Why PS4-exclusive adventure What Remains of Edith Finch should be on your radar

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Why PS4-exclusive adventure What Remains of Edith Finch should be on your radar

Creative Director Ian Dallas discusses his intriguing follow-up to The Unfinished Swan

As you may have seen, earlier this week we debuted a new trailer for What Remains of Edith Finch, a new PS4-exclusive adventure from the same team that brought you the enigmatic The Unfinished Swan on PS3.

The game follows the titular character as she returns to her remote rural family home to unravel the mysteries of her forebears. It’s essentially a compendium of short stories, each focussing on a different member of the Finch clan and built around a distinct gameplay mechanic.

As a big fan of The Unfinished Swan, I caught up with the game’s Creative Director Ian Dallas to delve a little deeper into his vision for the game. And duly, I learned enough to peg Edith Finch as one of the most intriguing prospects in PS4’s 2016 in-tray.

Read on to find out more, but to cut to the chase, any game that channels Edgar Allen Poe, Dark Souls, This American Life and Twin Peaks, all tied up in a nice, heavy existential bow, has to be worth keeping an eye on, right?


“Any game that channels Edgar Allen Poe, Dark Souls, This American Life and Twin Peaks, all tied up in a nice, heavy existential bow, has to be worth keeping an eye on, right?”

What DNA does Edith Finch share with The Unfinished Swan, both in terms of its gameplay and its approach to storytelling?
Ian Dallas: Both games are about exploring the unknown. In The Unfinished Swan the unknown was more concrete — a white landscape you uncovered by splatting it — whereas in What Remains of Edith Finch it’s more about the mystery of why all of your family members have died and the murky nature of stories, where you never know the full truth – just one person’s perspective on it.

From a mechanics standpoint, both games also make an effort to constantly change up what the player is doing to help keep things interesting and also put players in the mindset of these characters. As a player you’re discovering new gameplay mechanics in the same way that the characters are discovering new worlds.

What are your cultural touchpoints with Edith Finch? Edgar Allen Poe? Roald Dahl? Brothers Grimm? Stanley Kubrick?
Ian Dallas: The genre of short stories people call ‘weird fiction’ has been the biggest source of inspiration for us. That includes well-known folks like Poe, Lovecraft, Borges and Neil Gaiman along with some new favourites like Lord Dunsany, Jean Ray and Kelly Link.

Other big influences for us include One Hundred Years of Solitude, The Twilight Zone, Twin Peaks, Ugetsu, and with anything I do I’m sure there’s a bit of Alice in Wonderland in there somewhere.

“I’ve always been interested in death and impermanence, and I think families are a good contrast with that – something we make that lives on after we’re gone”

Edith appears very human and vulnerable – she’s unarmed, she’s got no special powers. She defies traditional videogame archetypes, which is obviously refreshing, but how do you sell that to the player and make her a heroine they want to inhabit?
Ian Dallas: Edith is a meant to be a bit of a mystery for players. It’s not so much a question of getting people to root for her as simply wanting to know what’s going to happen next in this world.

In keeping with our focus on the unknown, there’s a lot that isn’t clear about Edith at the beginning. We know she’s coming back to this house but we don’t know why. Like with the stories you find in the game for each family member, Edith’s own story is a deliberate construction and there’s things she’s choosing to focus on or leave out.

We’ve got two very different worlds in the game, the Finch family house Edith is exploring and the more surreal, stylised world of the stories where each is meant to reflect the personality and emotional state of the family member that story is focused on. We’ve tried to make Edith feel vulnerable and familiar to give players a stable point of view on this pretty bizarre universe.


Thematically, the notion of ‘family’ seems very central to what the game is about. How personal is this story to you? Are you pulling on your own experiences in any way?
Ian Dallas: My mother was diagnosed with late-stage ovarian cancer mid-way through making The Unfinished Swan and she died during the first year of developing What Remains of Edith Finch, so that’s definitely part of why there’s a heavy focus on families in both of those games.

I’ve always been interested in death and impermanence, and I think families are a good contrast with that – something we make that lives on after we’re gone.

The stories in the game are all relatively short, contained experiences, so shifting the focus to the family also helps us look at how these events play out in a larger context and explore the themes we’re interested in.

