An Empathetic Outlook on Wartime: A Conversation with Long Gone Days

Article Key Points

Long Gone Days provides players with a unique perspective on the war genre, focusing on human relationships and the consequences of military actions.

The game includes a varied array of characters, consisting of locals who speak different languages and collaborate with the protagonist's team to act as translators and facilitate communication.

The development team encountered difficulties in promoting the game as a result of the scarcity of game development studios in Chile. Nevertheless, attending events such as PAX proved beneficial in expanding visibility and attracting player attention.

Long Gone Days allows players to experience the world through the eyes of Rourke, a soldier born and raised in a military organization where obedience is paramount. However, upon reaching the surface, Rourke discovers that his idealized perception of the military company is far from the truth.

Players have praised Long Gone Days for its unique take on the war genre. In a recent interview with Our website, the development team behind This I Dreamt discussed the creation of the game, which has been in the making for 20 years. The interview has been condensed and edited for clarity.

Q: Can you provide us with some information about yourself and Long Gone Days?

Gormaz: I'm Camila, the artist and co-writer of Long Gone Days. I am the original creator of the story, which I began writing when I was 12 years old.

Videla: Hi, I'm Pablo Videla. I co-wrote the story with Camilla and I also serve as the game and level designer.

Valderrama: I'm Camilo Valderrama, the game's programmer. My responsibilities revolve around developing game systems and handling all the coding aspects.

Q: Could you please provide our readers with a brief overview of the plot of Long Gone Days?

Videla: Long Gone Days follows the journey of Rourke, a rookie soldier enlisted in the private military organization, The Core. As Rourke embarks on his maiden mission, he begins to uncover a disturbing truth about the true intentions behind the operation. Fueled by a sense of moral responsibility, Rourke decides to abandon his post and defect from the army in order to thwart their nefarious plans. Throughout his quest, Rourke encounters various civilians who have been adversely affected by the actions of his military company. Together, they form a central party within the game, committed to halting the wicked schemes of this oppressive force.

Gormaz: In this game, one crucial element is that each local character speaks their own language. To ensure understanding, it is important to recruit locals onto your team, as they can translate the dialogue of other non-player characters. This unique form of communication is highly appreciated by players.

Valderrama: This game can be described as a war game, but it places significant emphasis on the intricacies of human relationships. Rather than focusing on violent elements such as bloodshed, explosions, and killing, the game centers around fostering friendships and discovering the best qualities in individuals you encounter throughout the gameplay.

Camila, you have been a member of the development team since you were 12 years old. How old are you now, and what was your involvement with video games during your early years?

Gormaz: I am currently 32 years old. When I was young, I did not own any gaming consoles. However, a close friend of mine had a Super Nintendo, and it was there that I first encountered Kirby. Playing Kirby Superstar for the first time sparked my passion for video games. Despite not having my own console at home, I would draw levels on my notebooks when I returned home. This marked my initial foray into game development. As I grew older, I began creating activity books and engaging in small interactive projects, such as dressing up dolls. I thoroughly enjoyed these interactive endeavors.

When I was around 10 years old, I taught myself HTML and began creating hyperlink-based games. Eventually, I expanded my skills to include Flash. Around the age of 12, I discovered RPG Maker and its Hispanic community. Eager to be part of this community, I needed a unique storyline to contribute. It was during this time that I embarked on writing Long Gone Days. Although I didn't find many games I enjoyed while playing Kirby, it wasn't until I played Final Fantasy that I discovered my true passion for game development. What captivated me about Final Fantasy VIII was its modern setting, as most RPGs I encountered at the time were typically set in medieval or fantasy worlds. This resonated with my love for anime and the desire to create something similar. Thus, I decided to embark on writing a narrative set in the present, void of any magic or fantastical elements.

What are the benefits and drawbacks of having fewer game development studios in Chile compared to other countries?

Videla: One advantage is the close-knit community where everyone knows each other. In this small community, you can easily observe and share the work and knowledge of fellow developers. It creates a special atmosphere, where when a new project is announced by a Chilean developer, others cheer and root for their success. However, one disadvantage is that, like many other non-US or non-main business hub locations for game development, attending shows like PAX or GDC can be expensive. Small teams struggle to afford such events, limiting their opportunities to network with industry professionals and gain exposure. Consequently, partnering with a US or European publisher becomes necessary to have a broader recognition from players.

