I sent that to Viva and she was like, ‘No! What the fuck is this?’ I said wait a minute, I’ll just change it to 10pt Courier, delete those, there you go. “I had a script where I’d formatted each scene on a different page, and that came to like 300 pages. But what I didn’t realise is that I was the only character, so it was quite a lot of pressure when I finally got the script.” Seifert wasn’t surprised by the FMV approach, and already knew Barlow was a great writer, but her concern was: “How the hell am I going to learn eighty pages?”Īccording to Barlow, that was the condensed version. Two years after they’d last talked, he contacted Seifert out of the blue to ask her to audition. Her concern was: "How the hell am I going to learn eighty pages?" In contrast, Barlow’s solution for Her Story-essentially that if you want something to look like video, you may as well shoot video-was elegant, cheap, and quick to turn around. Noire as “a brilliant example of someone knowing what the problem was, and desperately trying to solve it, but the solution being this wonderfully arcane, strange way of doing it.” The actors in Rockstar’s grand folly had their startlingly detailed facial performances bolted onto separate body data, the result of which was a one-way trip to the uncanny valley. Noire tackled similar problems, albeit at the opposite ends of the budget spectrum. There’s a comparison to be made with the way L.A. Having had the initial idea for Her Story, it percolated in Barlow’s brain for a while before the solution to just use video arrived. There would be electricity in the room when we nailed a scene, and I could tell it was going to be quite frustrating to recreate that.” The answer was clearly not more mo-cap. She says of that time: “I could sense his frustration when it came to the motion capture. It was during Legacy of Kain: Dead Sun that Barlow and Seifert met, working together intermittently for a year before the game’s cancellation.
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