We look at the quality of the animation, the background paintings, the character designs, the unique effects and unique mechanics in each world. Each of our worlds is really content-heavy. Zombies - and Popcap in general, but our game especially – is the level of care that we apply to the game. GamesBeat: How did you guys focus on three worlds and decide that was good to ship, instead of including more worlds? How did zombies get across time? It is silly, and deliberately so, but it’s not completely random. That being said, it inspires the question – if Dave has a time machine, how did zombies get across time? There are things we’d like to explain more in the future, but I will leave that out there.
GamesBeat: Where did that script come from? Is it like, “We want to make the silliest story possible?” Yee: It’s no Last of Us, if that’s what you mean. It looked like you came up with the script in about five minutes there. GamesBeat: I dinged you guys for your story. That’s where we want to appeal to more core gamers, the people who want to explore the strategy. It changes the way you can approach a level. Maybe I want to delay a zombie and do the double sunflower.” For anybody who understands amortization, that’s a good investment. You bring that back to some of the earlier challenge levels and it changes the way you play the game. But the plant that you can unlock later in the same world is the double sunflower. “Oh, I brought back the cannon to Egypt!” I’m actually not sure if you can do that. Yee: You want to build that level of discovery. Three top investment pros open up about what it takes to get your video game funded.
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