Earth is now a golf course for the ultra-rich.” Sounds like a killer pitch.
Also our sense of dark humor might very well be Balkan or Eastern European. In the end, we were all born in Yugoslavia, a country that doesn’t exist anymore, which makes us hyper aware of crises, fragility, the passing of all ideologies, leaders, regimes, fads. But there is never really a moment where we sit down and say “And now what do we add so people can tell this is made by Eastern Europeans?” The stuff just comes about naturally, so perhaps it does influence us, but more in unconscious ways. I wonder if coming from Serbia also informs what kind of art you make. The core of the team, as far as I understand, comes from Belgrade. But to us, it’s something worth doing, even if just for ourselves creatively. We understand not a lot of studios do this and we understand why. As a studio we have this weird little motto that “We create digital content for a generation that will live to witness the end times,” so some form of commentary is likely always going to be in our games. The premise is absurd, the gameplay can at times be simple, but the primary value is hopefully the experience. A kind of mini cinematic experience of a certain standard and quality so that people who bought it felt it was worth paying for.
Golf Club: Wasteland was envisioned from the getgo as a story, a world and an atmosphere. So this was sort of us testing that medium, but now as a game. At Columbia University, I used to be an editorial cartoonist (a very bad one with aspirations of doing New Yorker cartoons). The goal of the games wasn’t just to send a message, but to make and see the reception of something more akin to interactive satire. So the first two games were experiments through and through. Is social commentary essential to what you do? That also seems to be the case with Golf Club: Wasteland. Your games, including the earlier titles like Crisis Expert and Children’s Play, make statements on social and political topics. It was also through art and film work that we met our current art director Stepko and sound director Shane Berry, who then joined the team that made Golf Club: Wasteland come to life. We saw we’re able to work together so eventually the team asked that we come up with something with the intent of it being a commercial idea from the start, and that’s how Golf Club: Wasteland came about. We made two games as experiments to test some ideas but also see how we work as a team. After college, we discussed doing games together as some of my art projects I was making were gaining inroads in the contemporary art and film scene. Oleg Nesterenko, managing editor at GWO: Hey Igor! For starters, could you please tell us about the people behind Golf Club: Wasteland and Demagog Studio?ĭemagog Studio was founded by four high school friends. Igor Simic, CEO and Creative Director at Demagog Studio
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