Q&A: BioShock 2 creative lead jumps out of comfort zone with new South Park game
Jordan Thomas has been helping to build atmospheric, "immersive simulations" for over 10 years -- he was the lead designer of
Thief: Deadly Shadows, and went on to work on all three
Bioshock games before
departing Irrational Games to form his own independent studio last year.
Lately, his work doesn't have that same kind of dark, immersive simulation design that he's most familiar with. Most recently, Thomas served as a creative consultant on Obisidian Entertainment's comedic RPG
South Park and the Stick of Truth, due to release next month.
Gamasutra sat down with Thomas during a recent Ubisoft press event to learn more about his work on the game and the challenges he faced in trying to create opportunities for comedy in a medium where the creator must cede some level of control to the player.
How have the skills you’ve acquired in your time in the industry been brought to bear on this project? It doesn’t seem, at first blush, like the kind of thing that you’ve worked on in the past.
No, that’s actually what attracted me to it! I think I’ve atrophied inside my comfort zone. I always wanted to work on a pure RPG, and
Stick of Truth is that.
As far as how my time on the immersive simulations, for lack of a better term, applies to
Stick: First thing was, I pushed really hard for more combinatorial use of the player tools -- [that is,] the ability for players to be creative by combining tools in ways that the designer selected in order to open a field of play, and also the
Deus Ex-y sort, in which there are multiple paths within a denser dungeon-like environment.
So early in the game, you’ll make it to what we call a dungeon -- a more intense narrative experience with a greater density of combat. Within those environments I pushed very hard for you to be able to say, “Okay, I like this path better” -- offering an alternate path through the vents, if you know what I mean, versus the standard path. The level of magic in the world is a function of the boys’ reality-warping play, and the magic unlocks more and more paths, and the hope is that you feel like a partial author of the experience, instead of just solving an adventure game-style puzzle in the manner the designer intended.
I’m not a big fan of lock-and-key design, and so the notion that there might be any analog space there at all is hugely important to me. It was the first thing that I asked about.