![]() ![]() Szcześnik also had a sizable number of duties outside of casting and supervising motion capture. Despite the ubiquity of major actors in the contemporary triple-A space, this presented a monumental challenge for a late-’00s Polish studio who had never shipped a game of its own. Szcześnik explains that he and then-lead animator Adam Badowski - who is now head of CDPR - were tasked with casting motion capture actors early in production. ![]() While all of this was being written, recording and implementing it was a whole other ball game. We would decide the mood of every act - Act 1 was a horror story, Act 2 was a murder mystery, Act 5 was a war movie - and the morale of every quest.” Due to a very tumultuous production, many of the visual assets were created to tell a different story, and we had to repurpose them. Then we would brainstorm how to tell the story using quests, how many quests were feasible, how best to use the characters and locations we had. “We worked act by act and would usually start with a one-pager outlining the story. ![]() “A year and a half before the release, there was a pivot point in the production, when many changes were happening to the game’s vision, scope, and to how the team was organized,” Ganszyniec recalls. ![]()
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