Gormaz: Marketing is particularly challenging in this area because I've noticed that people's perception of you changes significantly once they meet you in person, even if you've already reached out to them through platforms like Twitter. From our two visits to the US, I've found that the contacts who have personally met me have been the most helpful. I believe that if we could participate in more events in the US, we could reach a much larger audience.

Videla: This year, Camilo attended PAX, which presented a tremendous opportunity for us to showcase the game to both players and the press. It turned out to be an exceptionally positive experience for us and the game. It allowed numerous new players to discover the game and potentially gain a fresh perspective on storytelling and game development. Overall, it was an incredibly rewarding experience.

Valderrama expressed that meeting people in person and witnessing their gameplay, reactions, and interactions at events like PAX was an amazing experience. They hope for more opportunities like this to be available in Chile, including larger events similar to PAX. Valderrama also hopes that the game industry in Chile continues to grow, allowing for more accessible events for developers who are unable to travel or afford the expenses associated with attending such events. Gormaz added that Chile, Argentina, and Mexico are the countries in Latin America with the most significant video game industries.

Gormaz: When I started writing this story at the age of 12, there wasn't a specific rationale behind certain decisions. However, main characters often serve as a means for writers to delve into their emotional side - particularly in a society where emotions are not typically seen as favorable, especially for men. I wanted to examine the experience of growing up in such a setting, which naturally led me to choose Rourke as the protagonist. While he may not resemble me closely, he does possess fears and concerns that strike a chord with me.

Q: Was he based on any specific person or another character, like some other video game characters?

Gormaz: When I initially created the characters, I had limited exposure to video games since I didn't own a console at the time. Instead, I would read Nintendo magazines. I believe I drew inspiration from Crono in Chrono, which explains his red hair. Additionally, the character with glasses was influenced by Link. Although I hadn't played these games, I simply admired the appearance of their characters. However, over time, the characters underwent significant development, and they no longer strongly resemble them.

Videla: Their personalities have undergone significant growth over time. In the final version of the game, they have emerged as distinct and individual characters. Our intention with Rourke was to portray him as someone who has experienced isolation from the world. This enabled us to utilize his character as a means to showcase different cultures and locations from a fresh perspective. Through his journey, Rourke learns about life beyond the confines of his chosen profession, providing players with the opportunity to engage in various side quests that involve diverse tasks and expressions.

Rourke's encounters with other characters in the game significantly shape his development. These interactions have a profound impact on him due to his unique upbringing in a military society. They provide him with opportunities to explore his creativity and delve into new experiences. Whether it's through playing a musical instrument, creating art, or trying his hand at photography, these creative outlets allow Rourke to tap into different aspects of his personality. The introduction of these characters into his life challenges his preconceived notions and expands his perspective, ultimately fostering personal growth and shaping the trajectory of his character.

Videla: The first character he encounters is Adair, a fellow military member who initially adheres more strictly to the rules. Despite feeling compelled to leave the military or halt their mission at times, Adair remains obedient to his instructions. However, as time goes on, he undergoes a change of perspective and begins to understand and support Rourke's goals.

Gormaz: Adair is initially seen as a calm and calculated individual, but throughout the game, it becomes evident that he is a caring friend who consistently looks out for Rourke's mental well-being, which aligns with his role as a combat medic.

Later, he encounters Ivan and Lynn, with Ivan hailing from their first destination, Kaliningrad. This unique locale, situated in central Europe, is an enclave of Russia. Interestingly, Camilla's affinity for [Fydor] Dostoevsky influences Ivan's character, as he is based on one of the novel's protagonists. Perhaps Camilla can delve into the details more effectively.

Ivan, a character based on the Ivan from the novel Humiliated and Insulted, surprised me because Russian characters are typically portrayed as veterans or tough individuals, but Dostoevsky's portrayal showed him as sensitive and caring. In the novel, Ivan takes care of Lynn, who is not exactly an orphan but he looks after her without any romantic implications - they are just friends. This unexpected dynamic made a lasting impression on me.

In the story, Ivan resides in Kaliningrad with Lynn, whose exact nationality is unknown, but we imagine her to be American. Lynn has constantly sought freedom throughout her life, not due to any wrongdoing, but to escape parental obligations and rigid rules. She traveled and eventually met Ivan in Kaliningrad. They are the first two main characters you encounter on your journey. Later, they travel to Germany where they meet Atiye, a journalist of Turkish descent. Atiye assists in investigating a political party involved in clandestine activities with the game's main antagonist.

