00:00PEGI 18
00:30Oh, ah, you know, making these loud screams and yells and cheers
00:34because they were seeing something they had never seen before.
00:36The reason fatalities appeal to so many people
00:40is these brutal, over-the-top things that, you know,
00:44most people never even want to think of doing to someone they know
00:48or even to someone that they don't know.
00:52Fatalities are awesome in that it's a perfect way to end a match.
00:57It's a good way to show that you dominated over your defeated opponent.
01:02It's a final punctuation mark that, okay, I just kicked your ass,
01:06and now I'm going to humiliate you even more.
01:09What makes the fatalities awesome, I think, is the sense of humor to them.
01:14And I know it took me a while to get my arms around the mentality of them myself.
01:19And it's, you know, they're very graphic and very disturbing and disgusting,
01:24but there's an underlying humor to them that, you know,
01:27certainly is what defines my favorite ones.
01:29And it was kind of what made them enjoyable to work on.
01:32For me, it was, you know, finding that humor and kind of bringing that out,
01:36you know, graphically and visually.
01:38I think a lot of the casual players, you know, specifically pick up Mortal Kombat
01:41are always looking up, you know, what are the fatalities,
01:45how gruesome they are, you know, even finding out, like unlocking them through the game
01:49and stuff like that.
01:50And I really think, you know, this came around.
01:52I think we really took it to a whole new level.
01:54Initially, we, you know, we try and come up with a brainstorming session,
01:58kind of get some ideas or like think about stuff.
02:00And then we kind of all get together, meeting the other designers
02:02and go through, kind of bounce ideas off each other a little bit
02:05and kind of formulate one really great idea out of all of us.
02:09And from there, we do a couple practices,
02:12try to figure out the timing, things like that.
02:14We go in the studio, we shoot the actual motion.
02:17From there, we take the data, process it, get it into the computer,
02:22exaggerate it well beyond whatever we shot
02:23so that we get like this really great performance
02:25with all the gruesome, brutal things that people come to expect from Mortal Kombat.
02:30So once all of the action had been defined,
02:32we would make sure that blood, any of the magic,
02:37any of the, you know, any of the other visuals
02:40that don't fall under either environments or characters
02:42would get put into the cinemas.
02:43The most fun I had was actually the one fatality actually in particular
02:47was the Kung Lao, you know, one of the iconic ones
02:50that have been used in a lot of the marketing now
02:53when he lays down his hat and, you know,
02:56pulls the unsuspecting victim through it.
02:58Carlos is, you know, he's a huge character in the studio
03:01and he likes to keep the mood upbeat.
03:03The best part that I love about these fatalities is I get to beat up on Rick O'Mara
03:11and he also gets to, you know, perform his fatalities on me.
03:16I actually remember when we were shooting the, um, the Cabal fatality
03:20where the victim falls on the hook swords
03:22and you had Tony supporting Carlos as Carlos is falling over
03:27and it was just hilarious because when you look at the raw data up on the screen
03:31you don't see Tony there so it just, he fell and it looked so perfect.
03:35It was hilarious.
03:36Maybe about like the third or fourth take we start getting into more or less
03:40of the vision of the actual fatality
03:44and it starts getting amped up with, you know, all that emotional content
03:48where you're getting into, you know, like,
03:51I really need to stab these knives into these guys' clavicle
03:55so that way the lightning will strike.
03:57You know, when you're doing it the first or second time
04:00you're like, ah, I really don't want to hurt, you know, the other actor.
04:03When the other actor gives you the cue, he's like, hey man, just let go
04:06and really, like, hit my clavs.
04:09Having somebody, uh, able to draw off of that
04:11and Ed's sitting there going, oh my god, that's what I want, I need that
04:16and trying to draw off of that, all that emotional content
04:19and trying to get the best performance.
04:22My role on Fatalities was, ah, to make sure that once everything else was in place
04:26that we had visual effects for the Fatalities.
04:29So once, ah, all of the action had been defined, we would make sure that blood,
04:34any of the magic, any of the visuals that don't fall under either environments
04:38or characters would get put into the cinemas.
04:40Probably my favorite and most successful effects are the ones where we involve the most sleight of hand.
04:45The classic reptile fatality, getting his tongue to work,
04:48was one of those real coups.
04:50That's the sort of thing that, you know, there's not a cut and dried system for doing.
04:53There were a lot of cheats and sleight of hands that we'd used to make that work.
04:56We use a, basically a beam, just an ability in the engine to draw a mesh from one point to
05:01another,
05:02basically attaching one end to reptiles head and one end to the victim's head
05:05and then introducing material-driven noise to that to make it seem as though there's an elastic tongue
05:10where really it's just a, you know, a code-driven mesh that's going from one point to another.
05:15Some of the key points that we really try to focus on is to make sure that every fatality fits
05:20into the same look and feel as the others.
05:23We don't want one or another to kind of feel different.
05:26Each character had approximately 18 points of dismemberment.
05:30So you can imagine, you know, the technical hurdles we had to go through initially,
05:33working closely with the tech group to get a procedural tool inside of our tool to be able to, like,
05:40kind of, you know, do it on the fly.
05:42The effects guys had a major role in making the fatalities just look perfect.
05:46They are masters of blood placement and all the effects that go with fatalities, like, you know, radins, electricity,
05:55all the blood decals that had to be put on to make the fatalities look nasty.
06:01You know, there's not just clean cuts anymore.
06:03There's bloody stumps wherever there's a sever point.
06:07Every fatality had its own challenges,
06:09ranging from just making the blood look good.
06:12And blood from the outset is a tricky thing to get right.
06:16Fluids and liquids are a difficult thing to do in particles.
06:18It's even more difficult to do in real time when we don't have the ability to render something,
06:24when we have to do a graphic that will update 60 times a second.
06:27And so even just the rudiments of getting the liquids to look good had its own challenges.
06:32One of the really cool things was that, like, E3 this year and a bunch of the other trade shows,
06:37we got to see some of the stuff that we thought of and came up with,
06:39and we weren't sure how well it was going to translate.
06:41I thought it was cool.
06:42But then, you know, during the demos, we did the first time we showed fatalities,
06:45we showed this trailer of a bunch of the fatalities together.
06:48And we had, like, people standing up and clapping for, like, moments of things that I came up with,
06:52like Sector's fatality, for instance.
06:53Like, when all the missiles come out and, like, blow up all the body parts, people just going nuts for
06:57that.
06:58A lot of people were cringing, and I think that's kind of maybe when we started,
07:01or, like, going in the right direction here.
07:03You know, taking some of the old stuff, you know, blending in with some new ideas,
07:08and that's what I think, you know, what's really cool about this.
07:10A little nod to the classics.
07:12The best fatalities are the ones that are nasty.
07:16They're, like, really violent, but at the same time have a comedic tone to it.
07:21Those are always the best ones.
07:23Most of them actually have a comedic tone to it, and I think that's what makes fatalities popular.
07:29Get over here!
07:35Go, bitch!
07:37Go, bitch!
07:38Go, bitch!
07:39Go, bitch!
07:40Go, bitch!
07:41Go, bitch!
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