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Alex polished off the last bite of the sandwich Isabella had brought him - some fancy artisanal thing that probably cost more than most people's lunch budget - when he heard voices in the main office area. The Game Designer Weekly crew had arrived right on schedule, and from the sound of equipment being moved around, they weren't messing around with this production.
Through his office window, Alex could see camera operators testing different angles while producers huddled with Sarah, going over legal paperwork and shooting restrictions. This was way more professional than he'd expected for a gaming industry piece.
The plan seemed straightforward enough: showcase the villa office environment, interview key Fast and Furious team members, maybe capture some behind-the-scenes development work that wouldn't reveal any trade secrets. Standard gaming media coverage, but with higher production values than most outlets bothered with.
Alex knew his interview would be the main event. Ever since that Gaming Insider showdown with Brandon Sterling, every gaming publication wanted exclusive access to him. The attention was flattering, sure, but more importantly, each media appearance was basically free advertising for Fast and Furious.
He could already imagine Brandon watching these interviews, getting more irritated with every platform that treated Alex like an industry visionary instead of some lucky kid who'd stumbled into success.
"You're doing your big TV debut today!" Isabella announced, walking into his office while cradling one of the orange tabby cats. "Seriously though, shouldn't you maybe dress up a little? This is going to be seen by thousands of people. I could help you look less... homeless?"
Alex gestured dramatically at his flip-flops and rumpled t-shirt. "This is my authentic creative genius aesthetic. Very deliberately cultivated."
"Your 'genius aesthetic' looks like you just rolled out of bed after a three-day gaming marathon," Isabella said, laughing despite herself.
"Exactly! That's the vibe I'm going for. Relatable to my core demographic."
Victoria shook her head but couldn't stop grinning. "You're hopeless. At least promise me you'll comb your hair before they start filming."
"I make no such promises."
They chatted for a few more minutes about nothing important - Isabella's morning classes, the cats' personalities, whether the office needed more plants. It was the kind of easy conversation that Alex genuinely enjoyed having with Danny's sister.
Isabella had this natural way of making everyone around her feel comfortable and valued. Despite growing up with more money than most people could imagine, she treated the office staff like genuine friends rather than employees. The female workers especially seemed to light up whenever she visited, and Alex could understand why. Isabella brought this infectious positive energy that made even mundane workdays feel special.
After she headed back to the break area where several employees were gathered around the cats, Alex turned his attention to preparing for the interview. He had a mental list of talking points designed to build maximum anticipation for Fast and Furious while revealing just enough information to keep people hungry for more.
The filming process turned out to be way more extensive than Alex had anticipated. The camera crew spent nearly an hour just capturing establishing shots of the villa's exterior architecture and scenic lakefront location. They filmed the impressive entrance hall, the converted living spaces that now served as collaborative work areas, and even got footage of the outdoor spaces where employees sometimes took breaks.
Inside, they documented the blend of residential luxury and high-tech gaming development equipment. The contrast was striking - leather furniture and hardwood floors mixed with multiple monitor setups, VR testing rigs, and whiteboards covered with game design diagrams. It looked like what would happen if a tech startup decided to operate out of a luxury resort.
Nathan proved to be a natural on camera, providing detailed technical insights about Fast and Furious's gameplay systems without revealing anything that competitors could exploit. He explained their approach to vehicle physics, the complexity of their modification systems, and the integration of racing mechanics with narrative progression.
"Traditional racing games treat story as an afterthought," Nathan explained to the interviewer. "You get maybe a paragraph of setup, then it's just race after race with no emotional investment. We're flipping that completely. Every race matters to the characters, every victory or defeat affects the story, every choice the player makes has consequences."
The art team demonstrated their design processes using vehicle concepts that were impressive but not sensitive from a competitive standpoint. They showed how they developed brand identities, refined aerodynamic profiles, and created interior details that would make players feel like they were sitting in real cars.
Emily Watson got a brief segment explaining her work on character design and environmental art. She was clearly nervous about being on camera, but her passion for the creative work came through as she described the challenges of making fictional automotive brands feel authentic and lived-in.
Even the office animals received screen time, which seemed ridiculous but apparently tested well with focus groups. The producers filmed employees taking cat breaks, walking the dogs in the yard, and generally looking like they were having way too much fun at work. Alex supposed it humanized the company and made Stormwind Studios seem like the kind of place people would actually want to work.
