10 Cloverfield Lane Director Reveals Alternate Endings and Deleted Subplots

IGN just hosted another Watch From Home Theater, this time featuring director Dan Trachtenberg watching everyone’s favorite Cloverfield spinoff, 10 Cloverfield Lane. Trachtenberg’s live commentary track was full of fascinating anecdotes and new revelations about the making of this unique psychological horror movie.

If you missed our 10 Cloverfield Lane WFH Theater, you can still check it out in the player above or below. But if you just want to know the key takeaways from the episode, read on to learn more about the new details Trachtenberg revealed.

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Cloverfield as The Twilight Zone

The Cloverfield franchise is a strange beast. There are currently three films in the series, but they don’t tell a sequential story so much as explore individual stories set within a shared universe. That was always the intention, according to Trachtenberg. He said the series (once it actually became a series) was envisioned as a modern-day Twilight Zone anthology.

“It’s like The Twilight Zone, except that instead of having it be called ‘The Cloverfield Zone,’ any movie that comes out you have ‘Cloverfield’ in the title as a fun way of doing it.”

Damien Chazelle Almost Directed

10 Cloverfield Lane is notable for featuring a screenplay written by a pre-Whiplash and La La Land Damien Chazelle. It turns out Chazelle was originally attached to direct as well, but he dropped out in 2014 once Whiplash received funding

The Psycho Inspiration

Trachtenberg revealed Alfred Hitchcock’s seminal 1960 film Psycho was one of the biggest inspirations for 10 Cloverfield Lane, which isn’t surprising given the suspenseful plot and confined setting. Trachtenberg said composer Bear McCreary’s score was especially Psycho-influenced, as were the opening scenes of Mary Elizabeth Winstead’s character Michelle fleeing her old life.

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How Video Games Inspired the Movie

As much as Trachtenberg drew from Hollywood classics like Jaws and Psycho. he revealed that 10 Cloverfield Lane is equally influenced by iconic video games like Half-Life 2 and The Last of Us.

“I took as much inspiration from my experience playing Half-Life 2 and The Last of Us and Uncharted as I did from the movies I watched,” said Trachtenberg. “The thing I always say about it is I find first-person games to be less immersive than third-person games. Even though first-person games – you are the character. It is you. But I feel like when we’re linked to a character and watching their behavior. I can then identify and relate and feel more for that that when, ‘It’s you! It’s me!'”

He continued, “Video games have always been a massive inspiration, and certainly for the filmmaking in the movie and the kind of movie that it is in general.”

On the subject of figuring out the creature designs, Trachtenberg told us the Gears of War franchise became a major source of inspiration. “I love the idea that the spaceship is some space creature that instead of pulling their rudder on a boat, it’s pulling on its organ to make it turn left or right. We grafted the tech on top of this organism.”

That Bradley Cooper Cameo

While 10 Cloverfield Lane features only three main cast members, it does include another A-List Hollywood star in cameo form. None other than Bradley Cooper provides the voice of Ben, Michelle’s boyfriend who calls her early in the film. Trachtenberg told us casting Ben was actually a difficult process. Eventually producer J.J. Abrams emailed Cooper and convinced him to join up. Cooper wound up recording his lines on his phone.

The Alternate Opening

The film originally began with what Trachtenberg described as a more traditional opening sequence. However, both he and Winstead agreed to alter that opening to help better align it with the rest of the film in terms of tone and Michelle’s overall character arc.

Describing the original opening, Trachtenberg said, “She’s with her boyfriend and she’s going to meet his parents for the first time, and she’s nervous about that. Essentially, it was a very familiar horror movie opening where the protagonist is worrying about something frivolous, and then something crazy happens… It wasn’t great and it wasn’t really thematic. Mary and I were really driven by the idea that this is someone who would be breaking a cycle by going through this.”

Trachtenberg’s First Shot

Trachtenberg made his directorial debut on 10 Cloverfield Lane. He revealed the shot of Michelle waking up in her underground cell was actually his very first shot on the movie. For the most part, he shot the movie chronologically, in order to make the tension that much more authentic.

