Speaking with Polygon, Far Cry 3: Blood Dragon director Dean Evans noted that his garish, neon-soaked nostalgiavaganza certainly wouldn't be his last game -- nor would it be his most outlandish.
"This is the dream project," he said. "It's the one all of us have always wanted to make and it seems like they're gonna let us do it."
Evans and his team, which includes Ubisoft artist Darren Bartley and an as-yet unnamed "industry veteran" on art direction duties, have recently moved into a new studio in Montreal. Actual details of the project are thin on the ground right now, but the unnamed artist is reportedly an expert on stealth, third-person shooters and '80s/'90s aesthetics, suggesting we may be treated to another loving pastiche in the Blood Dragon mold.
Blood Dragon was a risky project in the first place. In many ways, it undermined its own source material by highlighting ridiculous modern gaming conventions such as overly-long, handholdy tutorials and proving that Far Cry 3 would have been just as good a game if it were a tenth of the length, but its main point was to be an homage to '80s action movies and video games. Unfolding through a series of cringeworthy one-liners, bonkers setpieces and beautifully crafted pixel-art cutscenes with some truly witty dialogue, Blood Dragon struck a good balance between over-the-top "LOOK AT ME I'M SO CRAZY!" humor and genuinely on-point criticism of both '80s action movie conventions and the things we take for granted in modern video games.
"The audience I'm interested in speaking to is people that dismiss games and don't consider themselves gamers," Evans says. "There is so much we can do to bring new gamers into the fold, but we're constantly putting up barriers all the fucking time." He notes that, ironically, the overprotective nature of many modern triple-A games' tutorial sections is something that puts off "non-gamers" -- he highlights experiences like Minecraft and DayZ as doing it right, through teaching the player how the game works through a combination of just trying it for yourself or talking to others.
Evans notes that he has little interest in making something traditional as his next project. He points to titles such as Gone Home as driving the industry forward in ways that a lot of publishers and developers haven't considered -- he notes that his long-term aim is to have someone look back in 20 years and say "yeah, that was fucking awesome."
A noble goal indeed, and good luck to him.