When Alex's turn finally arrived, Marcus Webb turned out to be more knowledgeable than the typical gaming journalist. He'd clearly done his homework, referencing specific details from Avatar's development and asking questions that demonstrated genuine understanding of game design principles.
"You've revealed twenty-two vehicle designs so far, with promises of more to come," Marcus began. "Can you give our viewers any hints about what's next in the pipeline?"
Alex leaned back in his chair, deliberately casual. "We've got an entire muscle car collection that's going to blow people's minds. We're talking Dodge Charger, Ford Hot Rod, Plymouth Barracuda, Chevrolet Nova, Plymouth GTX, Ford Customline - basically every piece of American automotive history that ever made your dad consider buying a midlife crisis."
He paused for effect, watching Marcus's obvious interest.
"But here's the thing - we're not spoiling the visual designs or performance specs. Players are going to have to experience these beasts firsthand. Trust me, seeing them in action is going to be worth the wait."
"What about gameplay mechanics? How does vehicle variety translate into different racing experiences?"
"Each car has its own personality, its own strengths and weaknesses," Alex explained. "A classic muscle car handles completely differently from a modern supercar, which handles differently from a tuner import. Players will need to master different driving techniques, learn different modification strategies, understand different tactical approaches."
He was getting into his rhythm now, feeding Marcus exactly the kind of information that would generate discussion in gaming communities.
"But it goes deeper than just mechanical differences. These cars represent different cultures, different philosophies about what driving means. When you're behind the wheel of a 1970 Dodge Charger, you're not just controlling a vehicle - you're embodying an entire attitude about power, freedom, and American automotive heritage."
The interview continued for over an hour, covering everything from technical development challenges to narrative design philosophy. Alex carefully balanced genuine information with strategic mystery, revealing enough to demonstrate Stormwind's ambition while leaving plenty of questions unanswered.
He teased the multiple storyline system, hinted at character development arcs that would surprise players, and suggested that Fast and Furious contained easter eggs and plot twists that would reward careful exploration. Every answer was calculated to generate speculation and debate across social media platforms.
"One thing I'll say," Alex concluded, "is that we're not just making a racing game. We're creating an interactive automotive culture experience. When Fast and Furious launches, people are going to understand what that means."
By the time filming wrapped in the late afternoon, Alex felt genuinely optimistic about the coverage. This should generate serious buzz when it aired, building on the momentum from their automotive showcases and setting up perfect anticipation for the game's eventual launch.
Several days later, the Game Designer Weekly episode premiered across their digital platforms, and within hours, Alex's confidence seemed perfectly justified. The episode was generating massive engagement and climbing trending lists across multiple social media platforms.
But as Alex scrolled through the early reactions, something felt... off. The comments weren't quite what he'd been expecting.
"Holy fucking shit, the employees at this company must have saved entire orphanages in their past lives! Did you see that gorgeous woman?"
"I'm literally dead. She's absolutely perfect. Like, actually perfect."
"Forget the cars - that natural beauty just broke my brain!"
"I'm quitting my job right now to apply at Stormwind Studios as a janitor! At least I'd get to work in the same building as her!"
"If my office had someone who looked like that, I'd show up two hours early every single day and work weekends for free!"
"Hold up, did you guys see the baby-faced designer too? She's like if someone made the cutest anime character come to life!"
"What kind of magical fucking company operates out of a literal mansion and has employees who look like they stepped out of magazine covers?"
"I watched this entire 45-minute episode and all I can remember is that beautiful woman. What game were they supposed to be making again?"
"She's obviously my future wife and I will fight anyone who says otherwise!"
"Bro, you'd need to personally save the entire universe twice and cure cancer to even get a chance with someone like that!"
"Alex Morrison better not get distracted by office romance! Leave the dating attempts to us regular guys who have zero chance anyway!"
Alex stared at his monitor screen, completely bewildered. This made no sense. He'd spent over an hour providing carefully crafted promotional content designed to build gaming anticipation, revealing exclusive details about muscle car designs, explaining innovative narrative systems, and teasing features that should have gaming communities dissecting every word.
Instead, the entire internet seemed to be losing their collective minds over... what exactly?
He started digging through comment threads, looking for screenshots and context clues. After scrolling through hundreds of increasingly unhinged romantic fantasies, he finally found the source of the confusion.
There was a brief three-to-four-second segment where the camera had caught Isabella in the break room, kneeling beside one of the cats with this completely natural, unguarded smile. The editor had included a close-up that captured her in perfect lighting, looking genuinely happy and beautiful in that effortless way that couldn't be manufactured or faked.
