I think with Frontier we have a very organic and very open relationship - very transparent, so anything we bring to the table is in a very collaborative way. Paul: As a developer you’re always afraid to lose creative freedom. : And what has this partnership with Frontier allowed you to do that you couldn't do on your own? ![]() Unreal Engine especially helps a lot to push things into the high fidelity graphics that we want, without having to use a team of a hundred people for it. Of course, we’re young, we’re an agile team, we can work with new technologies. And yeah, what Koen is saying exactly is that we’re trying to do things a little differently, not with a 200-man team. Paul: For Deliver Us The Moon it’s hard to say because there’s always a lot of freelancers as well, but it was 15 people and this was more like 30 people as an average for how many people are working on it. To a certain extent, it is a very disruptive way, or I’d maybe say a more efficient way, of crafting these experiences with team members or core members who can sometimes do multiple things and also be handy with development work and the things we do here. So, thinking of the core team of ten people and then ranging up to more like 15 or 20 at bigger peak times, but I would like to say that yes, it substantially grew a little bit with this game, but not to the extent where it starts to look like a triple A studio, or that we’re trying to mimic a triple A studio. ![]() Koen: Well, we’ve seen bigger numbers during our Deliver Us Mars development time. : How has the studio grown since your early days working on Deliver Us The Moon? Has it increased in size significantly working on this project? We hijacked a whiteboard from our sister’s room, we flipped open some laptops, and we kind of pretended to know what we were doing and from there on, it never stopped. Paul: We literally started at the kitchen table. Ten years ago, we just set out on that adventures to get that second triple A studio in The Netherlands, but not in the same fashion of course, and now. Koen: If you see the games that we create, you can see that Paul did a lot of film and trailer music whereas I crafted more games so logically, there is a kind of cinematic aspect to our games that we’re trying to marry with our game’s mechanics and stories.Īnd then again, The Netherlands, where we come from, has just one very well known triple A studio called Guerilla Games. So, later on we went on separate roads in entertainment, but we found our way back - it was kind of meant to happen and we decided eight or nine years ago that we would really try this out as a company. I guess as kids, in a very playful way, we were already collaborating, just not in a business sense. I think we were very attracted to that because it was like we were making our own comics and stories and books. We even did Scream, the horror movie as well, falling on the ground and stuff. I think it also comes back from the day when we were recording little home videos like Star Wars or James Bond in our garden - having some fun, cutting the video together, putting some music on it very amatueristically. We worked at a couple of publishers, but not very serious. Deliver Us The Moon was our debut game I had just done a study of game development, Paul was exactly the same, but then on audio engineering. Koen: For both of us we kind of went green into starting up a company in the entertainment business, I think about nine or ten years ago at most. ![]() : Can you tell us a bit about your backgrounds? We understand that you both come from the entertainment industry, but from different sides of it. KeokeN Interactive's origins and inspirations
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