It's a historic thing that they have done

It's helping to push the boundaries of what we can do with a game. It takes having somebody who is labelled as a bizarre creator in order to push not only the market expectations but also to push the publishers to say let's take a chance on this person who historically does things that are a little outside the box. How difficult is it to get that balance between mainstream accessibility and your own personal, distinctive style which is perhaps more alternative? (American McGee) I think it's a challenge no matter who is making the game. Game designers want to be innovators, they want to reinvent the wheel if they are given the chance. And I think that sometimes happens to the detriment of the audience. You have to keep in mind that there are people who are coming into the gaming experience that are playing perhaps for the first time in their life and they might not have the vocabulary of understanding how to navigate a three-dimensional space or how to interact with objects in that space. So whole you're constantly having to reinvent the wheel you've having to repeat the lessons of the first wheel that everything is kind of built on top of. The innovator's problem is wanting to push outside, but not wanting to go too far. We always have to keep in mind that we are building a commercial product and we want it to succeed in the retail space. So a lot of times where we tend to focus our innovation is in the art, Ken's department, or in the storytelling or the nature of the story, those are places where there is still a lot of room to innovate without threatening to alienate. As a designer do you think you have a Rosetta Stone Outlet certain trademark, something that you stand for? (American McGee) I like experimentation. I like pushing the boundaries. I think that if anything I hope that if people see something that I have been involved with that they have an expectation that there might be something a little unexpected in there. And what is it like for you both to be making games in China? Is it a different experience? (Ken Wong) Yeah, absolutely. We first came to Hong Kong almost seven years ago not knowing much about Hong Kong or China and not speaking the language. We quickly found we had to adapt just to get the work done. Communication is different, work culture is different, and the way that people are creative is different. The past few years that American and I have worked together in both Hong Kong and Shanghai has been a real trip, a real journey. Not just making these edgy, boundary-pushing games, but also pushing our own boundaries and immersing ourselves in this foreign culture. And getting to work with really fantastic local talent. We've been super pleased working with everyone we have met along the way. And I imagine work on the game is nearly complete now? (Ken Wong) Yeah, we're finished. (American McGee) We just went gold on the final console platform today. Congratulations. What are you most satisfied with now that it's all done? (American McGee) For me, I'm actually quite proud of the team. It's a historic thing that they have done. This is the first time that a Chinese team has built from beginning to end a AAA console title. There have been games that have been produced here, from Ubisoft, EA, THQ, these guys all have studios out here, but often they are outsource resources or teams that are being directed by off-shore creative leads.

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