John Goodman’s Angry Performance

10 Cloverfield Lane hinges a lot on John Goodman’s ability to paint a convincing portrait of the paranoid, unstable Howard Stambler. Trachtenberg told us that while Goodman wasn’t his first choice to play Howard, once the idea was floated he couldn’t picture anyone else in the role. Trachtenberg took inspiration not from Goodman’s past roles, but instead an infamous old interview where Goodman became progressively more agitated with the interviewer while struggling to continue forward.

The Welcome Mat

Trachtenberg pointed out one minor but important detail regarding Howard’s underground bunker. There’s a welcome mat at the front entrance of the bunker, and Trachtenberg said he agonized over what direction to orient the mat and what that implied about Howard’s character.

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CGI Pigs

While 10 Cloverfield Lane is a low-budget thriller that takes place almost entirely within one structure, there is one scene featuring a liberal use of CGI where you might not expect it. When Michelle looks outside and sees the dead pigs, the pigs themselves are completely computer generated. Trachtenberg revealed the crew attempted to use practical effects but couldn’t achieve the right level of gore.

*That* Dinner Scene

Most fans would agree the scene of Michelle, Howard and John Gallagher Jr.’s Emmett sharing their first meal together is among the film’s best. Trachtenberg told us he looked to both Jaws and Se7en for inspiration here. Bizarrely enough, he also revealed that the scene was due to be cut, but editor Stefan Grube saved it from the chopping block.

Putting on a Happy Face

One of the notes Abrams gave Trachtenberg was that the shower curtain in the bunker needed to have a happy face pattern in order to make it stand out more. However, the concern was that a regular happy face symbol might draw comparisons to Watchmen, so Trachtenberg went through the agonizing process of picking out just the right smiling duck pattern for the bathroom.

He said, “Is it a million ducks? Is it just the one duck? The duck holding the umbrella is what we finally figured out.”

More Cloverfield Connections

10 Cloverfield Lane began life as a spec script titled The Cellar before morphing into a Cloverfield spinoff. Trachtenberg told us that surprisingly little about the project changed after it was decided to forge that Cloverfield connection, with only the shot of the mailbox being added later on. However, there were other connections considered. At one point there was discussion of including the satellite from the first movie. And the reason the movie was shot under the codename “Valencia” is because Trachtenberg originally intended to showcase the Siege of Valencia in the film.

Trachtenberg also told us that the original plan (before the movie became integrated with Cloverfield) was to switch to a spherical camera lens for the final scenes so the film could take advantage of IMAX screens. Ironically, even though this idea was abandoned, 10 Cloverfield Lane wound up playing in IMAX theaters anyway.

Alternate Endings and Deleted Subplots

Trachtenberg gave plenty of insight into the ways the film’s story changed over time, particularly when it came to the climax. He told us there was originally a running subplot involving Howard and Emmett giving Michelle sedatives, leading to a scene where she has to shower and fears being spied upon.

“I just felt like the movie doesn’t need it,” Trachtenberg said. “We’re not doing that the whole movie, and I don’t want to be exploitative and showing her naked. Not just because it’s wrongfully salacious, but just because it’s a go-to for a horror movie.”

Trachtenberg confirmed an earlier version of the script featured an ending where Howard doesn’t die, though that plot point had changed by the time he came onboard. “That version of the script I haven’t read. That was very different in tone. Howard was sort of a good guy, and Michelle was not treating him good the whole movie. So in the end, when Howard’s proven right, she had to learn her lesson… Howard was good and Emmett was bad in that version.”

He continued, “The version I read, the details were different. The creature was characterized differently and it was all set during the daytime. The beats were different.”

Speaking about the sequence where Michelle escapes the bunker only to attract the attention of the alien ship, Trachtenberg said, “There was a section of this… when she’s running away and she ran into a piece of farming equipment… It was a whole elaborate thing that felt exciting while we were shooting it and did not come together.” That was when the focus shifted to Michelle taking temporary refuge in the nearby house.

The design of the aliens at the end was a subject of much debate and back-and-forth. “I was hellbent on making these things organic, and J.J. was hellbent on there being tech and armor associated with them… It became designers listening to two different directors with ideas.”