That single moment had completely derailed the episode's intended focus and turned the comment sections into a battleground of internet admirers declaring their imaginary romantic intentions.
Alex immediately recognized the severity of the problem. The Morrison family had always been intensely private about their personal lives, especially when it came to protecting their children from unwanted public attention. They'd used their considerable influence previously to shut down viral social media coverage when Victoria's college photos had briefly started spreading online.
This was exactly the kind of situation that wealthy families hired crisis management firms to prevent. Victoria had never shown any interest in public attention or celebrity culture, deliberately avoiding entertainment industry opportunities despite having the looks and connections to pursue modeling or acting careers if she'd wanted.
The viral attention could spiral quickly into exactly the kind of invasive online obsession that created real security concerns and harassment potential. Alex had seen what internet fame could do to people who weren't prepared for it, and Victoria definitely hadn't signed up for that level of scrutiny.
He immediately called Marcus Webb, explaining the urgency of the situation and requesting immediate editorial intervention.
"We need Isabella's scenes removed from the episode," Alex said without preamble. "This viral attention is creating privacy and security concerns that her family takes very seriously."
To Marcus's credit, he understood immediately and didn't waste time asking unnecessary questions. Game Designer Weekly might have been focused on generating viewership, but they weren't stupid enough to create ongoing problems with influential families over a few seconds of footage.
"We'll have a revised version uploaded within two hours," Marcus promised. "All platforms, all comment sections cleared. Consider it handled."
The response time was genuinely impressive. Within ninety minutes, the edited episode had replaced the original across every distribution platform, Isabella's appearances had been completely scrubbed, and comment sections had been purged of related discussions.
The efficiency of the whole process demonstrated the kind of corporate influence and media relationships that most people never witnessed directly. When powerful families wanted something handled quietly and quickly, the machinery existed to make it happen.
With Isabella's scenes removed and the distraction eliminated, online discussions gradually began shifting back to their intended focus on Fast and Furious development. Gaming communities started analyzing Alex's promotional hints with the kind of detailed enthusiasm he'd originally hoped to generate.
"Wait, hold up - Stormwind is actually creating multiple storylines with completely different endings? For a racing game? That's fucking revolutionary!"
"Since when do racing games have actual plots with character development? This is wild!"
"They're not just making pretty cars - they're trying to reinvent what racing games can be storytelling-wise!"
"The muscle car lineup sounds incredible. Classic American automotive culture in a modern gaming context!"
"I'm getting more hyped with every preview they release! When does this actually launch? The anticipation is genuinely killing me!"
"If Stormwind can actually pull this off, they're going to completely change how people think about racing games. Most developers treat them like tech demos with pretty graphics."
"The integration of car culture with actual narrative progression sounds amazing. Like, each vehicle represents different philosophies about driving and freedom? That's some deep shit for a racing game."
This was much more like what Alex had intended from the beginning. Racing games had traditionally focused almost exclusively on mechanical gameplay and visual spectacle, treating story elements as throwaway justification for why players were participating in events.
Fast and Furious represented a fundamental shift toward treating racing as part of larger character narratives, where victories and defeats actually mattered to the people involved, where vehicle choices reflected personality and values, where the culture surrounding automotive enthusiasm became part of the gaming experience.
The renewed focus on innovative game design rather than office personnel felt like a return to strategic marketing objectives and serious industry discussion.
Alex started to relax, thinking the crisis had been successfully managed and the promotional campaign was back on track.
But his relief proved premature.
Within forty-eight hours, a new trending topic began emerging across social media platforms, growing steadily in popularity and generating increasingly intense discussion: "Why did they delete my girlfriend's footage?"
The internet's collective obsession with Isabella hadn't disappeared when her scenes were removed. Instead, it had evolved into a conspiracy theory that generated even more discussion than the original viral moment.
"They totally scrubbed that beautiful woman from the episode! I saw the original version and now she's completely gone!"
"Why would they edit out the most interesting part of the entire show?"
"Corporate censorship is real! They don't want us to know about their gorgeous employees!"
"I demand the director's cut with all the deleted scenes!"
"This is probably some kind of legal thing. Maybe she didn't sign a release form or something."
"Or maybe she's actually related to someone important and they're protecting her privacy!"
"Either way, I'm never forgetting that face. She was absolutely perfect."
Alex buried his face in his hands, staring at his computer screen in disbelief.
The internet was a weird, unpredictable beast, and sometimes there was just no controlling what captured people's collective imagination.
Plz THROW POWER STONES.