“We’re definitely trying to capture the balance of a limited human presence surrounded by a large, untouched wilderness”

And what of the house itself? Is it a familiar place to you? Did you grow up somewhere like it?
Ian Dallas: The Finch house and the stories within the game are based around Orcas Island in Washington state, which is a place my family visited a lot when I was growing up. And we’re definitely trying to capture the balance of a limited human presence surrounded by a large, untouched wilderness that you can still find on the island today.

The Finch house is nothing like the house I grew up in, which is a good thing. The Finches aren’t very stable people and their house reflects that — it’s an enormous jumble of architectural styles and, like most houses in games or movies, wildly impractical. But I did spend my entire childhood, more or less, in the same house and I think that’s reflected in the way we approach the Finch house.

It’s a place where you can feel the weight of many people making small adjustments to it over a long period, imprinting themselves and their concerns on the landscape around them.


I hear you’re a big fan of the This American Life podcast, and that its approach to thematic, short-form storytelling has influenced your work. Can you expand?
Ian Dallas: I love the intimacy of radio journalism. On a show like This American Life you can have a soundscape of people digging a subway tunnel a mile underground paired with an old Jamaican man talking about what that kind of work does to your joints, and as a listener I’m able to keep both of those things in my head at once.

It’s a very artificial world, made up entirely of sounds, but it feels strangely real. I think in stripping away so many of the things that we’d normally be focused on, it’s easier to appreciate the unique character of what’s left – like the person’s voice.

On The Unfinished Swan we used mostly non-professional voice actors because they sound more natural and I think it’s easier to connect with them emotionally. They’re not acting; they’re just being themselves. And we’ve done the same thing so far on What Remains of Edith Finch.

It’s very hard to make anything in games feel intimate and human but non-professional voice-over actors have worked really well for us so far and I think that echoes some of the feel of a show like This American Life.

“It’s very hard to make anything in games feel intimate and human but non-professional voice-over actors have worked really well for us”

While it’s not overt, there’s clearly a ‘horror’ element to the game. How hard is it to scare someone, and how do you measure success during development?
Ian Dallas: Our intent has never been to scare anyone. I’d say it’s more about creating a sense of curiosity and unease. Which is not to say the game isn’t scary for many people. It comes down to how you as a person deal with the unknown. And this is a game that hopefully gives you a chance to explore that feeling.

It’s a hard thing to measure in a playtest. It’s much easier to measure the opposite – what are the things that break the sense of mystery, or empathy, or immersion. And every time we do a playtest we find lots of those problems and do our best to fix them.

Personally, the thing I’m always looking for is a moment in the game when most people will be so overcome that they’ll subconsciously let out a “woah”. You don’t always hit that, obviously, but that’s the goal.


“The thing I’m always looking for is a moment when most people will be so overcome that they’ll subconsciously let out a ‘woah'”

It’s fair to say that Edith Finch and Unfinished Swan are not ‘typical’ video games. There’s not much out there that’s like them. What’s your relationship with games? Do you play a lot?
Ian Dallas: I play fewer games than I used to and I think that’s a combination of lack of time, the fact that most games feel quite familiar by now, and the sense that most games don’t have much to say to me.

I think most games are either meant to be challenging or to be a pleasant time waster. And a lot of people are looking for that, but I’m not. For me personally, I love games that show me something I haven’t seen before and that effectively explore a character, environment, or feeling.

“Eventually, everybody is going to die, right? The most we can hope for is an interesting life and a satisfying conclusion”

The last game I got really into was Dark Souls, which was not a game I was expecting to enjoy. I think that game does a fantastic job of conveying a sense of struggle. I love how inscrutable the world is, how vast and unknowable it feels. For me, the thing that makes Dark Souls so compelling is how unified it feels, that all the various elements – the lighting, the economy, the lengthy attack animations – all contribute to this feeling of heaviness and struggle.

Another theme appears to be the trivial, temporary nature of humanity versus the infinite vastness of nature. That sounds a pretty heavy topic for a piece of interactive entertainment! Can you promise us a happy ending?
Ian Dallas: Eventually, everybody is going to die, right? The most we can hope for is an interesting life and a satisfying conclusion. And I think that’s what players can expect from Edith Finch and the rest of her family. It’s definitely going to be interesting.


