The criminal legends our game is based on are slightly less well known, but still at the very core of our game. Mods, lemonheads, rockers, rude boys, and others are very visual icons of the era, almost to the extent of Sean Connery’s Bond films, Morris Minis and miniskirts. However already these two things are in conflict with any desire to be a historical simulation. And it was one of the worst eras of organized crime. History does play a big important role as the setting itself is very recognizable and we want the game to be also as recognizable as possible – that London in 1960s feel like London in 1960s. What sort of a balance does Company of Crime strike between the historical fiction approach and telling a story completely of its own, given its setting?įor us it’s very clear that we’re doing an adaptation of history, not a historical simulation. "For us it’s very clear that we’re doing an adaptation of history, not a historical simulation." You can read our full interview with creative director Jussi Autio below. Obviously then, we’re quite intrigued by the premise of this game, and so, to learn more about it and what it will entail, we recently sent across some of our questions about it to its developers at Resistance Games. That’s an immediately compelling idea on paper, and if executed well, it can be even more so. With its setting of a crime-infested 1960s London and its nature as a turn-based tactics game with management elements, Company of Crime has quite a bit to draw people in right off the bat, but it’s doing some really interesting things beyond the surface level as well- such as allowing you to play two campaigns, one each for the police and criminals, each with different progression mechanics, missions, objectives, and more.
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