Gormaz: I wanted to mention that although we have a character representing Russia and another representing Germany, we intended for them not to solely embody those countries. For instance, Ivan's last name is actually of Ukrainian origin. And Atiye, although of Turkish heritage, was born and raised in Germany due to the significant Turkish population in the northern region.

Videla: We wanted to delve into this aspect because sometimes when people question your origins, claiming you do not truly belong to either country, you may experience a crisis of identity and feel like you don't fit in anywhere. This is something we aimed to explore as well.

The final member of the party goes by the name of Pascal. He is a computer hacker rebelling against his superiors and offers assistance to the party upon meeting them in Germany.

Most of the characters are determined to halt The Core, albeit for varying motives. Ivan and Lynn seek to obstruct them due to their forceful takeover of Kaliningrad, which forced them to flee their homes. Atiye is concerned about The Core's impact on democracy in her country, as they support dangerous political parties there. Pascal fights against The Core because he recognizes their use of criminal activities to gain power, both within his own nation and elsewhere. Though they all have different motivations, their shared goal is to bring down the game's main antagonist.

Q: What kind of player-game relationship or bond do you hope to create?

Videla: Our existing fan base is already very loyal and has their favorite characters. I believe that the captivating artwork by Camilla is a major factor in building a strong connection with a single character. Additionally, players also seem to connect deeply with the smaller parts of the game where they can engage in personal conversations with each character, sharing their fears, hopes, and goals to defeat the main enemy. Therefore, I think many characters resonate with players due to their motivations to keep fighting.

For instance, Pascal is motivated to fight because he bears a sense of guilt for associating with the mafia member who assisted the car. Atiye, being a journalist, feels a duty to reveal the truth. Despite portraying himself as a pacifist in the game, Ivan firmly believes that he has a role within the group to halt the progress of this army, relying on the confidence he has in his comrades and the support he offers them. Consequently, although the reasons vary, they all resonate uniquely with players of the game.

Camilo, did you form a special connection with the game as you went through it?

Valderrama: Right from the start, I fully believed in the vision that Pablo and Camilla had for the game. The story and characters were incredibly creative, and each character had their own distinct qualities that set them apart within the genre. From day one, it was effortless for me to feel a strong bond with the game. I was motivated to work harder because I was eager to see the game come to life and witness others enjoying it. I quickly developed a deep connection not only with the game itself, but also with the team behind it.

However, I have a particular fondness for Pascal, who also happens to be a skilled hacker programmer that provides invaluable assistance to the team. I appreciate how Camilla and Pablo incorporated computer science concepts into the character's development. Although I did not personally create the game, it feels like my own creation in many ways.

Due to the team's close-knit dynamic and small size, we have all worked on various aspects of the project at different stages. Camilla primarily handled code changes, while I focused on side quests and similar tasks. Fortunately, I was not responsible for the artistic elements as Camilla expertly managed that aspect throughout. Overall, we are incredibly pleased with the outcome. Personally, I am ecstatic about the results and eagerly look forward to seeing how players enjoy the game and what the future holds.

Gormaz: I have always had a fondness for pixel art, particularly in fighting games. People have questioned if we would switch to a 3D style with a bigger budget, but I believe that pixel art is unique and should continue to be the style of the game. I hope it remains relevant in the future. As for the anime style, it is a comfortable and fitting choice, despite my limited exposure to anime. Since I drew inspiration from JRPGs, it only made sense to utilize that style.

Initially, I was worried about combining pixel art with these illustrations since most games typically use pixel art for character portraits. However, I decided to create them in high definition (HD) because it was less time-consuming. Surprisingly, I ended up falling in love with this style. I believe it allows us to express emotions and bring the characters to life much better than with regular illustrations.

Videla: I also believe that presenting the art in this manner helps to capture the attention of players when they first encounter the game. Some people have commented that they were initially surprised by the art style and didn't expect the story to address the issues it does. We didn't intentionally create this dissonance between the art style and the story, but we found that it actually helped to approach sensitive topics in a more accessible way. With this art style, players can still feel a connection, empathy, and immersion in the story, without it feeling grotesque or exploitative, which may happen with a more realistic portrayal. In my opinion, the art style played a major role in creating a more sensitive experience for the players.

Q: Does the game intentionally use contrasting colors in different situations? For example, in somber moments, the colors appear more muted, while in pixel art scenes, they seem more vibrant. If so, what was the purpose behind this contrast?

