The sun beat down. The landscape promised little in the way of shade. The rolling plains stretched into the distance, giving way to a small rocky outcrop along the horizon. What little wind there was felt dry, and dusty. I put on my noise-cancelling headphones.
Okay, some of that description is embellished. The view out my window is less rolling plains and rocky outcrops and more muddy fields and industrial estates. BUT it was sunny on that fateful day and I did put on my headphones. I was going to listen to some music.
I could have chosen some tasty metal – my go to – or perhaps some funky film soundtrack. Maybe some Irish folk, because why not. YouTube recommended spaghetti western, so that’s what I chose. It was a collection of Ennio Morricone, and it changed everything?
Morricone, in short, is a genius when it comes to western soundtracks. They convey everything you associate with the genre’s style, period, and mythos, while still retaining their own unique identity. I had only seen a couple of comedy westerns before this (‘Blazing Saddles’,’Das Schuh Des Manitu’ and the great, but decidedly problematic ‘The Searchers’). But in this music, I could feel the long desert journeys, and, more pertinently, the quickdraw standoffs.
I knew I had to make a game which created that same tension as the ‘The Man with The Harmonica’ soundtrack with the build of ‘The Trio.’ I knew it had to be high stakes. I wanted to create a game where in each moment you didn’t know if you were going to get shot or not. I wanted players to look their opponent in the eyes and try to figure it out.
And so, “Quickdraw” was born.