Brink: 'We'd like it on every possible platform'

Pt 2: More from the Splash Damage CEO on his flamboyant shooter...

Last week we stuck up the first part of our Brink interview with developer Splash Damage's CEO and game director Paul Wedgwood.

Wedgwood talked about his studio's first original IP a free-running FPS with hints of Team Fortress throughout.

With it's one-button SMART system allowing for free-flowing movement over, under and along all kind of obstacles, and a larger than life design ethos, Brink takes a step away from the overly serious traditions of the military FPS.

In part 2 of our Brink interview, Wedgwood talks about making a more flamboyant shooter, how his FPS was actually influenced by the third-person free-running formula and the direction of the FPS genre in general.

You've mentioned things that other shooters do and how they ground you. The other release that's kind of pushed against that is Bulletstorm, which Brink has one parallel to in that it's not afraid to be more colourful and flamboyant. Is that a conscious decision?

Oh absolutely yeah. We hired an art director almost three years ago now called Olivier Leonardi, he's French, he's from Nice I think. He was the art director behind Prince of Persia and Rainbow Six Vegas and he had a very specific art style that he wanted to achieve for Brink.


He wanted hyper-realistic characters with exaggerated proportions, he wanted the architecture to be clearly inspired by a futurist understanding of what's happening in green and sustainable architecture. But ultimately, put really, really simply, he just wanted to put the colour back in shooters.

Do you think the genre's moving that way, to a point where it perhaps doesn't take itself too seriously anymore?

I certainly hope so. If you go on sales alone then some of the biggest selling games in the world are almost entirely sepia and desaturated, so there's nothing to say that that's the case.

But we did see the same thing happen in movies, we went through a period of time where everything was World War II, everything was about desaturated, gritty realism.

It lasted for a period but reverted pretty quickly to big, over-the-top, colourful blockbuster, Hollywood action movies with crazy colourful special-effects and crazy storylines.


I don't know, I can't speak for what's going to be dominant. We don't try to make what's going to be the most dominant thing, I don't think anyone can predict what's going to sell.

Our motivation for making something is; there's something we really, really want to play and we look around, nobody else is making it and we can so we do it.

So it's going to be ready in two to three years because we're going to be faster than anyone else because we get started faster. That's pretty much the limit of it and then we play our own thing for the next three years while we wait for the next thing that we're developing to come out.

The first thing people will compare the free-running to is Mirror's Edge. How much did you take from that game and does it worry you that it's struggling to get a sequel at the moment?

I suppose there are other games that have used Parkour to some degree but really when you look at third-person games, that's where they've been advancing movement for such a huge amount of time.

With the more recent iterations of video games, particularly some of the ones that take place in the past that involved free-running as you move through environments and stuff, they've just managed to nail that for the third-person camera and they work very effectively.

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