KOBOLD: Chapter I

In this interview, creative directors Ioulia Isserlis and Max Sacker talk about how they built KOBOLD. The team is half film people and half game developers, and they explain how watching the short film first and then stepping into the VR experience was designed. They also cover the inspiration from European folklore and fairy tales, and why they chose photogrammetry.

出典：VIVE Blog / 2018-10-31

This official Unreal Engine spotlight covers how a 10-person Berlin team spent a year and a half chasing 'cinematic realism' in VR. Topics include photogrammetry, motion capture and facial capture, the release history at the 75th Venice International Film Festival, and the development work itself.

出典：Unreal Engine / 2018-09-18

This piece explains the production pipeline in detail. The villa, a real building in Brandenburg, and the actors were turned into 3D models with photogrammetry. Motion capture used Perception Neuron suits, including takes recorded outdoors in the forest, and the article also covers how the facial animation was made.

出典：RealityScan / 2021-01-07

This review is based on actually playing the game after watching the roughly 15-minute short film. It praises the atmosphere for building dread without relying on jump scares. The main drawback it names is clunky controls, especially movement.

出典：VIVE Forum (Viveport Reviews) / Joshua Hawkins / 2019-02-22