Trachtenberg said there was a more elaborate version of the ending that was screened for a test audience but didn’t earn a strong reception. “Eventually the audience was like, ‘Enough! End the movie already!'”

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Alternate Titles

Even the title was in flux at one point. Trachtenberg said there were several alternate titles considered, with ideas like “The Book of Cloverfield” and “The Cloverfield Files” floated as a way of highlighting the franchise’s anthology approach. Another possibility involved titling the movie “Below,” setting up a potential sequel called “Above.”

From Smashed to Cloverfield

Trachtenberg cast Winstead as the lead largely because of her performance in 2012’s Smashed. In fact, Trachtenberg drew directly from that performance when shooting the scene at the end of the film where Michelle is both crying and laughing.

A Direct Sequel?

Several IGN readers wanted to know whether Trachtenberg has any plans to make a direct sequel to 10 Cloverfield Lane, one that would continue Michelle’s story. He acknowledged his interest in the idea, even if he doesn’t feel a sequel is strictly necessary.

“I always felt like there’s definitely a fun, really cool way to do the next part of her story that I would love to do,” said Trachtenberg. “At the same time, there’s something awesome about there never being a sequel to this. I think it ends on a really beautiful little grace note for her journey, which is great. I would if I could, but I don’t feel that we need to.”

Where Is the Portal Movie?

One of Trachtenberg’s first film projects was a 2011 short film called “Portal: No Escape,” based on Valve’s hugely popular puzzle game. In response to an IGN reader’s query, we asked Trachtenberg if he knew of the current status of the Portal feature film, which was originally teased way back in 2013, and if he himself might be tapped to direct it. The short answer? He’s not sure.

“I casually talked about it with them at one point. Portal and Half-Life – both of them are awesome. I don’t know if they’re still doing it… My answer is I have no idea.”

For more on that subject, check out our breakdown of all the video game movies currently in development. And be sure to read our recap of IGN’s Rogue One WFH Theater, where we learned more about the many ways that Star Wars prequel evolved.

Overwatch’s Voice Lines Are Going To Get Much Better Soon

While everyone is practicing social distancing due to the ongoing coronavirus (COVID-19) pandemic, Overwatch game director Jeff Kaplan uploaded a new developer update from his cell phone discussing some incoming changes. This includes an “improved” communication wheel, adjusting queue times, and more.

The headlining feature is a new, customizable communication wheel. Kaplan noticed that players wanted to say things such as “Goodbye” and “Fall Back” to teammates while in-game. With the improved communication wheel, you will be able to customize the responses based on an expanded preset list. All of these new responses are voiced by the characters.

Also baked into the improved communication wheel is the ability to slot the “Sorry” command into every character’s response list, including the game’s newest hero Echo. “A lot of you have asked for that level of customization in the communication wheel, and we think it will be really powerful for you,” Kaplan said.

Another incoming change is a brand-new “Priority Queuing System.” Currently, when a Competitive match ends because of random player disconnection, you’re placed at the end of a queue and have to wait for another match. With the new system, as long as you’re not the reason why the Competitive match collapsed, you’ll be placed back in the same queue as if the spoiled match never happened. “So it’s not going to guarantee that you’re instantly going to get into another match after the match gets shut down by a leaver,” Kaplan said. “But you’re not going to have to wait the entire queue time.”

Additionally, new Overwatch patch notes will now show up in-game instead of linking out to the game’s official website. Kaplan hasn’t clarified exactly when these new features will appear in Overwatch.

In other Overwatch news, the game’s 32nd hero, Echo, is now live across all platforms. The Overwatch team shared some patch notes that tweaks some of the game’s heroes, such as Mei and Tracer, and more.

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What We Do In The Shadows Season 2’s New Twist Could Be Hilarious And Deadly

After the revelation at the end of Season 1 that Guillermo (Harvey Guillén) is a descendent of famed vampire hunter Van Helsing, What We Do in the Shadows is ready to take that character arc to the next level. In the third episode of Season 2, “Brain Scramblies,” Guillermo made some new friends that could pose quite a bit of danger to his vampire masters.

