Nice new interview:
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GS: Who wrote the story?[/SIZE][/font]
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CB: Eric Nylund is writing the story – he's the officially assigned writer from Microsoft, he wrote the
Halo book. I created the universe for the game. [/SIZE][/font]
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GS: So how much story are you talking about? People complain about how the action stops in games like Metal Gear Solid.[/SIZE][/font]
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CB: Nowhere near that much. I love
Metal Gear, but I'm not that guy.[/SIZE][/font]
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MR: It's all in-game, it's all in-context.[/SIZE][/font]
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CB: We're going to start with a cut-scene, but I'm of the mind that you play games because you want to play, not because you want to watch. Eric and I have been going back and forth with the writing, and we've continued to pull it back. Less is more, as far as I'm concerned in dialogue. One thing that I'm very impressed with that Valve does is a lot of that kind of interpretive story. The posters on the wall, the overhearing of dialogue – if you're want to sit there and listen to it, and get more out of the narrative, you can do that. But if you just want to go in and blast some creatures, you can do that. So I guarantee that every cutscene in this game will be skippable the first time playing.[/SIZE][/font]
[font=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]There's nothing more frustrating to me than a game designer who says “No, we put all of this effort into the story, you have to watch it!†No! Games are about choice. If the gamer wants to just get into the game and play it… Maybe there's a gamer out there who will skip the first cutscene, play the game a little bit, then be like “hey, this is kind of cool, I'm hearing all of these little details about this universe†– then go back and watch the cutscene. But I'd rather have the option than not.[/SIZE][/font]
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GS: Can you shoot that sign up there?[/SIZE][/font]
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CB: You will be able to make it procedural and everything, we have that ability, but right now it's canned animation. This demo doesn't leverage physics nearly as much as the final game will. With that cabinet there, in the final version you'll be able to shoot it and move it procedurally, with realtime physics.[/SIZE][/font]
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GS: What are you using for physics?[/SIZE][/font]
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CB: We're using Novodex. By the way,
all of the animations you're seeing aren't final either, we're beefing them up a bit more.[/SIZE][/font]
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GS: So how interactive are these environments going to be? If you put a cool house like that in front of me, I want to go inside it.[/SIZE][/FONT]
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CB: By doing this single player experience, there's kind of a path that we have to have there, because things have to happen to let the story unfold. It's not a large open city like a
GTA-like setting, so it's almost like "Pirates of the Caribbean," where you can get off the ride and walk around a little bit.[/SIZE][/FONT]
[FONT=Verdana, Arial, Helvetica, sans-serif][SIZE=-1]And I want to actually give you motivation to move to those locations – like we have these stranded people who were left behind on Emergence Day, and they've been living as squatters, and have been very clever about how they hide, and how they get from point A to point B, avoiding the locusts, so there's a lot of potential for secrets. As far as cover though, we do a lot with cover – like knocking over a pillar to hide behind it, moving the large physics objects – like there's a car that's kind of a husk – you can push it from the front, and there are sparks and everything, you can push it in the back and blow out all the windows, and if you blow out the windows and the doors you can't take cover behind it anymore – you can shoot off the hood and things like that. There's also destructible cover, so the visual language of the game says that if you're behind a wooden armoire or bookshelf it's not safe, and you can actually destroy the cover.[/SIZE][/FONT]
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GS: I like being able to find things, so secrets are good.[/SIZE][/FONT]
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CB: *Makes
Zelda ‘treasure discovery' noise*[/SIZE][/FONT]
http://www.gamasutra.com/features/20051021/sheffield_02.shtml