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Carmageddon Reincarnation Interview | Stainless' Jason Garber On The Road To Resurrection

Matt Gardner
Carmageddon, Carmageddon: Reincarnation, Driving games, Eurogamer Expo 2013, Interviews, Kickstarter, Racing Games, Stainless Games, Video interviews

Carmageddon Reincarnation Interview | Stainless' Jason Garber On The Road To Resurrection

I miss Carmageddon.  I miss its ridiculousness. I miss the thrill of playing it as an adolescent. For every contentious game that would follow it, pretending towards some semblance of seriousness even in their controversial hypocrisy, Carmageddon remained a deceptively sophisticated title (the car physics, the destruction modelling, the sheer invention of some of the powerups) couched in utter anarchy and total catharsis.

Of course, now I have it on my iPhone, I don't miss it as much as I used to. But there's still room for more, I feel. And so did eighty thousand other backers. We have the rights, said Stainless. It's time to make a comeback (don't call it a comeback).

It's exciting times for Stainless, who've been wary of showing too much of Carmageddon Reincarnation thus far. "The minute we put something out there," said publishing director Jason Garber, "all eyes will be upon us. We don't want to put a single foot wrong here. We want to make sure that we do this right."

With the Kickstarter bubble bursting just a little and the realities of crowdfunding and potential pitfalls making themselves known by projects that have fallen by the wayside, Garber is keen that nothing gets lost in translation. He has a point; after all, you only have to look as far as the Xbox One to see how mismanaged communication can cost you in today's industry.

So I took some time at Eurogamer Expo this year to sit down with Jason and have a chat about how Stainless have cracked on after gaining the rights to their most infamous IP, how the new technology has afforded the development team greater opportunities than ever before,how the industry has changed since the original game first launched back in 1997, and what it means to the studio to be working for themselves rather than a publisher.

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