“He’s looking for virgins, and he’s run out of other groups that he thinks will have a lot of them so he goes to a meeting of the Staten Island Mosquito Collectors,” executive producer Paul Simms explained to GameSpot and other outlets during a visit to the set of the show. “And once they ask him some questions, they reveal that there are actually a bunch of vampire hunters, and that’s their cover.”

This group of vampire hunters is led by a man named Derek, played by The Office alum Craig Robinson. Speaking to GameSpot, Robinson described the character as a “militant mosquito hunter,” adding, “He’s all about shutting down the vampire nation.”

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Derek is a no-nonsense vampire hunter that doesn’t find them quite as hilarious as viewers do, which makes for some pretty good comedy–especially given he and his team’s inexperience with them. “I think the more serious you take it, the funnier it is,” Robinson explained. “I know how ridiculous we look, but we are about going to kill some vampires and we had the tools, you know? We had stakes, we had crossbows, all kinds of garlic, crosses, everything. Every cliche we had heard [of], we made sure we [had it] covered.”

Then, along comes Guillermo. “He decides that it’s better to join them and work from the inside out, you know? So he infiltrates the club, but also keeps them at bay,” Guillén said, while on set. “It’s a tricky balance for Guillermo just because he’s still protecting vampires that he loves, but he’s also making new friends and they’re actually showing him like respect and love, which is kind of hard to ignore.”

That means viewers will see Guillermo sharing many of his scenes with the Mosquito Collectors, which was one of the biggest highlights of the experience for Robinson. “I can’t say enough about how good he is. The second we started and all throughout it was my mouth was agape,” the actor said of Guillén. “He’s incredible. And he’s a throwback, in such a great way, to a Peter Sellers-type of comedy. He understands acting and comedy and it’s just so natural. So it was fun just playing with him. He opens up that playground of trust and silliness.”

It’s not all jokes, though. While Robinson wouldn’t reveal exactly how long he’d be sticking around, he’ll at least last until the next episode, “The Curse.” It’s there that Guillén teased, “Episode 4, so far, is one of my favorites because it’s like a mini-action movie.”

What We Do in the Shadows airs Thursdays on FX.

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Eric Song is IGN’s deal curator and spends 25% of his pay on stuff he posts.

Moving Out Review

Helping friends move house is widely regarded as one of the worst ways you can spend a Saturday, but somehow developer SMG Studio has taken that most dreaded of friendly favours and transformed it into fantastically frantic fun. Moving Out is a couch co-op game about cooperatively moving couches, successfully expanding Overcooked’s brand of coordinated chaos from the kitchen into every other room in the house. Often tense and frequently hysterical, Moving Out is a must-play for fans of same-screen multiplayer games.

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Casting up to four players as employees of the Smooth Moves company, Moving Out features 30 main levels across its small-town setting. Each location has gold, silver, and bronze-tiered time limits to target as you scramble to gather up all of the boxes, appliances, and stubbornly shaped pieces of furniture scattered about each level and ferry them to the back of the removalist truck. It’s a fairly straightforward task to bungle your way to a bronze like a bull in a china shop, but grabbing a gold requires a strategic approach to room order, considered job delegation, and precise pathfinding to ensure maximum efficiency.

[poilib element=”quoteBox” parameters=”excerpt=Precious%20seconds%20tick%20away%20on%20the%20clock%20and%20the%20language%20between%20you%20and%20your%20frazzled%20team%20of%20moving%20mates%20grows%20increasingly%20more%20colourful.”]The controls are simple, with buttons for grabbing, throwing, and jumping, but the challenge is presented by the unique properties of the objects themselves. Television sets are typically tethered to walls by their power cords, which stretch and snap as you carry the TV out and lurch you into a spin; large L-shaped lounges slow you and your moving partner down to a sluggish waltz as you inch your way through narrow doorways; and upright pianos flip over on their side if you try to take a corner too quickly, all while precious seconds tick away on the clock and the language between you and your frazzled team of moving mates grows increasingly more colourful.

