But the feeling of being able to do that stuff was what was there. Then there were some limited things you could do with the money. You could kill everything and “skin” it, but all you did with those things was sell them. When we looked at it, it was quite limited.
It was the sensation of being in a world that’s disappeared, an America that’s gone. That was the thing that ultimately - along with the story and the tone of the game - that resonated with people. The feeling that people came away with, I think, was the feeling of being able to exist in a wilderness and to survive. We made the decision, at least the group that I worked with, to delve into the old game again and try to discern what the essence of it was, the feeling of it. People look back on games that they love with those rose-tinted spectacles. But we were conscious of how the last Red Dead existed in people’s minds. It’s a weird thing, because a lot of the time, we don’t play the games we make much after they come out. In my office we had the last development build of the last Red Dead up, and we had it right beside where we were developing the new one. But Red Dead 2 was a direct prequel that related back to the last game. With the GTA games, they’re installments - they’re not direct sequels. But it was also the sequel to a game that resonated with people who liked it in the last Red Dead.įor me, I did something that I’d never had to do before. With our followup to Grand Theft Auto V - this was all the same people who worked on that, with the same goals - we had to follow that properly and have it be an evolution of that game. With Red Dead 2, we had an interesting internal challenge. A big challenge for us, and a big part of my job, is to help guide something that’s made by thousands of people over several years and make it seem like it’s made by one hand, or one voice. Do you recall some things about what you couldn’t do in the first game that you can do now in Red Dead 2? GamesBeat: I think we could use some reminder of what the original Red Dead Redemption of 2010 was like, and what it was capable of. We roll on-and-off projects as necessary. I’ve been on Red Dead 2 full-time for three-and-a-half-to-four years.
I’ve been here all along, but early on, I was focused on finishing some other things. Nelson: Yes, but not directly, not every day. GamesBeat: Were you on Red Dead Redemption 2 at the beginning? In 2016 I moved over to Scotland full-time and I’ve been working out of the Edinburgh office. Then I moved to New York and worked as an art director, as well as a producer capacity on all the games we put out up until 2015, like the last Red Dead and Grand Theft Auto V. I started at the Toronto studio and worked there for about five years as a producer on the games we worked on at that studio. Rob Nelson: I’ve been at Rockstar for quite a long time, since 2003. GamesBeat: Can you tell me about yourself and your roles on Red Dead Redemption 2? Remembering the first Red Dead Redemption Here’s an edited transcript of our interview.
But the company trashed it because it just didn’t work.
#RED DEAD REDEMPTION 2 GAMEPLAY SOFTWARE#
This was his chance to explain why Rockstar made some very big decisions in the story, the characters, the open world, and the overall design of the game.Īmong the gems from our conversation: Rockstar once cast Red Dead Redemption 2’s main design as a procedural world (one that the game’s software generates), with stories driven by the open world and emergent behavior. I also remember how alive the game felt when I went off script, like when I accidentally shot a dog. Nelson has heard a lot of complaints about the design, such as the long horse rides to get to missions, weird glitches and the length of the story.
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