David Mervik
speaker
115 appearances
1 recordings
1 series
first heard Apr 2025
last heard Apr 2025
David Mervik’s voice in public audio — every appearance, attributed to the second.
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Appearances
I thought you were introducing someone else, then. I thought so.
I'm doing okay, considering I haven't slept in the last four nights. But yeah, I'm going to try and string some sentences together. What's keeping you up, dude? Oh, that's my delightful young boy, Vincent. Oh, boy. Yeah, they make you work for it, these kids.
That sounds nice.
I mean, I only show them that stuff every other day, you know, just like once the tears stop, then we can show it them again. You know, you've got to just like drip feed the scars. I think.
That's very cool. Thanks very much.
Yeah, I've been with them for, what are we on now? Oh, I feel like Reese and Terminator.
15 years now.
Yeah, I grew up in the 80s, so it's just lodged in there like a fishbone. Yeah, I mean, I came over in 2010, yeah, to work on the LittleBigPlanet game on the Vita. And so it's been just kind of with them ever since, you know. And I'd even seen back then, you know, what these people were capable of when I saw the, well, the unmade game, City of Metronome.
Kind of like, whoa, I want to be part of that, what they want to do, you know. So, I mean...
i joined as a designer then i became a narrative designer and then you know you kind of you remain the only one and then you stay there for so long like i actually want to be a director um can you explain what the difference is between a designer and a narrative designer well design i mean i was uh i used to work in the lego games when i lived in england like so like a level designer you know um and so i for the first seven months i was uh
making stuff for the little big planet game you know um but i wasn't as good as the people that they got out of the community let's face it you know but they they knew even from my interview days that i really really wanted to be a writer and i'd done some of that stuff already for like lego rock band had done some stuff for them you know all of the writing on that and um so they knew
I was really jonesing to kind of move into that area. And they gave me a shot on Little Big Planet Vita, you know, so I ended up doing all of the script and the character stuff for that. And it's just been that way ever since, really, just trying to get better at what I do. And I think that as far as what a director does, it's kind of the same as what I've always done.
It's anything wordy, except now I've got no one else to kind of go, yeah, but you told me to do it. It's like my fault now. You know, if anything's rubbish, then...
it's on me you know so I've got that extra bit of kind of mandate to decide how we do things narratively and how we tell a story how we end all that sort of stuff so it's really mainly just about more responsibility and making those final calls which you know particularly when you meet people like you John who is kind of like super excited about it I'm just feeling that oh I'm not that excited now like oh god what if it's rubbish
I'm just the panic sets in like, yeah, it's on me. It's on me. So yeah, that's, that's just what you get the extra sleepless nights.
But, I mean, we'd always wanted to do our own stuff. And, you know... They were about nine people back in the day when Metronome was a thing and it just couldn't get done. The ambition was too big. The scope was too large. They couldn't do it. But what they did do is they got noticed by Sony.
And so they started doing stuff on LittleBigPlanet and they were doing costumes and all that business, you know. And when I joined, they actually, they weren't allowed to tell me until I signed my contract with them. They said, hey, listen, by the way, we're making the new LittleBigPlanet game and I'm I'm like you with Little Nightmares. I was a huge Little Big Planet fan at the time.
I love those games too. But even then, I went through several iterations of the story for Little Big Planet and it wasn't right until it started to get a little bit darker, a little bit sadder. There's an element of tragedy in that which doesn't belong in a Little Big Planet game. And then you look at some of the character designs
the curators in that game you could see like that was Jonas Berlin who did those as I remember and he's still with us now and you can see his style already then and it was you could you could feel the studio almost kind of wriggling around trying to push themselves out there not in a way that kind of was disrespectful to that to the idiom of Little Big Planet but still it was like they've got something in them that needs to come out in a more concentrated form you know something and
When we ended up moving away from LittleBigPlanet, we didn't even think how much we should have been panicking at that time. We departed ways very amicably. So you just channeled all that panic into your nightmares. I mean, I've been doing this since 2001, so I should have been a little bit more battle-scarred, but I was just like, that'll be fine. We'll make our own IP. Come on, let's just do it.
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