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  • Unless they bother to listen to consumers and include third person view option this will not be on my radar. Time and time again those of us who get motion sickness from fpv games are let down by developers to lazy to make the game more accessible. If Rockstar were able to cater to first person view gamers then there is no reason for developers not to cater to the opposite.

    • Hey d-gal. Feedback noted, and I do feel your pain – I know motion sickness can be an extremely unpleasant affliction. However, I will say that changing the perspective of a first-person game to third person would be an enormous undertaking for a small team. It’s not just a matter of snapping the POV back – you’d have to animate characters from scratch, implement a full camera system, re-design puzzles and potentially completely change how the game’s environments are constructed. In short, I’d suggest accusations of ‘laziness’ might be a little stong ;)

    • I suffer too. Ignore the naysayers, until people experience it they’ll never be considerate of it.

    • I use to get motion sickness really bad and for me it wasn’t so much FP as much as it was quick swinging of the camera knocked me sick. This only happened with FP games. I don’t play multiplayer competitive quick thinking FPS and I found the more realistic the graphics the more likely I was to get ill. My initial solution was not to play FP games but I found an FP game I really wanted to play which forced me to find a way to work around that.

      Methods I found successful for overcoming this was playing a slower paced game which means you have time to stop and slowly move the camera. If I recall The Unfinished Swan was fps but it had such a limited colour palette it might be the ideal game to try and play. It won’t happen overnight and small gaming sessions turn to larger ones. Remember watch how you swing the camera, its neither intuitive nor ideal but eventually you will find you can play some FP games without getting ill.

      However to this day I can’t watch other people play fps games as that knocks me ill.

    • Fred, they should’ve done it as a third person to begin with and have fpv as an option like many third person games do. Why develop a stunning game if a good proportion of gamers will be unable to play it? Motion sickness in general is a common thing that people suffer from so it’s not unlikely there are a lot of gamers with it. Even if it was a badly animated person I would not be bothered. At least I’d be able to play the game then.

    • This is ridiculous. They’ve obviously made a game intended to be first person. Whether changing it is hard or not doesn’t matter because why should they change that? They would have added third person if they wanted that for their game. If first person is an issue for people, then those games are not for them. I don’t like or can’t play certain games but I don’t expect the developers to change the game. I just find a game that suits me better..

    • I get what you are saying but some games are experienced better in FP…so why should they spend a lot of time and money to cater for an audience that isn’t that large.

      I actually don’t like FP really but I appreciate that some games are better like that and therefore they aren’t for me.

    • I probably should’ve read the original post TWICE before posting in agreement. Sorry it was early, I’d change it if I could. I can’t play minecraft and outlast to name two. We can’t dictate developers choices for their vision. We can’t expect the game to be changed for a few.

      My point was meant to be more along the lines of seeing a compelling game and not being able to join in, that makes the game far more desirable to me. Motion sickness and color blindness are among the top disability complaints right now, I feel the gaming industry does need to be more inclusive in these areas. Thanks.

    • @Izorpo – unfortunately, The Unfinished Swan elicits motion sickness for us that suffer just as easily as any other game set in the first person perspective.

      Colour palette seems to have little, if any, influence.

      I think the problem is much more than widespread than people care to believe, and this will become far more apparent (and prevalent) when Morpheus finally arrives.

    • I didn’t know US was FPV. Might as well delete it from my PS4 and PS Vita now as I definitely won’t be able to play it.

      A game like this is rare so it should be made to cater to the most gamers possible.

    • Wow cool to hear this, I also suffer from motion sickness and wish more games implemented an option to change to 3rd person(I also like to be able to see my character so I would favor 3rd person regardless), but I also understand how small companies might not have the time and resources to do this. However I do not understand how triple AAA companies don’t just always have a toggle feature.

    • I get motion sick from 3D effects which is why VR won’t be on my radar, I hope Mopheus doesn’t get full exclusive games because that won’t be very fair to players with motion sickness.

    • The fpv in GTAV kinda sucks. I could instantly feel it’s not what the game was designed for and went straight back to tpv. Battlefront might pull it off but I’m no fan of the idea of incorporating multiple control views (not entirely sure what I should call it) in a game, that way none of them might be optimized..

