we sort of have this process of a design team which reviews from LBP 1 and LBP 2 and now Tearaway which is very much based around, um, uh, creating small, we call them motifs of game play. And, um, it could be like in LBP it may have just been a whole bunch of very small sections of level or area which were just about like what you could do when you were grabbing one of the, um, [Haitian] blocks. Or, it could have been about swinging, or about the grapple hook. And we would, the designer would go off and they would kind of jam on that idea and come up with all the ideas that they could and using that sort of constraint and that theme. Um, and what we, the way we sort of build from there is we look at that library of things we’ve got and from that we start to sort of construct, well, number one we figure out like which of those are actually fun. Um, with LBP we’ve got -- what we were also trying to deal with a lot of the time is really show off the novelty of the tools so it would be like does that, like that’s, you know, does that sort of show off what you can do enough? Or, does that show off like, um, you know, how tactile things are or for Tearaway it’s been, you know, we spend -- we spend a lot of time doing motifs to do with the Vita and how we got the most out of that. So, the whole, that game is very much about bringing the real world into the Vita, and the Vita, the, uh, the real world into the game and the game into the real world. So, we’re using things like on the back touch when you press it your -- we’ve got fingers that come into the game world. So, and that’s actually a really, so we had a lot of like motifs of like well how do you use that and how does a character. So, once we have the motifs built, um, and we’ve decided which of those we think are good, and we’ve kind of gone through that process, we sort of then start to construct like what the -- how that may lay out over the course of the game. Um, and then we start to do like the narrative and story, the narrative and visual, um, int, um, integration with those areas. But we start very much from a feel perspective of like what feels good and I think that’s the thing that we all often -- the mistake that we can all make sometimes as games makers is, um, not nailing that, you know, and sort of thinking, oh, but when we have this and that and this it will all feel great. And actually it won’t. You know, you’re like, or it will and if it’s going to spend the time now doing it. Prove it now instead of, instead of like putting it off, because often that’s where we have had, not so much I wouldn’t say burn, it’s just that sometimes you take a risk and you’re like, I’m not going to, we’re not going to do those. We just think it’s going to get there. And sometimes that risk pays off and -- and often it doesn’t. And I know for sure for me it’s now a very important thing of if we feel that this particular piece of game play and this motif, or this feeling, is the most important thing, we’re going to construct the whole game around that, then let’s get all of the things that are needed to make that work.
