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?’