When I first met Chanh Li at that video club in our neighborhood, I had no idea how our mutual love for movies and video games would lead to such an incredible journey. After leaving my life in Paris and a five-year stint in the movie industry, I was on the hunt for something new and exciting, and that’s exactly what I found with Chanh.
I’ll never forget that late-night conversation we had in a tiny bar, where we gabbed on and on about game mechanics, cinematics, drawing, and my obsession with Michael Mann’s Miami Vice. Before I knew it, I’d been introduced to Dominique Peyronnet, Chanh’s associate at the game studio, and I was swept up in a whirlwind of passion and hard work.
Dominique Peyronnet was an absolute force to be reckoned with. A true tornado of information, generosity, and meticulous attention to detail, Dominique had a unique ability to bring an unmatched level of passion and dedication to every aspect of the project. His enthusiasm was infectious, and his leadership was instrumental in driving the team to push the boundaries of what was possible. Working with Dominique was an extraordinary experience, one that taught me the importance of staying true to your vision and pushing through obstacles with unwavering determination.
It wasn’t long before I ditched the video club gig and dove headfirst into the world of game development. I taught myself Unreal Engine and Kismet, attended every meeting with the creative team, and became completely immersed in the project. It was equal parts exhausting and exhilarating, but I knew I was a part of something truly special.
During my time at the studio, I had the chance to work with some remarkable individuals, like the sweet and brilliant engineer Alexis Derrien. We collaborated on designing a unique real-time camera system for the game, complete with custom lenses, rhythms, and scripted events. I also had the privilege of supervising the game’s narrative, storyboarding, and motion-capture animation, all while being supported by Chanh and Dominique.
As for my own tasks on the project, I truly embraced the role of a Swiss-army knife when it came to the narrative aspects of Highlander. I dived headfirst into a myriad of responsibilities, including analyzing, documenting, pitching, and demonstrating our game’s narrative direction. Beyond overseeing the story’s development, I also became deeply involved in the creation of storyboards and in-game camera systems, as well as directing motion-capture animation sessions with talented actors like Olivier Schneider and Alban Lenoir. My experience on Highlander was a crash course in both narrative and project management, ultimately shaping the way I would approach future projects and collaborations.
Our game, Highlander, was an ambitious project that took players on a journey through time, from the era of Japanese samurais to present-day New York City and the Scottish Highlands of 400 years ago. Eidos produced the game, and our team of 80 talented individuals worked tirelessly to bring it to life.
Sadly, as with many things in life, business got in the way. Despite all our hard work and dedication, the game was never completed. Whether it was because of budget constraints, quality concerns, or some other reason, I’ll never know for sure.
The experience, however, was invaluable. I learned what it meant to dedicate myself to a long-term mission, juggling production and artistic constraints while trusting the leads and talents around me. And even though none of the games I worked on afterward could quite compare to my time on Highlander, the lessons I learned and the friendships I formed have stayed with me to this day.
As I look back on my time working on Highlander, I can’t help but feel grateful for the opportunity to be a part of such a passionate and dedicated team. It’s a testament to the power of collaboration, creativity, and the belief that anything is possible when you surround yourself with the right people.