Interviewé par CVG, Alan Wilson (Tripwire – Red Orchestra) nous explique qu’ils étaient ravis de bosser avec VALVe pour une raison finalement assez étonnante : ça leur permettait de dépenser leurs budget comme ils l’entendaient et de faire le jeu qu’ils avaient en tête sans avoir de compte à rendre à l’éditeur.
Valve has made no attempts to shunt the game into other directions[…] Once a large publisher thinks it has control, you find them trying to direct you and push the game to places it wants. I’m on record for my views on some of this: throwing money at ‘cool cinematics’ and other big production values doesn’t guarantee a successful game. Trying to shoe-horn a game into a niche it wasn’t intended for is unlikely to succeed. Just because a publishing house feels the need for its own WWII franchise doesn’t mean you can make every property fit that mould.
At the end of the day, we had complete control of the budget – it was completely up to us where and how to spend our cash. If we decided that the game-playing public would rather have a couple more vehicles than some Hollywood star’s voice-over, then that’s what the game got. We’re old-fashioned like that – we believe that people would rather pay a reasonable price for a game that plays really well, rather than a lot of money for a lot of hype.
J’avais conscience de l’influence des editeurs sur les développeurs, mais à ce point… Alors une fois n’est pas coutume : vive VALVe et vive Steam grâce auxquels des jeux comme Red Orchestra peuvent voir le jour.
