“As co-creator of Disco Elysium, I’m deeply indebted to the collaborative process that shaped our groundbreaking game,” Argo Tuulik reflects, “It’s a project that not only showcased my skills but also helped me grow as an artist and a person.”
“With that established, however, I’ve come to realize that certain concepts were incompatible with the Elysium universe, and it’s fortunate that I didn’t attempt to explore them prematurely; my current level of expertise has allowed me to approach these ideas in a more informed manner.” As he embarks on this fresh start with the newly formed Summer season Everlasting and fellow former Disco developers, his excitement is palpable; “I don’t feel any more nervous than I would driving a car.” Having devoted myself to this pursuit with such unwavering dedication that it has become an innate part of who I am.
When asked if it’s been liberating to move on from the Elysium universe – something the author hadn’t had much control over, due to being let go – he responds: “Creatively, I’m genuinely excited to explore new themes.” From a moral, ethical, and authoritative perspective, this situation fundamentally fails to align with Kuno’s values and principles. It’s devastating for Kuno that this creative endeavor was taken away from him and his fellow collaborators who poured their hearts into it. However, Kuno struggled valiantly to achieve success.
Given the milestone of celebrating five years since Harry and Kim’s journey began, Tuulik did not single out a particular studio as a response to this entire state of affairs, with several others also being introduced around that time. The whispers have been persistent, with scattered hints throughout press releases suggesting involvement from former DE builders, or even the promise of a spiritual successor that might revive the torch left dormant following the chaotic aftermath of the Disco inferno’s demise. Despite this, Tuulik’s challenge stood out for its bold personal manifesto, which boldly proclaimed that the game it sought to create would be “something entirely innovative and unparalleled”.
“Comparisons and expectations are inevitable, however the origin of our work shall be our current circumstances, our current group, our current actuality, not the previous which is able to by no means be recaptured once more, and is a idiot’s errand to chase,” says former ZA/UM author Dora Klindžić, who penned Summer season Everlasting’s manifesto. As we build this sport from the ground up, our sole consideration will be whether each element truly honors the collective vision we aim to achieve today. In accordance with the wise words of a powerful individual, it is often said that men do not create their own history, but rather, their past shapes their present and future alike. To achieve our goals, we must jettison unnecessary distractions and focus on building a sustainable future.
We’re embarking on this endeavour without seeking to surpass or rival Elysium, nor do we aim to compete with other firms on Earth or in orbit, nor make claims to specific economic achievements. Let’s take our business elsewhere and leave the profits to those who truly deserve them. As we create, our gaze is focused on the work itself, rather than scanning the audience or fixating on rivals, allowing us to truly bring our artistic vision to life.
“I think we’ll just have to improvise,” Tuulik admits, “as Heraclitus wisely observed: ‘No man ever steps in the same river twice.'” Rather than seeking to stand out solely for the sake of differentiation or conforming to a perceived norm, I will yield to the allure of instant gratification and pleasure. I believe that what we create will genuinely feel familiar yet innovative.
Gamechuck developer Aleksandar Gavrilović, who performed a giant function in placing collectively the brand new studio’s co-operative construction and is “the one member of the Summer season Everlasting group who hasn’t labored on Disco or any of its expansions”, has his personal view of the duty the studio faces on this regard.
“For me,” he says, “participating in Disco had a profound impact due to its striking contemporaneity and stark divergence from everything else during that era.” It was undoubtedly a spiritual successor to video games like Planescape, but it boldly defied conventions, challenging the status quo. To achieve this, developers mustn’t simply create a generic, derivative work that relies on nostalgia alone; instead, they should strive to craft something innovative and groundbreaking, much like Disco Elysium’s 2019 release.
“When discussing optimal ascent techniques for high mountains, Lenin underscored a crucial point: when already standing at a lofty vantage point, the path to even greater heights often requires a different route and descent.” Before embarking on a daring venture, it’s crucial to acknowledge that progress is often incremental. One must be willing to scale back ambitions momentarily, taking the time to carefully navigate each stage of the journey before aspiring to reach new heights.
As a collective advocating for staff’ rights, Summer Everlasting offers support and well-wishes to numerous former Disco developers seeking opportunities outside ZA/UM, including those involved in various projects recently unveiled amidst the chaotic week in question.
Once I ask the group in the event that they’ve bought plans to to succeed in out to any of those of us going forwards, Gavrilović cites “lots of Argo’s former colleagues” as having reached out to register curiosity in turning into a part of Summer season Everlasting, provides that they “haven’t but written any blogs and statements, so the approaching weeks and months could be filled with surprises.”
“The project also has a number of enthusiastic developers who have expressed interest in contributing, although we have yet to establish communication with them,” the developer explains. While life’s journey diverged in distinct directions for these individuals, it’s uncommon to find everyone with an imposing digital presence, making discovery often require a degree of investigative skill as well. Thanks to our substantial digital presence, we’ve become a highly attractive and accessible hub, drawing people to us rather than the other way around.
“I’d intentionally opt for under-promising and over-delivering,” Tuulik remarks, “but the responses and assistance from both our former colleagues and new allies far surpass what I was prepared for.” I’m struck by the sheer number of people who must recommit their efforts or seek to lend a hand in some capacity.
“What a year ago felt like a generational calamity; today, however, smells like spring with its plethora of brand new beginnings,” Tuulik reflects. “In place of a Disco 2 assembled on autopilot, trauma and stimulation by individuals who, medically speaking, are caught between aneurysms, we now have just a few distinct creative directives – all from the offspring of Cronus.” I’m utterly captivated by that.