Moving the Goalposts

Just when you think you’ve wrangled your inept assembly line into order, Moving Out drops new elements into the mix to add game-changing wrinkles. A farmyard level means your cargo isn’t just bulky, but mobile, leaving you to chase chickens and push pigs that seemingly want to be anywhere but the back of your truck. Elsewhere, a large factory requires you to navigate a series of conveyor belts through interconnected rooms, while a set of door switches in another facility forces you to open and close different paths and strategise your way to your objectives on the fly.

It’s absolutely manic, but successfully executing a plan is utterly exhilarating. Corners can be cut if you’re willing to take risks by throwing and catching fragile items from one player to another, or heaving a refrigerator out of a second-storey window instead of dragging it down the stairs. Even the order in which you load the truck is an art unto itself. Use up all the flatbed floorspace with smaller items first, and you won’t know whether to laugh or cry as the double bed you hurl onto the top of the pile to finish the job tumbles right back out of the truck, further delaying your exit. Moving Out seems shambolic at its start, but demands real thought, coordination, and planning by its end.

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In addition to the reward of getting gold-medal times, I also enjoyed returning to each level for the bonus objectives. Each one has three optional tasks – some of which are clear, such as completing a job without breaking any windows – while others are more cryptic, not unlike those found in Untitled Goose Game. Those require you to experiment with the various objects and contraptions found within each setting, for example the objective may be to ‘Give the bird a bath’ and to achieve it you need to find a decorative pink flamingo somewhere in the level and hurl it into the bathtub. Successfully completing these 90 objectives unlocks 10 extra mini-games in the arcade menu, which is a series of timed gauntlet runs that provide some of the most fiercely challenging cargo-shunting stretches in Moving Out.

Bust a Move

Yet even during its most patience-testing moments, it’s impossible to stay mad at Moving Out because its ‘80s-influenced style is so endearing. Its characters and settings are vibrant, its soundtrack is relentlessly upbeat, and it features levels that pay clever homage to the likes of Frogger, Pac-Man, and Bowser’s castle from Super Mario Bros. There’s a certain goofball charm that pervades Moving Out, from the shifty-eyed cat clocks that seem to adorn the walls of every house to the way the characters occasionally fart from the exertion of lifting particularly heavy loads.

[poilib element=”quoteBox” parameters=”excerpt=There%E2%80%99s%20a%20certain%20goofball%20charm%20that%20pervades%20Moving%20Out.”]Moving Out is undoubtedly at its best with buddies. It’s technically playable in single-player, with the number of items in each level reduced and the heavier objects made lighter in order to better suit solo play. However, packing the contents of a house into a truck with your own two hands is about as much fun as it sounds, and it’s only now after finishing the game’s story as a quartet (which took about eight hours) am I playing on my lonesome purely to try and grab any remaining golds for the sake of completion. Additionally, while my preference would be to play Moving Out with friends locally anyway, it’s worth pointing out that there’s no online functionality — so those hoping for the option of playing with friends remotely (which is kind of important right now) are likely to be disappointed.

Fallout 76: Bethesda Investigating Bug Where NPCs Permanently Steal Your Stuff

Bethesda is investigating a bug reported by players where Fallout 76’s new NPCs are looting items from their corpses and keeping them.

The strange glitch has been noted by several users on the Fallout 76 Reddit, with posters claiming that they’ve lost hordes of ammo and expensive weapons. Upon death, players are waking up to find the guns they were using and the ammo attached missing from their inventory. Later, they’ve noticed that the same gun they were using in combat is now in the hands of a nearby NPC, suggesting that it had been looted from the player’s corpse upon death. Those NPCs can’t be looted back.

This is a major problem, as it means expensive and rare weapons that players have worked hard to purchase or unlock are being lost, with no clear means to recover them. One particular post mentions that a player lost an explosive machine gun that they spent “15k caps” on. A few posters have singled out the event missions Radiation Rumble and Riding Shotgun as being a particular source for the bug, so you may want to avoid them for the time being. This video from Dani Garcia gives us our best glimpse at the glitch in action (thanks, PC Gamer!)

