![]() It illuminates the childish nature of Du Bois, while also displaying the reluctant kindness of Kitsuragi. It’s a strange idea – but also one that works on multiple levels. This, he believes, is the reason why game protagonist Harry Du Bois can turn a sandwich into an aeroplane, and attempt to feed his beleaguered colleague Kim Kitsuragi in one of the game’s more heartfelt moments. Back then, we were very naive – any stupid idea, go for it, explore it.‘ ‘With this professionalism, there’s a level of cynicism. ‘This was one of the incredibly beautiful things about making Disco – this naivety … If we had been more professional, I think a lot of fun stuff would not have happened,’ he said. He believes that, unlike other studios, the ZA/UM approach to writing lacks the strict professionalism that can otherwise dampen bright ideas. ![]() In addition to layering, an important factor in the success of Disco Elysium’s writing was a willingness to experiment – something Tuulik is particularly passionate about. Read: Embrace the strange in Disco Elysium: Why video games should be weirder Experimentation was key to Disco Elysium While prickly, he’s also extremely endearing thanks to deft writing and banter-filled dialogue. As a result, Cuno is one of the best and most complex characters in the entire game. While writer Keenan believes there are pieces of the ‘original’ Cuno that remain in the game, the one seen in the final version is very different to his humble beginnings, thanks to the process of ‘layering’ which ZA/UM used. According to him, the character was rewritten 20 different times, thanks to the input of multiple perspectives, and a wish to keep the game as authentic as possible. Tuulik mentions the creation of foul-mouthed kid Cuno as an example. In this process, writing for the game was refined with a sharp edge, as multiple writers were able to tackle individual scenes from the perspective of one particular character or moment that they took ownership of. Then, there was an editing layer, sometimes even after that we went back to the drawing board.’ ‘The way the writing process works … is everyone started out with a character or a scene, wrote it to a certain extent, then other people whose characters or scenes interlapped came and wrote another layer on top. on this level of collaboration, it just feels wrong to take ownership later on,’ Tuulik said. ‘The unique thing about writing Disco is. For one thing, the team has greatly illuminated the collaborative writing process at ZA/UM, and spoken of how this multi-layered process helped to polish writing and ensure every character in the game had their voice heard.
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