The Evolution of "Dispatch": From Live-Action Comedy to Interactive Narrative Game

\"Dispatch,\" an upcoming interactive game from AdHoc Studio, boasts an intriguing developmental path, having transitioned from a live-action comedy to a narrative-focused gaming experience. This evolution, significantly influenced by unforeseen global events, highlights the studio's adaptability and creative ingenuity in repurposing initial concepts. The game is set to deliver a unique blend of superhero antics and office humor, reminiscent of classic Telltale adventures, where player decisions sculpt the unfolding story and character dynamics. Its journey from a television series idea to a PC game with console aspirations reflects a strategic pivot in response to changing production landscapes, ensuring its distinct vision could still come to fruition.

Founded in 2018 by Telltale Games veterans Michael Choung, Nick Herman, Dennis Lenart, and Pierre Shorette, AdHoc Studio initially aimed to explore various multimedia ventures beyond traditional gaming. Shorette, serving as chief creative officer, had articulated a vision for crafting interactive narratives that blurred the lines between different entertainment forms. A prime example was their early endeavor into a live-action superhero workplace comedy. Director Nick Herman revealed that the team drew inspiration from an unexpected source: ESPN’s “This Is SportsCenter” commercials. These popular ads humorously depicted athletes and mascots interacting with SportCenter anchors in a mundane office environment, finding comedy in the bizarre juxtaposition of heroic figures in a corporate setting. Herman noted this deadpan, office-centric humor as a significant touchstone during the project's early conceptualization.

However, the project encountered a major hurdle with the onset of the COVID-19 pandemic. As Herman recounted, the planned live-action production had to be halted. In response, AdHoc Studio redirected its focus, leveraging its expertise in interactive storytelling. This strategic shift led to the transformation of the live-action comedy into the interactive game known today as “Dispatch.” This decision allowed the studio to utilize their existing work and adapt it to a medium they were intimately familiar with—choice-based, dialogue-heavy games, much like the Telltale titles their founders had previously developed. The studio's resilience and capacity for reinvention were pivotal in navigating the challenges posed by the pandemic.

In \"Dispatch,\" players assume the role of Robert Robertson, voiced by Aaron Paul. Robertson, a former superhero known as Mecha Man, now finds himself in a desk job at the Superhero Dispatch Network (SDN). He works alongside other retired heroes, including Chase, portrayed by Jeffrey Wright, and is tasked with managing a peculiar squad of ex-villains. Herman humorously described these former antagonists as "misfits," creating a dynamic where Robertson, despite lacking superpowers himself, must navigate the challenges of leading a quirky team that often proves more troublesome than heroic. Robertson's journey is one of finding purpose and even joy in his new, less glamorous reality, surrounded by a cast of equally disgruntled characters. His inherent courage and heart are highlighted as his true heroic attributes in this new, bureaucratic landscape.

The initial concept for the live-action version of \"Dispatch\" envisioned a deliberately run-down and "dumpy" office setting for the SDN, resembling a strip mall office adjacent to a Baskin-Robbins, emphasizing the comedic contrast. However, as the project transitioned into a video game, the constraints of real-world set budgets were lifted, allowing AdHoc Studio greater creative freedom. The developers seized this opportunity to revamp the office environment, making it more visually appealing and modern, albeit still possessing a vintage government building aesthetic. This change reflects a conscious decision to create a space that players would enjoy experiencing, blending contemporary design with an old-school cubicle work culture that humorously contrasts with today's remote work trends. This intentional blend ensures the game retains its comedic edge while offering a more immersive visual experience.

Robertson's daily responsibilities at the SDN involve dispatching his team of ex-villains on missions, ranging from thwarting bank robberies to rescuing cats. The decision to have Robertson manage a diverse group of misfits, rather than a conventional superhero ensemble like the Avengers, was primarily driven by the comedic potential it offered. Originally, the team considered a smaller roster of three superheroes, but expanding the team size was deemed essential for more engaging gameplay. Herman acknowledged the inherent challenges in managing a larger cast and integrating them seamlessly into the narrative, but the compelling gameplay mechanics ultimately justified this expansion. This focus on character relationships and player agency remains central, ensuring that choices made by players for Robertson influence the interactions and outcomes throughout the game, leading to satisfying conclusions rather than numerous, underdeveloped endings.