Thomas Powers: We took a very script-informed and story-forward approach to the band’s sound, as we had access to the original outlines, art concepts, and character briefs.
How did you decide on what the band and EP for the game would sound like? I’ve still never seen that weekly drop in a game. This big moment where you get together with friends every weekend to see what happens next - big watch party energy.
Vibe lyrics willow tv#
I wanted to bring an event to games that I see in music and TV all the time - a new drop every week. The episodic structure felt like a perfect fit to drop our EP with one episode per song and one music video per episode. We wanted anyone who watches Netflix to be able to pick this up. No jumping, no “Game Overs,” no puzzles - honestly it was really hard for me as a designer to force myself to think that way and remove any ideas that might intimidate someone. I made a really difficult action game before, Hyper Light Drifter, but on this we pushed the idea of what it means to be approachable. As much as I encourage people who “don’t play games” to explore the art form, we wanted to maximize people’s comfort here. It had to be a design that you could never feel “bad” at. I knew we wouldn’t be making some epic, violent action game if we were gonna connect with as many of our music’s fans as we could. The idea was for fans of our music to connect to the band members on a personal, vulnerable level in a way games are so powerful at. Teddy Dief: The core of the project is OFK the band, an actual music project, so the game took shape around that. SPIN: What drew you to the episodic format for We Are OFK?
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