The making of grim survivalist city-builder Frostpunk.
syndrome, so that situation is that you are enacting small laws that [don't] change much and are not extremely drastic, but over a longer period of time, you see that the sum of those parts makes something bigger and something more terrifying. And this is a situation that you can observe in life when a couple of total institutions or total situations are born, they are just going through that process of creeping normality.
So kind of like a slippery slope situation where I’m making maybe a small compromise that’s against my personal morals or beliefs because I’m hoping it will achieve this goal, but that can lead to bigger and bigger compromises on my part as a leader.
If we can talk some about the art—it’s a really beautiful game in this kind of grim way. I wondered if we could talk about the art, the 1800s kind of setting and the steampunk influences.
And we really had to do a lot of adapting from that, so I’d say that what we knew thanks to making This War of Mine was general concepts like focusing on the experience, focusing on the themes that permeate the game rather than any particular implementation of a mechanic or whatever there is, right?
Actually, one of the design tenets for the game that we have is actually that—obviously, games are often framed as a series of interesting choices, but what makes a choice interesting? And one of the ways we really like by making choices interesting is asking you whether you’re willing to sacrifice some of your morals, your ideals, or making this one step [over] the line, in exchange for a better outcome, goal-wise, [for] your scenario in the mechanics and in your situation within the game.
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