1UP: OK, here's an easier question: can you talk about the sources and inspiration for this "modern take on treasure hunting?" A lot of other games tend to cite the same movies -- Aliens, Goodfellas, Scarface and so forth, and I'm curious what atypical influences Uncharted 2 has.
AH: Obviously, we looked at a lot of stuff. When we started
Uncharted, we did a ton of research and de-constructed a lot of movies, books, and comics in our genre. You're talking about everything from old adventure serials like
Doc Savage to comics like Tintin, or old '30s adventure movies like Gunga Din and serials from the '50s, to adventure movies from the '80s and modern stuff like
National Treasure and
The Da Vinci Code. There's a lot of stuff -- we watched and read as much as we could, and plucked out the themes that we saw over and over again. Some of them were things that weren't really being taken advantage of in the medium, and a lot of it had to do with the humanization of the character and all that kind of stuff.
One of the main differences, I think, is that some of the movies and things we use for inspiration came out of the fallible hero idea. Which isn't at all new in movies, but is pretty new in games. It's the idea of the sort of "sloppy" combat -- the "sloppy" gunplay, and the "sloppy" hand-to-hand combat. It's not martial arts or tactical SWAT guys or Navy SEAL stuff. It's this guy who probably learned how to fight on the street, and can handle his guns but doesn't really know how to shoot them "right." He's not trained; when he throws a punch he'll throw himself off-balance and he can easily get clocked on the head. There's much more of that scrappy style. Everything has been sort of precise and tactical up to that point. And actually, that created a lot of technical challenges; the only way you have organic sloppiness is by not playing the same animation over and over again. For example, all of Drake's cover animations -- he probably had literally about 150 to 200 cover-taking animations -- whether he was low or high, or how he had his foot angled, and that was all done via a proprietary layered-animation system that we developed.
EW: Think of the effort we put into his run cycle, where he can be running for 60 seconds straight and you won't see the same loop twice. There will always be differences to his gait.
AH: It's one of those things that when done right, nobody notices, but when done wrong, everybody will really notice.
EW: I don't know if this is going to be completely obvious to people as they play though the game, but something that is different this time for Drake is that we beat him up like crazy. You probably can't count on your fingers and toes the number of times he gets completely knocked on his ass or on his head. You play through other video games, and you basically only fall down when you die. Drake is always getting knocked around.
1UP: Actually, with Tenzen being an ally, along with Chloe and Elena, can you say how many different allies Nathan will have over the course of the game?
EW: Hmm, at least four...
AH: [Mumbling incomprehensible names while counting off with her fingers] At least six.
EW: Six? Who am I forgetting?
AH: I don't want to say; how about "five and a half?"
EW: Oooh, OK. I got it.
AH: Five and a half, because there's a dwarf. [Laughs] But seriously, there're also things like situations where you have multiple allies like Chloe and Elena together, or when you're in a defensive position and there're lots of people around, and the fight is more than just you against an army -- you got a bunch of allies with you. But yeah, six.
And here's the thing: when we set off to make this game, we knew our number one thing was to capture that feeling of being in a great action-adventure genre movie that we all love when they come along, contemporize it, make you feel the same feelings you get when you watch them, and then put the controller in the player's hands. The number one thing is humanizing the hero. Not making a cardboard cutout that serves as your avatar in the video game space, but instead making him a living, breathing character with flaws and fears -- someone who can get hurt and all that kind of stuff. Not something you expect to see in a video game.
There's a deliberate reason he was in a t-shirt and jeans in Uncharted. In video games, that was unusual; that was weird. And he had hair. Even though people say, "That's such a generic characterization," I'd say, "Not in this medium. Generic would be space armor and a shaved head." The other thing is: watching a movie, you don't put the protagonist out there with no one to bounce off of. You have to tell a character-driven story to bring your audience in. Video games haven't traditionally done that; it's usually just the sole protagonist charging along. For one, it's hard to have allies on-screen be A.I. controlled and just have that work.
And also, it's a writing challenge; I think we've been a little bit immature in the creative writing of this industry to be honest. How you're supposed to tell a story that's not character-driven, that doesn't reflect off of other characters? I don't know. That's also where I think our wide demographic appeal comes from. Over and over again, we hear that it isn't just popular among the expected demographic -- girlfriends and wives and parents want to see the game. They want to play; they want play it in one sitting just to see what happens next. That's hugely gratifying for us to hear, because that tells us that we've done the character-driven story right. You're not just being propelled along by the visceral need to see what's next, but by the emotional need to see what happens next.
1UP: So have there been features or scenarios that were cut due to not "feeling in character?"
AH: There might be some weaponry that didn't feel "right."
EW: We definitely shied away from doing anything too gadgety or James Bond-like. Stuff that you'd expect to see in a spy thriller; we tried to make sure it stays in the action-adventure genre. Usually, everybody kind of "gets it" here -- not much gets brought up that needs to be shot down.
1UP: Except for that one guy quietly sobbing in the corner.
EW: Sure, like the guy who suggested anti-gravity boots.
