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“There were a lot of leads meetings at the end where we were just reminding everybody, ‘Perfect is the enemy of good,’” said the writer Josh Scherr. “You’re polishing something that’s at ninety-five percent while this thing over here at sixty percent needs a lot of love. So that was what made crunch hard, because [when] you’d get down into it, you’d have trouble seeing the forest for the trees.”
(You don’t really know boredom until you’ve tried to read through a stack of trademark documents.)
Preach, my brother!
“My secret mission was to shock and awe the players with the massive amounts of content,” said Matt Goldman, the art director. “People were complaining, ‘Oh there wasn’t enough in Dragon Age 2.’ OK, you’re not going to say that. At the end of Inquisition, I actually want people to go, ‘Oh god, not [another] level.’”
“For a long time there was a joke on the project that we’d made a fantastic-looking screenshot generator, because you could walk around these levels with nothing to do. You could take great pictures.”
At PAX, David D’Angelo talked to other developers who had successfully used Kickstarter and got two major pieces of advice. The first was to update their Kickstarter every single day, so backers could actively participate and spread the word about Shovel Knight rather than simply waiting around for the game.
The second piece of advice was that Yacht Club should send the Shovel Knight demo to popular YouTubers and Twitch streamers.
Plus, this was the company behind Halo. Everyone trusted that they knew what they were doing.
Game development is, as BioWare’s Matt Goldman describes it, like being on the “knife’s edge of chaos,” where the sheer number of moving parts makes it impossible for anyone to find predictability.
