00:01So when we take on a game that has Shadow's Prestige, a lot of responsibility comes with it that you
00:08can't just brush off.
00:10This is a classic. There's no denying what it is in people's minds in the space of games
00:17and that we had to make it as great as people remember it being all over again.
00:24And that was a high bar.
00:27Going from a PlayStation 2 to a PlayStation 4, there are certain expectations.
00:31Just re-releasing it the same way we had it on the PlayStation 3 just wouldn't have done the title
00:35justice.
00:36We don't even consider it a remaster inside the studio. It is a remake from the ground up.
00:41Collectively, we understood this had to be beautiful.
00:44There was never a question about what our goal was, what we had to achieve.
00:49And so the question was, how do we get there?
00:54One of our biggest challenges has been staying true to the original atmosphere and environment
01:00and making sure that we maintain that while also increasing the graphical fidelity and visual quality of the levels.
01:07We used a lot of the base geometry for the very original game and kind of built off of that.
01:14Taking some of those really basic core art direction cues and then expanding it out into a larger, more filled
01:25out world.
01:25I kind of use the analogy, it's kind of like taking a concerto that's just piano and trying to expand
01:32it into a symphony.
01:33Trying to add all these instruments and then taking the vibe of it, taking the feeling of it, taking the
01:39direction of it
01:40and expanding it into something that a modern audience would enjoy.
01:44For instance, the video that we showed at Paris Games Week where Wander wakes up at one of the saved
01:50locations,
01:51that forest looks vastly different from what it did in the original.
01:55But we worked really hard to maintain the feeling that that forest evoked when you first entered it,
02:00which was a sense of awe. It was, you're entering a very special place in this world.
02:08We rebuilt all the assets. We rebuilt the colossi from the ground up.
02:13We had to do it that way. The amount of detail that we needed and the amount of polys that
02:19we were pushing
02:20to get these things looking right, a lot of these colossi took a few months apiece to make.
02:26In the first game, one of the most incredible things that I remember was the hair on the colossus, the
02:33fur.
02:34That was like, at the time, I had never seen anything like that.
02:38And we felt that it was important for the fur to be interactive
02:42and to be one of the central points of the colossus, like the original.
02:47So a lot of time and effort was spent in just getting that perfect.
02:52In addition to making the game better looking, it gave us a second chance to actually improve the things we
02:56couldn't before.
02:57So the vision was, let's take old control scheme, make some improvements to it that people would expect
03:03to get the game kind of more ready for a new audience. At the same time, we didn't want to
03:07alienate the old audience.
03:08So we have a full classic control mode that allows people to play the game exactly the way they remembered
03:13it.
03:14We wanted to make sure from the very get-go that having a solid frame rate had to be at
03:21the top of our goals.
03:22So a collision got changed, got made better.
03:24So much work has gone into rebuilding the collision for this game.
03:28Moving the game to 4K, supporting HDR, supporting 60 frames a second on the PS4 Pro.
03:36Those were all significant technical challenges that we had that thankfully turned out really great.
03:43The one thing that's definitely good is that Ueda has a great amount of trust in what we do because
03:47we had already done the remaster.
03:48And so I think that helped a great deal on our current project.
03:51Everybody has a very clear picture in their own mind of what Shadow is.
03:56We obviously have to try and interpret all of those things from all the millions of different fans that this
04:02game has.
04:03And that is, it's not a burden, it's an honor and it's a great responsibility to take on.
04:10And we're fortunate that we're in a position where we can do that.
04:13It was an absolute honor to work on this project. It's so cool, man. It's like a once-in-a
04:18-lifetime thing.
04:34For the Players
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