AH: Every once in a while, something would come up and we'd go like, "that would be out-of-character or not appropriate for the franchise." Even with the possible cognitive dissonance of saying, "here's a guy who shoots at everything in front of him," there're still certain [lines]. We don't want him to be bloodthirsty -- we could easily go a lot further in terms of making everything gory. We try to keep everything to that "stunt" level of violence; a bit of a cartoony romantic veneer -- and when I say "romantic", I don't mean Cupid-and-hearts, I mean a little bit larger-than-life like when you're watching a stunt show and everyone goes flying in the air like in old Westerns. We try to keep that veneer on it. We don't want it to be like, "wow, that was graphic." It's a fine line that constantly moves and keeps us on our toes.
1UP: So, speaking of him being in t-shirt and jeans, who can claim credit for the whole "half-tuck" phenomenon?
AH: Tim Schafer coined that phrase, right? Because we all love it, and now everybody says "the half-tuck." Of course, credit goes to the character modeler, but I remember a conversation about how you never want your character to be symmetrical. So when you see that he's a guy in t-shirt and jeans, you go, "hmm, we'll have to have something on him to throw the symmetry off." So we have things like the fact that his sleeves aren't pulled up the same way on each arm, his holster was on one side, and his shirt half-tucked-in, to give him some asymmetry. We didn't know how awesome it would look. For this game, now Elena is rocking the half-tuck.
1UP: Moving on, we recently saw Gears of War 2 put out a deleted scene as DLC. Would you be interested in doing something similar?
AH: We don't really have deleted scenes; we have altered versions of some scenes that we'll probably include on the disc... [looking at Wells] if you allow us to.
EW: Are you thinking of [the main villain in Uncharted 2] in the...?
AH: Yes. But I mean we have lots of bonus material to include, as long as we can fit them onto the disc.
EW: We're bursting at the seams already.
AH: I didn't think we'd fill a Blu-ray disc, but we do and we did, and we're constantly fighting it now. But DLC is always a possibility.
EW: Yea, but with multiplayer now. We'll probably make DLC multiplayer-focused, but we haven't made a final decision yet.
AH: But we do have lots of outtakes and fun bloopers to include, if we have the room.
1UP: Wait, how long do you have to decide on those outtakes and extras? Shouldn't that be decided soon?
EW: We're actually pretty good at deciding things at the last minute. The bonuses and stuff you unlock is always something you put in the tail end, since the artists get freed up and can start to wrangle the assets. We have already planned more than we had in the last game. It really does just come down to disc space. And of course, you have to wait until the end to make that call, as game content comes first, and if space is tight, the extras are the first to go.
1UP: And you guys are doing a demo, correct?
EW: We have the multiplayer demo starting on September 15 as a two-week exclusive with GameStop initially. So that takes us to the end of September, and then the next two weeks leading up to our launch date -- October 13 -- it will be open to everybody.
1UP: So multiplayer demo, but no single-player one?
EW: Yeah, it's probably not looking like we're going to do one.
AH: It's always tough to do a single-player demo. You can always argue whether it benefits you or not in the long run, because so much of it depends on you understanding where you are in the narrative, and then appreciating what's going on in the single-player demo.
EW: Not to mention that it's a 12-15 hour experience and you have to somehow collapse that into 15 minutes. I mean, we have something like hundreds of moves to train you over several hours, and if you just drop somebody into the fire...
AH: It's hard to take a slice. But what's nice is that multiplayer actually gives you that, "if you're enjoying this gameplay, you're going to enjoy single-player gameplay," which is certainly a benefit that we didn't have last time.
EW: You certainly get to see the quality of the graphics and animation. So yea, the multiplayer demo is the only one we've got.
1UP: Hmm, it seems like it might be more intimidating to just drop a player into multiplayer though.
EW: Well, I think it's about different levels of expectation. Because in single-player, you want the story and the adventure, and you want to experience the narrative. If you're only taking a slice of that, you haven't developed the attachment to the characters; you haven't developed the motivations these characters have; all the stuff Amy was talking about. These are all critical parts of the experience; people just sit down [and finish the game] in one or two sittings because they get engrossed in the environment. If you just plunk any 15 minutes out of the game, it's not going to be the same.
AH: We sort of got that anecdotally from the first demo. Some people loved it; some people thought, "eh." I read over and over people saying, "Oh yeah, I played the demo and I didn't think much about it, but I bought the game and it's the best game ever and I love it to pieces." And, well, how do you solve that? A 15 minute slice just doesn't give you all that. I'd rather have people play the multiplayer, get the feel for the mechanics, and then look at the game, and think, "Yeah, I want to see the single-player experience." Yeah, I think we're giving people a lot of value for their money.
EW: The game is enormous; the first one just looks like child's play.
AH: It's a longer single-player experience.
EW: Significantly longer single-player. We've got competitive and cooperative multiplayer. We've got 90 minutes of cinematics compared to 50.
AH: It's literally a feature-length film, with fully-fleshed out multiplayer and co-op experiences. That's why we all look so tired.