Playwatch Listen is a mostly game development and games industry podcast brought to you by Austin Wintery, who is a video game composer, Mike Bithel, who is a video game director, and Alana Pierce, who is a video game writer. The reason we have been able to make this show for five years now is thanks to our supporters on Patreon. So if you enjoy the show, we would love to have your support. patrons also get totally ad-free episodes and extended cuts i'm not exaggerating when I say they got a version of the start of this episode where Mike and Austin spoke about the weather for a while.

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How did the rest of the chat go with Pierre? I've now played half of dispatch. I wish I had

made the time to play before that call because I have all these questions now

from having played half of it. And I haven't gone back and listened. Of course, I don't

watch this show. Who would? I would disrespect that you're going to us. I subscribe to the, I think it was Groucho Marx, who said I would never join a club that would have me as a member.

Yeah, yeah, yeah, yeah.

But how was the rest, were there any grand revelations?

I'm particularly interested in their kind of design methodology about, you know, where narrative meets player agency,

because it definitely presents hypothetically more agency than the typical tale tale game on which

it is built. Like it's more gamey feeling, obviously with the whole dispatch kind of thing

itself is very obviously more gaming than the typical

tell-tale but i was curious i wonder how branching it actually gets how much content is there

yeah we didn't deep we didn't dig deep into it i there was some conversation around kind of obviously

there's a lot of and this is this is what games are really good at like the smoke and mirrors right a lot of

stuff that makes you feel like you got way more yeah of course well and tell tell was always

notorious sort of polarizing for that i imagine like i'm not gonna i'm not gonna put words in his mouth

um people should go back and watch it but like it is that kind of the amount of money they're

presumably spending

on those animations. Like, you can't make, you know, not everyone's got, you know, the research,

like, I think what's interesting about what you did with the musical project was you could write

a lot of music. You had the capacity and scope to do that, right?

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