Gormaz: Generally, I gravitate towards using subdued tones, which may not always align with the militaristic theme. However, we did aim to create distinct contrasts. For instance, The Core primarily features a green color palette with a matrix-like filter [laughs], whereas the surface scenes showcase warm tones.

Especially the scene where Rourke awakens in a room that has a slight pink hue [laughter], indicating its femininity. However, what stands out to me is the intriguing contrast of a soldier sketch amidst delicate flowers. These contrasting elements possess a certain poetic quality that I find captivating.

Videla: When we incorporate moments in the storyline where the main characters share more light-hearted experiences amidst the seriousness, we aim to reflect the scene's emotion through a shift in color. As Camilla mentioned, the military aspects, particularly The Core, have a technological aesthetic with glossy finishes, metallic elements, or sci-fi elements. Conversely, the majority of the game is set in towns, cities, and homes, where we strive to evoke warmth through a palette of warm tones. This helps to emphasize the characters' humanity and their connection to nature. I believe Camilla did an excellent job in designing these locations and capturing the game's style.

Gormaz: Indeed, we heavily utilized color-coded messaging. For instance, we would use green and its complementary colors, or contrast with red to highlight Rourke, and so on.

Gormaz: Creating the music for this game was a challenging process. Initially, we were limited by a tight budget and had to rely on royalty-free tracks for the soundtrack. However, since last year, we have been fortunate enough to have an original soundtrack composed by Sebastian Martin, a talented Chilean musician. I searched extensively for musicians who could capture the right feel for the game. Many of them assumed that pixel art required 8-bit music, but I wanted something different. My vision was to incorporate post-rock or progressive rock elements into the soundtrack.

Martin already had his own post rock project... Once we started conversing, he already had a clear understanding of our game's requirements, and there were minimal adjustments needed for the tracks he sent us. We are immense admirers of his work. As soon as we integrated his tracks into the game, it completely transformed the experience. When we initially implement a scene, there is an absence of sound effects and music, resulting in a peculiar and weightless feeling. However, once we incorporate sound effects and other elements, it begins to resemble a movie, immersing players within the game world.

Videla: Additionally, with the soundtrack, we aimed to align it with the art style we had discussed. Different approaches were employed for The Core, the main antagonist, and scenes set in Kaliningrad, as well as conversations with NPCs and party members. We deliberately created contrasts by utilizing varying instruments and sounds throughout the game. We hope players notice and appreciate these contrasts, as we are truly satisfied with the outcome.

Gormaz: Yeah, as Pablo mentioned, The Core features more digital instruments, but once they reach the surface, acoustic guitars become audible. This transition is intentional.

Q: Communication plays a crucial role in this game. How does the game and the real world handle the challenges posed by language barriers?

Videla: In the game, as Camilla mentioned earlier in the interview, our aim is to create the authentic experience of visiting a new country. When you explore this foreign land, you won't understand the signs or the language spoken by the locals. It's like being in a different country where you need someone to guide you and help you navigate through this unfamiliar place. This is similar to the feeling of being a traveler in a foreign country. This approach also allows us to convey what Rourke felt when he left the military for the first time. He was used to a structured environment with strict rules to follow.

Now, he was free to do whatever he wanted and he was experiencing new emotions, something he had never felt before. However, everything felt so new to him that he felt like a stranger in this new world. We aimed to capture this sensation. Another source of inspiration for us was a common portrayal in American cinema, where the main character travels to another country and everyone speaks perfect English. We wanted to avoid this, as it doesn't create an immersive and realistic experience. It is crucial for the story of the game to evoke a sense of isolation in an unfamiliar place. Additionally, this approach allows us to connect with players from different parts of the world. We have received numerous comments from people who understand Russian, German, or Polish, which gives them a sense of uniqueness and makes them feel a part of something special.

But they also feel a sense of reward when they see their language featured in a video game without any translation... and it's similar to the feeling we have when we hear our country, like Chile, being mentioned in a movie. It becomes something exclusively ours. That's why we wanted to prioritize languages and communication within the game.

Gormaz hopes that Long Gone Day's focus on the human perspective of war will have an impact on players. He believes that it is important to show the negative side of war and challenge the idea that it is all cool and patriotic. By highlighting the impact on civilians and showing that nobody wins in war, the game can appeal to those who are not interested in traditional war-themed movies and games. Gormaz believes that people need to empathize with these types of situations and recognizes that in many war-related media, civilians are often seen as expendable and insignificant.

