Andrew McIntosh
speaker
180 appearances
2 recordings
2 series
first heard Mar 2025
last heard 1 May
Andrew McIntosh’s voice in public audio — every appearance, attributed to the second.
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recordings per month · last 12 monthsRecordings per month over the last 12 months — 1 in all, peaking in May 2026 with 1.
Appearances
Yeah, yeah, exactly. So, I mean, I think, I think we can, you know, those of us who've been around for a little bit can remember what it was like when Akira started to like make its way, uh, sort of across the Pacific, you know, and, um, Another big touch point for me just growing up, I saw Alien when I was way too young.
It's Star Wars. It's like Star Wars, right? Especially this movie. What could go wrong? oh it just went out of her chest oh my gosh i literally watched that movie like hiding behind the couch and like just just frozen and i was at a friend's house and the mother was like i don't think you should be watching this i think you need to stop and i was just like i cannot stop.
Like I have to finish this. And you know, when something like that happens, it's just like, it really touches you.
You know, it's like, it becomes either something that you never want to see again, or it becomes something that's like deeply like a part of like how you experience things and kind of wanting to capture that feeling both for myself, but also for players that, that feeling of like being that riveted by like, just, you know, an empty hallway basically, because I know that it's not really empty.
And so like, I think that was like, um, you know, when we were coming up with this and we were kind of kicking around some ideas, that was one key element. And, um, and the other was this idea. We kind of tossed it off as we were trying to get close to the idea, but we were just said like, you are the ship of Theseus. And then we were like, um,
And then whoever, the person we were pitching was like, that's backup. Roll back. Tell me about that. And so those were the two big moments when we were as a team coming up with this.
Sure. So I think we touched on it a little bit already with that song, right? Which is just the combination of really... scary, tense exploration and combat with some bigger questions and some real questions about identity and the choices that we make and how we sort of think about ourselves and literally, in this case, but figuratively in our cases, construct ourselves.
We like to say, you're going to shoot first and ask existential questions later. That's a tongue twister. And that is kind of where... Yeah. It's a tongue twister. But it is kind of what I would hope is the hook. A lot of times when we're working, we're thinking about, what's somebody going to say to me about this? What do I want them to say back to me? What do I... what I come away with.
And it's like, wow, like it was so scary. And then I just kept thinking about it. Like, and I kept thinking about the choices that I made and, and how it would have turned out differently.
That can be tricky. And I would say that when you're crowdfunding, it's... Anytime somebody's giving you their money for something they want to return, your crowdfunding, their return is they want something fun that they were hoping to get back. And in a publisher relationship, it's a much more kind of... we'd like a profit, please.
We'd like to give you a certain amount of money and we'd like to get that back. So it's a, it's a little bit different. And like Mike said, you're talking to a lot of different people and they can have like in a crowdfunding situation and they can have deferring things and conflicting things that they want.
In a publishing situation, you have a smaller set of stakeholders, but they, you know, they, they want fun. They want fun as a sort of on the way to profit. Yeah.
The time that you're devoting to it is... If you're a solo dev and you're working on it by yourself and you haven't taken any publishing money or anything like that, you have as much time, as much that you need and everything. As soon as you start to...
need buy-in from other people, including players, you start having to listen to what parts of your creative are coming through and what parts are maybe missing and what parts are causing a lot of friction. So as long as it's just you and your machine and it's after hours and you're just cranking away, you have all the creative control that you want.
And sometimes it really works, like Stardew Valley. I think that's more or less the story of Stardew Valley, right? Yeah. So, yeah. So asterisk.
Yeah. Gotcha. What can happen is then things take a little bit too long or the game's not making progress. And then people who are, you know, minding whether or not they've made a good investment and are wondering kind of what's going on with their money. Then you can sort of get into questions about, well, what's going on, guys? Why isn't this here yet?
A place where you start to see that kind of like, well, we have some questions about the creative mostly, but usually like where is it or why is it not fun?
I think it's possible. I think people do shoot the moon occasionally. I think we mentioned Stardew Valley. There's Bellatro. Oh, yeah. There's Manor Lords. There's some games that have done really, really well. And if your team's small enough, it's a big deal. Like Inner Sloth and Among Us and stuff like that. And I think sometimes the team's bigger or... or something happens with the business.
I think, uh, there's, you know, there's quite a few documentaries about kind of what kind of happened to, to Zalm, uh, on the heels of Disco Elysium, where like a lot of revenue was generated and it's not entirely clear necessarily, like how it all, where it all went. Um, so that can happen, but yeah. Yeah. Like Mike said, let's manifest big wins.
GTA 6 is going to be a big one for everybody, but I want to give you something that is really exciting. I think I'm curious because the visual design has been so amazing, and I'm going to mess up the name of it, but it's like... 33, Claire, Expedition 33.
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