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“The foundation of our new IP in Edmonton is complete,” he wrote in a letter to his co-workers, “and the team is ready to move forward into preproduction on a title that I think will redefine interactive entertainment.” In 2015, Hudson surfaced at Microsoft Studios, where he served as creative director for two years.Even if he was walking out the door, it was easy to be optimistic about Dylan and Bio Ware’s future at that moment.

“I think my favorite memory is when we introduced flight into the game,” says senior designer Paul Marino.

But humanity is not the top dog in the world; it’s out of scale with everything else.

The world is built for bigger beings than them.” In Early in the process, Bio Ware hit on the idea of using powered exoskeletons. “We knew that we wanted to use the idea of exosuits as a way to give you a changeable character class, basically, that could give you superheroic abilities, so that you could go out into a dangerous world and fight all these other larger-than-life things,” Hudson says.

The first gameplay trailer showed a squad of armored guns for hire making their way through an alien, primordial landscape, cutting down hostile creatures until they happened upon a technological cataclysm called a “shaper storm.” The first signs of the in-game event, naturally, were darkened skies and violent winds.

’s setting — the fruit of those early Dylan meetings — centers around godlike machinery that reshapes the game world, even as it throws that environment further into chaos. In the summer of 2018, the developer quietly retired the logo it had used since its 1998 hit, , from its inception, has always been something that we wanted to be very different from a Dragon Age or Mass Effect or even Baldur’s Gate.” It began, he says, with a question: “How do you tell a story, how do you have an amazing game, in a cooperative space where your friends are telling the story you?

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