With the release of Firewatch looming on the horizon, a few facts about its developer. Sean Vanaman and Jake Rodkin founded Campo Santo on October 14, 2013 in San Francisco. On that date the Sun was in Libra, and Venus in Sagittarius, in the eastern section of the sky. That part about the Sun isn’t recorded in the California Secretary of State’s official register, so I did what any normal reporter would do and paid a professional astrologer for that information.

Firewatch is Campo Santo’s first title, a mystery about a Wyoming fire lookout named Henry and his supervisor Delilah. It will be released “sometime this summer,” according to Vanaman, “but we don’t have a particular date locked down yet.” Whenever it happens, this is the year we will learn whether Firewatch’s success is enough to justify Campo Santo’s ten-person development team; the financial investment of the Portland software company Panic; the insane luxury of a regular Quarterly Review that consults astrologers; and the decision of everyone who left a job for their belief in this game and this company.

During the Game Developers Conference earlier this month, Campo Santo handed Firewatch over to the general public—specifically, about 20 playable minutes of the early game, polished to the level envisioned for the final product. That small slice was largely praised in press previews, and individual impressions were enthusiastic. Now, the team is back in the office to make all the other minutes of the game—which either don’t look a thing like that demo, or don’t exist—live up to what’s in everybody’s heads.

“We are far behind where we need to be in terms of both quantity and quality of content,” programmer Will Armstrong told me in January. “I am worried that we won’t have the time to polish and bug-fix as much as we like. I am worried that the game won’t be as professional a piece of software as I would like. We are a small team, making a big game, and I think we won’t have a lot left in the tank by the time we get the game done.”

The timeframe concerns designer Nels Anderson, as well. “I think we have a solid handle on what we need to build, but we have to still get it done. And most importantly, I think, is we get it done with enough time to playtest the hell out of it…. The moments in Firewatch that [are] the most surprising and exciting are when the game is really reactive. But it’s often hard to predict what people might want to do in any given situation. Someone comments, ‘I really wish I could do X here’ and often that leads us to not only want to support that interaction, but think about how that interaction could be used in other situations. It’s self-reinforcing in a really good way, but the more of that kind of playtesting we can do, the better the game will be.”

Beyond that, says Rodkin, there are “a lot of environments left to set dress, a lot more dialogue to write, to fill in the cracks between big story beats, to cover all the things we think a player might do as they decide to wander away from the main story and explore the world. And the player animation and controls are a part of the game that are never done, just refined and refined until it’s time to ship, so that will be ongoing.”

The success of the project, says animator James Benson, “is basically all or nothing. Everyone at Campo is effectively running ‘at cost’, in the sense of, we are running the company as cheaply as our lives allow, so as to afford us the chance to make a cool indie game and not have to work on a worse project. So if Firewatch isn’t successful to the extent that Campo can stop operating at that level, it will be hard to justify doing it again, [because] everyone here is in a position of ‘I am temporarily running my life differently in the hopes that this will work’.”

That’s the road to finishing Firewatch: paved with a TBD number of months in which there can never be enough labor, or time, or money, and when the work stops is more of a financial decision than a creative one. “Games get finished in the in the same way monogamous relationships get maintained, it’s slightly unnatural, and you really have to will it to happen,” says Benson. With high expectations and higher stakes, there’s tremendous responsibility there, and if that responsibility rests on your shoulders, it might be comforting to think of Firewatch’s development as guided not by fallible human beings but something more immutable, ordained…

Look, I’ll just get right to this. I got an astrological forecast done for Campo Santo, with a birth chart calculated from the date it was registered as a limited liability company. The constellatory arrangement when whatever clerk in the Secretary of State’s office approved Vanaman’s application augur positive outcomes for the company regarding collaboration, charm, use of technology and the employment of the “technically adept, future-oriented, individualistic, innovative, unconventional or [people] from foreign countries.”

Campo Santo’s birth signs hint at how it might find success with Firewatch. The presence of Venus in Sagittarius suggests that identifying the product with a specifically female energy could yield success, and Campo Santo would do well to think about how Firewatch could appeal to women and young girls. The opposition between the Sun and the dwarf planet Eris represents an aggressive energy that will be helpful if the game “deals with conflict themes or features aggressive characters.” (If a video game features those things.) And then there’s Mercury in Scorpio in the eastern section of the sky: a curious energy suited to making something dark, mysterious, or occult-themed, or which deals with abuse of power and mismanagement of resources. This is all on point: Firewatch is a mystery, and the Campo Santo Quarterly Review is presently occupied with the occult and its existence could be described as a mismanagement of resources.

Of the coming months, though, the planets paint a frankly bizarre picture. Venus’s “independent, innovative energy” will come back into play, and Campo Santo may benefit from the generosity of a heretofore-unidentified “foreign woman.” On the nineteenth of June, Campo Santo should be on the alert for deceptiveness and manipulative appeals for sympathy. And in April, the north node in Libra forms a T-square with Uranus in Aries and Pluto in Capricorn. Pretty self-explanatory, but what that means is an approaching conflict “between freedom-seeking individuals and powerful organisations whose motive is to control and dominate society.” Which sounds far bigger than any video game, but Campo Santo should be on the lookout for that, as well as deceivers and a mysterious female benefactor, in the next financial quarter.

All of which sounds pretty thrilling, and more imaginative than the reality, certainly: that Venus and Sagittarius have jack shit to do with any of this. The reality is that this is all on the people of Campo Santo: about a dozen regular human beings all capable of fucking up, and, if they do, there is nothing larger to blame than themselves. “I’m feeling very confident now in our ability to close it all out,” says Rodkin, “at this exact minute in time, before the Fates have had a chance to conspire and render my remarks cutely naïve.” (The Fates are whole other issue entirely.)

And what comes next? “Campo beyond Firewatch is hard for me to predict,” Rodkin says. “We don’t have another game idea that’s itching to be made, but we didn’t with Firewatch either. It was one idea of many we eventually latched onto, and the design was informed by, and evolved because of, the strengths of the team that’s making it.”

“That’s what Firewatch is,” adds Vanaman, “the byproduct of everyone’s skills. I hope. We’ll see.”