Sean: And as Ian sort of said the demographic for the television is literally 6-60 and normally at Sumo the breadth of one of our game demographics would maybe be eight or nine maybe ten years and so to try and design a game that's going to be accessible to a six year old as well as grandma, that's a real challenge in itself and importantly, still, gamers get it and enjoy it...
Charles: I guess it's obvious but if you've got the so called casual audience at one end the hardcore at the other, you know the hardcore do love the simpler games the casual games but the casual audience won't play the hardcore games so we're somewhere in between attracting both.
It's actually not a particularly hard thing to do as long as we put in the elements that attract the hardcore, but pitch it in terms of not understanding the requirements of the grammar then you really should be able to encompass everybody and that's certainly our objective.
Sean: And the golden moment is when four members of a family or whatever are sitting around a monitor all contributing to the experience, you know, one's controlling, the other three are solving the puzzles and they're all shouting over each others shoulder. That's the vision we've got in mind of how we want this game to be played really. A proper family affair.
Steven Moffat said that the game is the only time you'll be able to follow the Doctor from an exterior into the TARDIS and it's bigger on the inside, something you can't do particularly well on TV. The game is the only space where you can build such fantastical objects and stuff like that. So, Phil how have you found that sort of freedom coming from a traditional writing point of view to one that's about games.
Phil: Well the thing about a game is that you can go to places that we'd never be able to go to in the TV show. It would just be prohibitively expensive to develop the City of the Daleks as we do in the first episode and to have this horrendous planet where they come from would have been horrendously expensive to develop as a CG planet. So there's that huge freedom and the great thing about all of the interactive adventures is that in each episode, because that's what they are they are episodes, we go to another wonderful location, which we just never have been able to go to on telly.
That's the great thing about it, and yes you can do stuff like go into the TARDIS and see the TARDIS in some ways in far more detail than you ever will do on the show I guess because you've got the freedom to actually explore...
Charles: The other thing is that when you wrote all about Skaro we obviously researched to find out what Skaro looks like and realised that actually, apart from Tom Baker where you've got the mists and the rocks, it's always been sort of rather fudged over hasn't it?
Sean: It's always been a rather attractive quarry hasn't it?
Charles: It has, it's been a quarry. So we asked Piers, you know, "What's it look like?" - "Brutal." And that was it, "Brutal". So our job was then to create the vision that these people had and because the concept art has moved on to matte paintings - you probably saw that where you can see through the windows and you see the landscape of Skaro - and it's an incredible privilege to create that from the minds of people who've envisaged it but haven't been in a position to put it in the television show.
Phil: I mean it is one of the, well, it probably is the most iconic next to Gallifray itself, planet in the universe, the origin of the Daleks and we've never really seen it.