Much of the crunch, developers say, was the direct result of the relationship between Deck Nine and Square Enix. Several people told me it felt as though Square Enix had sold Life Is Strange to the lowest bidder, and that this was frequently reflected in production schedules with tight deadlines and small budgets. Multiple people were aware of producers being forced by their bosses and Square Enix to rework production schedules so it looked like every milestone fit within a very limited development time frame, despite their arguments that it was impossible. One called Square Enix – and specifically, Square Enix London, who Deck Nine worked with directly - “bullies.”
Another source elaborated, “Square always put a lot of pressure on our people, so that toxicity started to bleed into our environment too.”
Others I spoke to expressed frustration at Square Enix for a different reason: it was far too hands-on with the script. Sure, Life is Strange is a Square Enix’s owned IP, but sources told me Square Enix seemed oddly reluctant or outright hostile to the diverse themes and ideas that Life Is Strange fans love. For instance, multiple people recalled an incident during True Colors development where Square Enix told multiple developers it didn’t want Life Is Strange to be thought of as the “gay game.”