“It was more like they were jumping and you had to catch them when they appeared. “You could really quickly catch the ghosts,” he says. The first version that Chevrier had been working on featured fast and furious ghostbusting. Before you do anything else, you’ve got to get that catching of the ghosts to feel right.”
“To me, that felt like the most important thing: we need to make the player feel like a member of the Ghostbusters team. “We asked ourselves, ‘What is the core experience of being a Ghostbusters team member?’” Franke says. Media Molecule lead designer Richard Franke then came aboard to direct and help the team make some of the game-defining decisions (as well as do a bit of environment modelling, which Mm’s Dreams specialist Martin Nebelong would polish with lighting and effects). The game would have to last 60 seconds, as the cast of Sony Pictures’ Ghostbusters: Afterlife would be setting their own scores that fans could try to beat.Ĭhevrier laid down the basics of the controls, including creating a version of the iconic Ghostbusters proton beam that the player could fire in first-person view, and set up much of the underlying Logic for the destructive environments. A short brief had already been put together by Mm and Sony Pictures. I think it was the first call with Gem where she told me it was a Ghostbusters project, and I was really excited.”Ĭhevrier would be working on gameplay design, and Nilsson on animations. Then when Gem told me what the project was and what I would be doing, I got really excited and hopped on.” Chevrier nods. “Like, what is this?” Nilsson found himself thinking.