“My memory now feels like a memory of a real place,” she says wistfully. Future PlayStation 4 players would never discover for themselves what the Grannies had explored.įor Quigley, the trip has lived on in her imagination, just like those she’s enjoyed without a controller in her hands.
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In September 2019, three months on from the first expedition, Rockstar released a patch that made it impossible for anyone to access the space using the hack up the dusty slope. Thinking back, Quigley describes the out-of-bounds region as “fragile”, as if it could disappear at any point. Into the netherworld … still from The Grannies.
The duo swam until, finally, they drowned, triggering their teleportation out of the netherworld and back into the main game map.
After roughly an hour of constant descent, they landed in water, transparent mountains stretching high above them. Tired, and keen to call it quits for the evening, the pair decide to jump into the celestial expanse. The first to be cut off was Brophy, then Bartlett, until it was just Quigley and MacLarty left, sitting high above a cloudy abyss at 3am Melbourne time. This leads to beautiful juxtapositions of images: on one side, a member of the Grannies posing as if for a holiday photo beneath an enormous floating boulder on the other, an otherworldly desertscape and a piercing blue sky.Īfter a while, the members of the Grannies started being inadvertently disconnected. While that version of the film was ultimately cancelled because of the pandemic, the documentary, now screening at film festivals across Europe, retains a dual-screen format. The film was initially intended to be a multi-channel installation at Now Play This, a video game festival in London – two screens projected within a single space. “I think you gain something by not knowing how they’re made.” It’s like they’re made by elves,” Rockstar co-founder Dan Houser told GQ. It is at odds with Rockstar’s desire to preserve the aura of mystique around its making. The documentary, directed by Marie Foulston, who curated the V&A’s video game exhibition Design/Play/Disrupt, shows how this ethereal low-res landscape of half-finished objects could have become the exceptionally well-crafted video game Red Dead Redemption 2 ultimately is. ‘No this isn’t broken’ … Still from The Grannies. It was actually more work to delete them.” “Then it went through this iterative process of becoming more and more refined, but they never bothered to get rid of those extra bits. “As the game was coming together, maybe they generated this big landscape,” he suggests. Maclarty speculates that the out-of-bounds space they were exploring was, in fact, a deliberate part of Rockstar’s creative process rather than any kind of mistake.
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“Often you see players commenting, ‘Oh, it’s a glitch, it’s broken, they didn’t do a good job.’ But because of our experience, we were able to see that, no this isn’t broken, this is perhaps the foundation of how the full game was made.” “Part of the benefit of understanding how games are made is that we didn’t instantly reject it,” she says. Quigley thinks this is why they found the space so engaging beyond its aesthetic peculiarities. At various points, gigantic polygonal objects rose out of the virtual turf like the black monolith of 1968’s 2001: A Space Odyssey: eerie, bizarre, bewitching.įor the Grannies, all of whom are independent game-makers, this was a rare opportunity to “peek behind the curtain” of the secretive world of corporate game production. The north-east was filled with snow, glaciers, wolves and elk, and venturing farther west revealed a pine forest.
In the south-east, a gloomy, sparse landscape of jutting mountains, and beyond that, recalls Bartlett, an “endless, unlit valley”. Cautiously, unsure of how the terrain actually functioned, the foursome uncovered a place of sheer virtual otherness. Bartlett describes the first moments within it as “spine-tingling”. MacLarty emphasises the vast scale of the out-of-bounds area, which is “way bigger than the main map”, he says. This journey is memorialised in a new travelogue-esque documentary titled The Grannies.
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