Ferrago: In Republic, will the player be omniscient like in the majority of games, or will they be down on the streets of the city, vulnerable – but also more involved with in the thick of the revolution?

BG: The player is an actual character in the game. You don’t have direct control over them, but you can see yourself walking around the world. As it is a game with wide reaching scope, you can also fly the camera around the world and view the from up high in a more traditional manner. The totality engine however makes changing between the two entirely seamless.

Ferrago: Why is the power of Republic’s graphics engine so crucial to the actual playing of the game, not simply its visual realism? What epic scenes will unfold before us, and will the player have involvement at all times, or will it be a case of sitting back and watching the fruits of their labour?

BG: I won’t talk too much about the epic scenes, as I don’t want to ruin the experience for you: it’s always better when you get to discover it for yourself. The power of the engine is harnessed purely for gameplay. As I’ve said before, the way you can interact with Republic is only possible because of the power of Totality. Imagine selecting to leaflet half a city from a high up view, watching cars creep around and tiny ant people moving about, and then zoom in to see those people being given pamphlets, then zoom to a medium height and see the effect it’s having on that region, whether people are drawn together or repelled away from your helpers. This can aid you in where to perform this action next. Totality allows Republic to deliver an unmatched and never before seen level of interaction.

By Luke Guttridge