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A Bethesda Community Manager has responded to the strange phenomenon, writing that they will “investigate this immediately” under one of the offending Reddit posts. NPCs arrived in Fallout 76 as part of the Wastelanders update, a free overhaul anticipated by the fans who stuck with Fallout 76 after its troublesome launch. Wastelanders adds new questlines and infrastructure, as well as an improved reputation system.

If you’re thinking of jumping back into the apocalyptic fray, check out our article on whether you should return to Fallout 76 for Wastelanders.

And if you’ve already made the leap, you may want to check out our walkthrough which will guide you through the new quests in Wastelanders. Just watch out for those event missions if you’re fixing to keep your hard-earned loot!

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Jordan Oloman is a freelance writer for IGN. Follow him on Twitter.

Crash Bandicoot Mobile Game Gets Surprise Soft Launch

A Crash Bandicoot mobile game has unexpectedly soft launched on Android in select regions.

An endless runner, Crash Bandicoot Mobile comes from Candy Crush creators King and was teased earlier this week via a set of leaked Facebook ads. Soft launches allow developers to release the game in certain areas, allowing them to fix bugs and test server capacity before a full rollout.

As of right now, there hasn’t been any official word from King or the Crash Bandicoot Twitter account about the game, which means we don’t have a full set of regions the game can be downloaded in, but you can see if the game’s available in your area on the Google Play Store right now.

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The listing describes the gameplay, which will see Crash complete “awesome battle runs” to defeat Dr. Cortex’s minions, a series of “mutagen henchmen” who are trying to “enslave all dimensions.” It’s set on Wumpa Island and will feature a number of fan-favourite characters like Coco Bandicoot, Uka Uka and Dingodile.

There’s also a persistent metagame beyond the endless runner gameplay where Crash can perform “collection runs” to scavenge for ingredients. These items allow the player to upgrade and expand Coco’s base by unlocking buildings to “create an arsenal of weapons: serums, bombs and even rayguns!”

In other Crash Bandicoot news, Activision noted in their Q4 2019 investor call that they plan to release “several remastered and reimagined experiences” in 2020, suggesting Crash could make another appearance following the popularity of Activision’s remaster of the original trilogy. We reviewed another Crash spin-off, Crash Team Racing Nitro-Fueled back in 2019, which we called a “kart racer worth playing.”

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Jordan Oloman is a freelance writer for IGN. Follow him on Twitter. 

New Pokemon Show, Pokemon Journeys, Debuts In June – Watch The Trailer

Premiering June 12 on Netflix, Pokemon Journeys takes Ash and Pikachu as “they embark on adventures across multiple regions in the Pokémon world, meeting new characters and discovering more Pokémon along the way.” Pokemon Journeys will be the 23rd series in the beloved franchise.

You can check out the trailer below.

It looks like they’re incorporating features and Pokemon from the Pokemon Sword/Shield games into this new series as you can see from the Dynamax Snorlax and Scorbunny. The first 12 episodes will hit on June 12, then additional episodes will be released quarterly. It’s also to note that Pokemon Journeys will feature a new theme song written and performed by the band Walk off the Earth. Until Pokemon Journeys gets here though, why don’t you check out what’s coming to Netflix in May?

And speaking of things you should be watching, consider listening to GameSpot’s weekly TV series and movies-focused podcast, You Should Be Watching. With new episodes premiering every Wednesday, you can watch a video version of the podcast over on GameSpot Universe or listen to audio versions on Spotify, Stitcher, Google Play, and Apple Podcasts.

Why XCOM: Chimera Squad Makes A Big Departure From The Series Formula

XCOM: Chimera Squad is nearly here, just weeks after it was revealed. This experimental, budget-priced XCOM game makes some big changes to the series’ standard formula, including a preset team and straying from the usual permadeath element. It’s clear that Firaxis wants to expand the definition of an XCOM game, so GameSpot picked the brain of lead designer Mark Nauta on how it all came together.

What was the genesis for the idea of Chimera Squad? How long has it been in development?