The past few years, I have been closely following news from various regions of the world that highlight the presence of war. What strikes me is how the majority of reports solely focus on the number of casualties, and many individuals simply skim through these stories, reassuring themselves that it did not happen in their own country. Occasionally, local news might mention the incident if one of our fellow citizens were among the victims. Sadly, it seems that this is the only way to ignite people's concern.

Gormaz: Our intention with this game is to raise awareness about the profound human toll of war. We believe that video games have a unique ability to cultivate empathy in players, as they assume the role of the protagonist and engage with the narrative on a personal level.

Videla: Playing a game is different from watching a movie as a mere spectator. In a game, you actively make choices to help or harm others. Our goal is to turn the game into a story that cultivates empathy in players and helps them comprehend the heavy toll of war. Even though Chile hasn't been directly involved in any wars recently, we feel a sense of volatility everywhere. It is crucial to evoke a feeling of unease in those who don't wish to partake in such actions, even if it doesn't directly affect us. This is what we aim to demonstrate through our main characters, who include civilians trying to contribute to peace.

Valderrama: I share Camilla and Pablo's sentiment. Our game focuses on empathy and human relationships, rather than being a typical war game. I hope people approach the game with this expectation, as it offers a contrasting experience. Most war games are predictable, but "Long Gone Days" delves into emotions, friendship, and personal narratives. I hope that even if players come in expecting a conventional war game, they still enjoy the game. Moreover, I hope this serves as a stepping stone for others to explore these contrasts and captivating stories that deviate from the norm.

Q: Is there anything else that you would like to discuss or mention?

Videla: Please buy our game [laugh].

Gormaz: The reason we didn't discuss our inspirations before is that when we released the demo and the first chapter of the game on early access in 2018, many people assumed that our main inspiration was the political climate in the US with Donald Trump. However, this was not the case. Our true inspiration came from the history of Chile.

To give an example, Pablo's parents played an active role during the dictatorship and organized others to resist and ensure their safety. We listened to their stories and took notes to incorporate into the writing of Long Gone Days. Additionally, we watched numerous documentaries. At the time, Chile was experiencing civil unrest with protests, riots, and other events. While I hesitate to use the term "inspired," we did draw from our personal experiences during that period and how it deeply impacted us.

Videla: As Camilla mentioned earlier, when we were writing the final part of the game in 2019, we drew a lot of inspiration from our own emotions. It was a time filled with uncertainty, where people were unsure of what was happening and social media was inundated with rumors and false information. Taking sides became common and the overall feeling was one of ambiguity. Dealing with this level of uncertainty and feeling unable to trust the news or government made it challenging to remain calm, yet equally difficult to take appropriate action. We sought to incorporate these feelings into our writing, particularly in how we portrayed the struggles of the civilians encountered in that section of the game.

Additionally, as Camila mentioned, my parents have always been actively involved in politics. I have firsthand knowledge of the events that occurred during Pinochet's leadership here in Chile from a very young age. My parents have shared stories about staying safe, such as using fake names when meeting someone to avoid recognition in case of capture. They have also shared accounts of participating in protests and engaging in arguments with individuals advocating for a more violent approach, whereas they believed in a more political and diplomatic approach focused on teaching and educating. These experiences have provided us with ample inspiration and shaped the way we have integrated the actions of the characters in the game to feel more authentic.

Q: Camilo, did you have one last thing that you wanted to add or mention?

Valderrama: We have dedicated a significant amount of time to develop this game. As I mentioned earlier, our team is small, but the game itself is extensive. It features an abundance of dialogue, content, and a multitude of scenes that players can explore. I want to express my sincere gratitude to our community. Without their support, we would not have reached this point today. Their ongoing support is truly valued.

Long Gone Days is available on PC, PS4, PS5, Switch, Xbox One, and Xbox Series X/S.

Editor's P/S

Long Gone Days is a refreshing take on the war genre, focusing on human relationships and the consequences of military actions. The game's empathetic portrayal of war is a welcome change from the usual focus on violence and gore. Instead, Long Gone Days explores the emotional toll that war takes on both soldiers and civilians.

The game's characters are well-developed and relatable, and the story is engaging and thought-provoking. I found myself invested in Rourke's journey and eager to see how his story would unfold. The game's unique communication mechanic, which requires players to recruit locals to translate dialogue, is a great way to add depth and realism to the world. Overall, I highly recommend Long Gone Days for anyone looking for a unique and thought-provoking war game.