David Mervik

No, no. No, I mean, once we'd done the design documents, we did two. We did one that needed... It was about... We did, like, a one-pager to get them interested and then a ten-pager to get some money. And then this other foundation needed, like, a 35-page design document. So when you're forced to do that, you're forced to kind of solidify your ideas.

But, yeah, in the very beginning, it was kind of like... I... I was still desperate to make Metronome. I was just in love with what Metronome was in my head. And I think for each person in Tarsier who was around then, their idea of what Metronome is is probably a bit different. It's very personal. What is Metronome? It's very much in your head.

But, yeah, in the very beginning, it was kind of like... I... I was still desperate to make Metronome. I was just in love with what Metronome was in my head. And I think for each person in Tarsier who was around then, their idea of what Metronome is is probably a bit different. It's very personal. What is Metronome? It's very much in your head.

But, yeah, in the very beginning, it was kind of like... I... I was still desperate to make Metronome. I was just in love with what Metronome was in my head. And I think for each person in Tarsier who was around then, their idea of what Metronome is is probably a bit different. It's very personal. What is Metronome? It's very much in your head.

But I've been already toying around with that in my free time. What could it be if we turn it into something now, all these years later? So I had some ideas already and that's where the name Six had come in because I had created these characters and I was like, oh, I love this. That's a nice name, you know, because it was so androgynous. It was so mysterious and all of this.

But I've been already toying around with that in my free time. What could it be if we turn it into something now, all these years later? So I had some ideas already and that's where the name Six had come in because I had created these characters and I was like, oh, I love this. That's a nice name, you know, because it was so androgynous. It was so mysterious and all of this.

But I've been already toying around with that in my free time. What could it be if we turn it into something now, all these years later? So I had some ideas already and that's where the name Six had come in because I had created these characters and I was like, oh, I love this. That's a nice name, you know, because it was so androgynous. It was so mysterious and all of this.

And so that just, I think it was a boy in the beginning and then it became a girl and then it became kind of irrelevant whether it was a boy or a girl because it was more interesting that she was Raincoat and who is this person, you know. So it was all the way back then. So when these things need to be done, I'm like, oh, I've got this stuff that I've been working on. That could be quite nice.

And so that just, I think it was a boy in the beginning and then it became a girl and then it became kind of irrelevant whether it was a boy or a girl because it was more interesting that she was Raincoat and who is this person, you know. So it was all the way back then. So when these things need to be done, I'm like, oh, I've got this stuff that I've been working on. That could be quite nice.

And so that just, I think it was a boy in the beginning and then it became a girl and then it became kind of irrelevant whether it was a boy or a girl because it was more interesting that she was Raincoat and who is this person, you know. So it was all the way back then. So when these things need to be done, I'm like, oh, I've got this stuff that I've been working on. That could be quite nice.

But where can it take place? Oh, well, we've got this sketch of something which looks like a big kind of maggot that walks the sea. What do you think about that? All right, yeah. You know, and it is literally that. And so we didn't have a big plan. But what we always have is ideas. And it might be an idea that we'd had ages ago. Hang on, that might be nice here.

But where can it take place? Oh, well, we've got this sketch of something which looks like a big kind of maggot that walks the sea. What do you think about that? All right, yeah. You know, and it is literally that. And so we didn't have a big plan. But what we always have is ideas. And it might be an idea that we'd had ages ago. Hang on, that might be nice here.

But where can it take place? Oh, well, we've got this sketch of something which looks like a big kind of maggot that walks the sea. What do you think about that? All right, yeah. You know, and it is literally that. And so we didn't have a big plan. But what we always have is ideas. And it might be an idea that we'd had ages ago. Hang on, that might be nice here.

You know, we just bring it in and it's just... I like working that way. It's nice not having to... It's stressful.

You know, we just bring it in and it's just... I like working that way. It's nice not having to... It's stressful.

You know, we just bring it in and it's just... I like working that way. It's nice not having to... It's stressful.

core draw and experience and you probably just added elements to it until you had this more crystalline sort of concept of of little nightmares come out of it yeah it could like uh dennis the guy i work with he he he put the word on it perfectly it was just quite chaotic in that way you know and it's like you just have to embrace it in the end and just go yeah that's the way we make stuff we kind of feel it out you know you play a segment and then you go

core draw and experience and you probably just added elements to it until you had this more crystalline sort of concept of of little nightmares come out of it yeah it could like uh dennis the guy i work with he he he put the word on it perfectly it was just quite chaotic in that way you know and it's like you just have to embrace it in the end and just go yeah that's the way we make stuff we kind of feel it out you know you play a segment and then you go

core draw and experience and you probably just added elements to it until you had this more crystalline sort of concept of of little nightmares come out of it yeah it could like uh dennis the guy i work with he he he put the word on it perfectly it was just quite chaotic in that way you know and it's like you just have to embrace it in the end and just go yeah that's the way we make stuff we kind of feel it out you know you play a segment and then you go

missing something what do we need you know and it's like that you kind of taste in the soup all the time instead of going no this is it which is how we used to work on the lego games it was all pre-approved and we would make it to spec so you you know you have to really kind of beg to kind of change things when they've been pre-approved whereas here it's like you just keep tasting it then i sometimes it's too much and sometimes it's not enough and you just have to wait until you get the right