game." "The thing we learned with Spec Ops was to do the right thing with the right game," Kempson says. "The tone is something we had to address."įor Yager, this wasn't a problem. But that gravitas was nowhere to be found in the game itself. That non-gameplay reveal was praised for the powerful, sad story it told in just a few minutes of computer animation. "We found that out with the trailer for the first game," Reichert says. And the franchise already had a problem with tone.
Dying Light looks nice."īut Deep Silver still had a problem to come to terms with before bringing Yager on to the project: Spec Ops: The Line was a very serious game, in many ways the polar opposite of what Deep Silver wanted for Dead Island. But "they decided to go do something else," Reichert says.
Kempson was beginning to look for new projects for the studio, and it wasn't long before he heard through the grapevine that publisher Deep Silver was looking for a new development partner for a Dead Island sequel.ĭeep Silver Creative Producer Sebastian Reichert admits that the earliest pre-coding planning for Dead Island 2 had started with Techland, the developer of the first game and spin-off Riptide. This office-wide obsession hit just as Yager finished development on Spec Ops: The Line.
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