Post Script

Co-founder and cre­ative direc­tor, Ready At Dawn

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lad­ders, no jump, none of those things. For us, it was a ques­tion of un­der­stand­ing the core of what the char­ac­ter needed to do. If he was go­ing to climb mas­sive walls all of the time, I think we prob­a­bly would have de­vel­oped the nav­i­ga­tion me­chan­ics even fur­ther. But con­sid­er­ing all the me­chan­ics we had to build, we went to the core of what Grayson needed to do. For ex­am­ple, in Whitechapel he’s able to climb on cer­tain things, and he’s able to shuf­fle. All of those things mat­ter be­cause of the game­play flow that we wanted to build. But the [abil­ity to climb a] lad­der, it never felt like we needed it, since there aren’t that many, so it felt eas­ier to do this tran­si­tion that felt like you’re go­ing from one place to the other. But we de­cided to give in­ter­ac­tiv­ity [in places] where in many games you just watch. A per­fect ex­am­ple is when you go through a gate in Whitechapel hos­pi­tal while es­cap­ing the ly­can – in most games, you would just go through the gate, watch the cin­e­mat­ics of him closing it, and then keep on walk­ing. We used those in­ter­ac­tions to give the player ad­di­tional in­volve­ment in what would oth­er­wise be a pas­sive mo­ment. The game’s ap­proach to nu­dity, es­pe­cially male nu­dity, feels pro­gres­sive com­pared to many games, but did it ever cre­ate con­tention in­ter­nally? There was some de­bate. We dis­cussed it dur­ing the first year we were work­ing on the game. We made it very clear and said, “Hey, ev­ery­one, there’s go­ing to be nu­dity in the game. It’s go­ing to be con­tex­tual. It’s go­ing to be done be­cause it’s the way the world was.” And, yeah, it was a lit­tle bit con­tentious, but at the same time, the con­ver­sa­tion was very healthy and ev­ery­one at the ta­ble un­der­stood why we were do­ing it. How im­por­tant was it to get across the ex­trem­ity of the vi­o­lence in­volved in the knights’ work? We did a lot of re­search on com­bat, es­pe­cially on the melee moves. We hired stunt co­or­di­na­tors and mil­i­tary con­sul­tants, and looked at how some­body would re­ally ap­proach some­thing like this. It was in­ter­est­ing to re­ally un­der­stand what vi­o­lence meant to peo­ple who are in that world; they think about it more as a tool. More and more movies have had a ten­dency to have fights that are more re­al­is­tic, but I re­mem­ber old films where the fights would last five or ten min­utes. In re­al­ity, a fight starts and ends very quickly… We wanted that im­me­di­acy to be shown in the moves that we did. We wanted to paint a pic­ture of th­ese char­ac­ters who were al­most im­mune to how vi­o­lent their lives had be­come. Th­ese things that have be­come so com­mon to the peo­ple that you play that maybe there’s some­thing wrong. Maybe there’s some­thing that is ques­tion­able about the way that they treat life.

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