And for the last 2 years, I've worked closely with my brother Mic, more known for his musical talents. Downfall - Remake (2016) and Lorelai (2019) both featured a very talented freelance character artist and animator Stefano Collavini. While Downfall (2009) was done completely solo, The Cat Lady (2012) marked the start of my partnership with publisher Screen7, who did a great job finding voices for my characters.
Each game brought something new to the table, usually in the form of people I collaborated with. It was about time, really - we started a family and things got serious - both personally and professionally. Things shifted over the years, I got popular with the success of The Cat Lady which gave us a substantial boost - I no longer had to do 12-hour shifts at the hospital and try to explain to my work colleagues the complexities of game dev (not that they cared anyway) - instead, I was finally able to make games full-time. Just me wearing different hats depending on what I was doing that day and trying to make it work without any knowledge or experience whatsoever and in between other jobs that supported me and my girlfriend (now wife) so we could afford the rent for our 1-bedroom flat down in Exeter.
There was nothing professional about the process - there was no office space, no employees responsible for different aspects of the project, no salary.
Rem: Harvester Games for many years has been a "single guy making games" kind of studio - the very definition of indie, akin to garage bands of the '90s.
My partner and I played through the game in a single sitting, completely hips-deep in the story of Susan Ashworth.įor those who may not be familiar with you, can you give a little background on Harvester Games? I was trawling Steam for high-quality horror and stumbled across it. I’m a huge fan of your work and was introduced to Harvester Games via The Cat Lady. GF: Hi Rem! Firstly, thanks for taking the time to talk to us at Games Freezer.
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