EDGE - - THE MAKING OF... - Chris Esaki Pro­ducer

Was there a clear mo­ment dur­ing the de­vel­op­ment process when you re­alised what you had hit on with Kill Switch?

The first time I blind fired. It was very Hol­ly­wood. It didn’t re­ally do any­thing, but it made the play­ers feel bet­ter, or it scared the en­emy, and no one had done that be­fore. The first time we had that in the game was like, “Oh, this is re­ally frick­ing cool – you’ve got to see this.” You don’t have a lot of those mo­ments in the industry where it’s like, “Ev­ery­one frig­ging come and check this out.”

Did the Iraq War, which started dur­ing de­vel­op­ment, in­flu­ence the Mid­dle East­ern set­ting for the game?

Ab­so­lutely. Around the time [Sad­dam Hus­sein’s sons] Uday and Qusay were killed, one of the voice ac­tors did this out­take that was like this great Ge­orge W Bush im­pres­sion: “We got Uday and we got Qusay. We killed them and then we switched them.” It was on ev­ery­body’s psy­che – the war in Iraq that has never frick­ing ended. It made a lot of sense for the game.

Did the team tr y to de­velop the cover shooter con­cept af­ter Kill Switch?

We had a con­cept for this game that had cover on two scales – you run around the world tak­ing cover on hu­man-sized ob­jects, but then get into a mech and take cover on build­ings. I imag­ined blind fir­ing around a sky­scraper as a mech. But our time had run out. Namco was in merger talks with Bandai [at the time], and Bandai was go­ing to re­lease a Gun­dam game, so to them it was, ‘Why would we want an­other robot game?’

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