'And we're doing a lot of visual lighting effects and things that are running in real time that, if we pull it off right, the player should never even notice is happening we also be able to pan or zoom or do some camera movements, which means our resolutions and our textures have to be at a ginormous size for that to all look perfect at 4K. He had earlier said, 'What's been really nice about developing for PS5 is that, even though our game is 2D, there's still a lot of memory constraints.' 'All the other platforms that this game may or may not come to will have a lot of work that will have to be done to make the game run the way we want it to – while on PS5, it can just kind of happen easily,' Dabbous tells us.

it just gets so much more exciting and becomes so much more real.' It's taking a lot of work to get all that done, but it's really exciting because every new piece of art that comes in, every person we talked to voice acting on the game. We have to put together all the voice acting and everything. And we're gonna be doing all the art for that. ' to realise, 'Oh, we're gonna basically be animating an entire TV series. It's a huge undertaking for a team of about ten people. So we're trying to create a user interface and an experience for the player that is as fluid as possible, as easy to get into as possible and kind of captures someone's interest the way a good TV show or anime would and let them be a part of it.'

I think we take some inspiration about how you can do interactive storytelling from, but I really wanted to push things forward with how it actually is presented. 'It's a lot like making an animated TV show and making that interactive.

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