  • I agree. More games should cater to me and me only! I’m tired of games catering to OTHER PEOPLE instead of ME. Really, really sick of it.

    • Oh, if I press the reply button and the page makes me log in, I’m no longer writing a reply but a comment to the article itself. Oh, PS Blog crew, if we’d only have an “edit/delete comment” -button.

      Oh, and PS+ update. Someone had to say it.

    • But what about me? It can’t all be about you, jerlaak97. Jesus.

    • I am not the only one out there that gets motion sickness from fpv. It is more common than people think. Many times people on this blog have mentioned they get it to.

    • All right, maybe I was a bit rude at first. I didn’t think about some people physically being able to play but rather than just asking a whole new feature just so playing would be slightly more enjoyable. I still don’t believe that it’d be worth all the extra time and resources adding a mode like that would take. Some people have compared GTA V in that case. Well, R* is one of the biggest dev studious in existence. Besides, third person to first person is much easier than from first to third.

      Just a tip though: I don’t suffer from it so I can’t comment. But I’ve heard that adding a crosshair might help with motion sickness. Some games have an option for this

  • You are a tiny minority out there. I really don’t think its worth their time and money to cater to someone who gets motion sickness. All those extra animations they’ll have to add in isn’t free and isn’t easy.

    With Vr generally on the rise you have no hope.

    • If it was third person with fpv option they’d get more sales. Cutting out potential customers means less profits for them. Cutting ones nose off to spite the face springs to mind.

  • “If Rockstar were able to cater to first person view gamers then there is no reason for developers not to cater to the opposite”

    Erm, yeah there is. FPS view in GTA5 was a neat new feature that was purely there to sell the same game to the same audience twice, it had nothing to do with motion sickness. Plus, Rockstar are an absolutely colossal multinational company, whereas Giant Sparrow employ three people, a small dog and an actual sparrow

    • I was in the middle of typing this, then saw your post. Cheers for saving me time.

    • I didn’t say Rockstar put fpv in to do with motion sickness did I? Learn to read. They put it in to cater to a bigger gaming audience. Not to sell it to the same audience.

    • There is no bigger gaming audience than “people who play GTA”

    • Yes there is. People who prefer FPV over TPV that probably didn’t play GTA before because of this. There are such a thing as FPV only gamers.

    • D-gal you are missing the main point here.

      “Rockstar are an absolutely colossal multinational company, whereas Giant Sparrow employ three people, a small dog and an actual sparrow.”

    • Not missing any point. Steven said something in response to my post and what he said showed he had not read it properly. He then went on to say something even more silly and I corrected him.

      Small companies can still make big changes if they so wish. They didn’t have to make it FPV. Even companies like Rockstar start off small.

    • Alright, refusing to see the point then. That Rockstar started out small is a moot point and you know it. They are not small now and now is when they added first person.

      They did not have to make it first person, correct. But they chose to do it and a small team can’t magically add a whole new perspective without massive amounts of time and money. Especially considering the few people that would cater to the costs would outweigh the income vastly.

    • Aside of the previous points (adding third-person view is a lot of work for relatively little gain (and perhaps against their ‘artistic’ concept regardless of money-making); Rockstar can do it because they’re a much bigger company)… the relative effort of adding first-person view to a third-person game will be less than adding third-person view to a first-person game, because they don’t have to do the work of adding character models; they did that already when they made the original game.

      Games and storytelling are a tricky partnership; you just have to miss out on some interesting stories when the gameplay is something you can’t do. :(

  • A good article, enjoyable read, looking forward to this one. :)

  • You had me at Borges, I look forward to play your game and give you my money :)

  • Looks very interesting. The Unfinished Swan was a joy to play, and there was a clear current of sadness underneath the bright, vibrant world. It makes sense now. Sorry for the loss of your mother. It’s a difficult, painful and ultimately admirable thing to take pain and sublimate it into something artistic and beautiful. The fact that so many people enjoyed it is a testament to you, and a lovely way to remember your mother.

  • Loved the Unfinished swan and the artstyle you guys use. Wish there were more indies like these and Journey instead of the typical 2D platformers etc..

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