As game developers, we’re always interested in ways that we can change or iterate on the way a game is structured and plays. After we released XCOM 2 and the War of the Chosen expansion, we felt there were still opportunities that had yet to be explored in the XCOM system. XCOM: Chimera Squad gives us a chance to revisit some core ideas of XCOM without having to rebalance all of XCOM 2 and War of the Chosen. This means we can try out ideas like Interleaved Turns and Breach mode, and use agents as characters instead of traditional XCOM soldiers and their classes. I started design work on Chimera Squad after War of the Chosen.

Why was this made a budget-priced release? Did that stem from wanting to go a more experimental route?

The price reflects two things–as a standalone title, we’re neither a sequel nor an expansion. For our fans, the price point and short time to release mean that veteran XCOM fans get a game in their hands sooner and new fans to the series have something they’re going to want to check out; perhaps then discovering the joys of XCOM as a series.

This is a very different kind of XCOM game; are you trying to expand the idea of what XCOM means or draw in new fans?

Yes! We think that XCOM can lend itself to a variety of game styles. As I said before, as developers we always want to try something new and see what our players think of it. The changes for Chimera Squad should appeal to veteran XCOM fans because it shakes up the tactical formula you’ve come to rely on since XCOM 2. If you’re new to the XCOM universe, here’s a chance to see a small slice of that–not the whole-world stakes of XCOM: Enemy Unknown or XCOM 2, but a story set within that larger universe. If that appeals to you, wouldn’t you want to go back and see how we got to City 31?

Where did the idea of breaching come from? Is it related to the encounters here being more contained?

It’s an evolution of the Ambush mechanics from previous games, but it’s a huge part of the Encounter system in Chimera Squad. Breach Mode is where you first set your tactics for that Encounter – unit order, ability choice and entry point are all things to consider and executing a successful Breach can really set Chimera Squad up for success. We found that breaking up Missions into smaller encounters–separated by a Breach–offered an interesting change of pace.

What influenced some of the bigger changes to the usual XCOM formula–particularly the change to permadeath and turn order?

In previous XCOM games, Permadeath made both narrative and gameplay sense as you were engaged in a war of attrition–soldiers are recruited from many different nations and losses were to be expected. It was also a major part of the consequences of that game, in that losing a veteran soldier could leave you without skills and abilities you had come to rely on for successful missions.

In XCOM: Chimera Squad, you’re now working with a specific set of characters in agents and we felt permadeath ran counter to the experience of playing with these characters. And, practically speaking, there were a lot of players who didn’t want to lose their XCOM soldiers and would reload if missions went bad. So for the sake of Chimera Squad, we came up with a compromise–you lose a mission if one of your agents bleeds out on the battlefield. Any character can stabilize someone who’s down, and there are consequences for having an agent get seriously wounded. But losing an agent means you have to restart the mission.

That said, there are still consequences for failure. It is possible to lose the game at the strategic level. We also understand that the permadeath presents a fun challenge that franchise veterans and fans have enjoyed and we’ve added a hardcore mode to retain that same tension.

For Interleaved Turns, it’s something we’ve talked about on the team internally. Having interleaved turns changes both the types of decisions you must make and what kind of tactical options you have at the table. By switching to interleaved turns, players will make on-the-fly decisions based on who is coming up next in the timeline. Right now it feels like you’re making more of a response to events as they unfold. You can have a plan for your four characters, but if an enemy action happens between characters two and three, you’re suddenly thinking: “Well, shoot. I didn’t expect that to happen. Do I need to change something up?” Suppose you’ve got a character like Blueblood moving in for a flanking shot, and an enemy throws a grenade at him. You look at the timeline and Blueblood won’t be able to act again until after the grenade goes off. Do you have Torque on your squad? Can she tongue-pull him to safety? Do you still have your Team Up action left this mission? Or do you risk having Blueblood eat the grenade and use the rest of the squad to set Blueblood up for an optimal attack?

Was Chimera Squad always envisioned as a standalone game? Could we see DLC or expansions?

Yes, the specific vision we had for XCOM: Chimera Squad meant it made more sense as a standalone title as opposed to a direct sequel. We don’t have any plans for DLC or to add expansions for XCOM: Chimera Squad.