It’s easy to take opening titles for granted. In the age of streaming, it’s more convenient than ever to just skip over them. But they hold an important role in the TV-watching experience: In the first moments of a marathon, the opening titles are a viewer’s first clue as to what’s coming ahead, even if it might take weeks before it pays off.

It’s hard to imagine a opening sequence that made a bigger splash than Yellowjackets’, a grungy, distorted camcorder sequence showing the characters before, during, and after the plane crash that changed their lives, all set to “No Return,” a face-melting punk song by Craig Wedren of Shudder to Think and Anna Waronker of That Dog.

The titles are the work of creative studio Digital Kitchen, which worked with the series’ showrunners to create a captivating, eerie, and ever-changing title sequence that required some surprisingly old-school techniques. Inverse spoke to the minds behind the titles about how they came to be, what was left on the cutting-room floor, and what could possibly come ahead.

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A big part of what makes Avowed one of the year’s best games isn’t its punchy combat or remarkable art direction, but its efficient use of player time. Across its 30 to 50 hour runtime, Avowed cuts much of the fat that players come to expect from similar games in the open-world RPG genre while still feeling like a grandiose fantasy adventure.

Every part aspect of exploring The Living Lands, from the way leveling and gear works, the scale of its four open-world hubs, the frequency of its side quests, and even its dialogue trees, makes each passing hour feel meaningful and optimized to push the player forward at a steady pace. Avowed’s director Carrie Patel says that the no-frills approach to Avowed’s very familiar formula is by design and a staple of Obsidian Entertainment’s philosophy.

“One of our strengths as a design studio is in our quest and our narrative development. That's not just writing dialogues for characters, it's also how we tell the story through the players’ experience in the world through the things they see and encounters they have,” Patel told Inverse. “And for that to really come together, you have to have intentionally placed content.”