00:23I am super duper excited that we're at Comic Con
00:26because to me it's just like popular culture.
00:31It is, that is it, man.
00:33The fact that we're invited to participate is a big deal
00:38because it means we're part of popular culture
00:40and if we made the grade to be a part of it,
00:43then that's awesome.
00:45That means that we're succeeding at making people happy with the game
00:49and that's totally our goal.
00:55It's huge.
00:56Going to panels and listening to people talk and stuff like that
00:59is going to be really cool to be on the other side
01:03and finding out that there's enough people out there
01:07that really see Infamous as this comic book come to life.
01:18I think when we were doing the original Infamous,
01:20we knew we were doing superhero
01:22but I don't think we wanted to do it in kind of super traditional superhero way.
01:26Like the first thing we'd have to tell people is
01:27no, he doesn't wear tights or anything like that.
01:29It's like what if it's a regular person who would get superpowers?
01:36It fit more into some of the kind of postmodern stuff.
01:39The feel of a modern city in crisis,
01:42kind of the dystopian books that have been out in the last 10 years,
01:46some really, really great stuff.
01:47The most direct influences on Infamous
01:50don't come from the comics I read growing up.
01:53It's from all the media that was influenced by those comics.
01:57It's kind of second generation stuff.
01:59So Batman movies, especially the recent Batman movies,
02:01have been a big influence for us
02:04because they have that sort of spirit of comics in them
02:08but it's filtered through a modern, you know, up-to-day gestalt.
02:13You know, the city feels realistic.
02:15The characters are flawed.
02:16You know, I don't think we wanted to just say,
02:18well, here's this comic, let's just go make it
02:21and just change the character.
02:23You know, I don't think that that would have been a huge failure for us.
02:25So this is an honorable treatment of a comic hero.
02:33But with a hero that was really designed to make sense
02:36and be really fun in the context of a game,
02:38a game where you did have choices, important choices,
02:41which we always felt were part of becoming a superhero.
02:46Infamous was the first game we'd really made
02:48where we were making a game for ourselves in some sense.
02:50We have so many comic fans here.
02:52It was fun to make a game
02:54where you were really trying to do a game
02:56that people like you would enjoy.
02:58For me, it was escapism.
03:01You know, I grew up in a real small town.
03:04It was really tough to get this sense of bigness.
03:09Before I got into comics,
03:10I was into, you know, Bionic Man and Evil Knievel.
03:14There was something out there that you could turn it on
03:17and you kind of like have that level of escape.
03:19And like with comic books, it was definitely that.
03:22All the artists from the studio,
03:23we actually make a comic called Atomic Lead.
03:26I kind of quit comic for a while,
03:28but then kind of got the itch
03:30and I kind of start doing my own comic again
03:32and, you know, print up stuff in Xerox,
03:36you know, full in half, staple it myself,
03:38take it to local comic convention.
03:39I think it definitely helps to have that love for that medium.
03:43and then you can kind of take that
03:44and apply what works
03:46and kind of discard the stuff that doesn't work.
03:49If you go back to the 1950s Spider-Man
03:51when he first started,
03:52this stuff is so ridiculous.
03:53He's having conversations with his enemies
03:55as he's fighting them, like between punches.
03:57Now, what I'm about to do to you is...
03:59And he's wearing underwear, you know, like this crazy.
04:01The powers are kind of the element
04:03that's still similar to comic books,
04:05but then we're trying to marry that
04:06with a realistic environment
04:08and an art style that makes it more believable
04:10to people who aren't necessarily huge comic book fans.
04:14But if you go too real,
04:15then some of the stuff that we're trying to do,
04:17you know, a guy having electricity powers
04:19and crazy supervillains,
04:21you know, then that doesn't work anymore.
04:23So you want to be in that space
04:24where that's believable.
04:26Real characters that have real problems,
04:28Peter Parker has to make rent.
04:30Bruce Banner has to actually deal with being a fugitive.
04:34Tony Stark, you know, he's an alcoholic
04:36and that's the type of character that, you know, Cole is.
04:40We feel that people just related to him
04:43on a level that even we didn't expect.
04:45I think that the kind of the history
04:47of video games made out of existing heroes
04:51was one of the reasons we decided
04:52to go with an original IP.
04:54They've had a mixed bag.
04:55It has a whole bunch of expectations
04:56and limitations that have been built into its universe.
04:59You know, you take Superman as an example.
05:01The guy has unlimited power.
05:03If you're going to build it out of that character,
05:04it's like, well, kryptonite harms him,
05:07but otherwise, what is he not going to do, you know?
05:10It's very difficult to make a video game
05:12where that's really fun.
05:13Video games suck at that.
05:16They only succeed if they bind you into space, play space.
05:20In Infamous 2, you just basically have the expectations
05:22of staying true to the characters
05:25that, you know, you originally created.
05:27You get to capture a lot of that rawness
05:30that you don't get
05:31when you're trying to stay true
05:33to an existing established character, you know?
05:36But here we get to just, you know,
05:38create what we want, which is awesome.
05:40But to really improve and get to the kind of the next level,
05:43be willing to throw away your old stuff and start over.
05:46There was a lot of splatter work done in the first one.
05:47I mean, literally every page was just
05:50a big wet splatter everywhere,
05:52and I felt that that worked really well in an urban city.
05:55In Umarai, it just didn't seem like
05:56it would make as much sense, you know?
05:58I kind of wanted to capture a little bit more
05:59of what this New Orleans-ish kind of city would look like,
06:03so just kind of removing a lot of the wet splatters
06:06and going more for a watercolor look
06:07as opposed to more traditional comic book coloring.
06:12I've seen some graphic, you know, cut scenes
06:15where, you know, when somebody hit them, it's like kapow,
06:18and you see the word kapow.
06:19The direct reference of the border or the panels
06:22and the word balloons and stuff,
06:24it's really an element of the printed medium.
06:28Some of those things doesn't really apply.
06:30This is an evolution of, you know,
06:32taking something that's printed
06:33and now seeing it, you know, in motion and with sound.
06:38Like all art form, it's always evolving,
06:40which is really exciting, super, super exciting
06:42to be, you know, at that edge.
06:44And what we're doing is not a comic book,
06:47nor is it a straight, full-on, you know, animated piece.
06:51It's actually somewhere in between,
06:52and we're trying to carve that little niche.
06:59There's an experience that everybody wants to have,
07:02which is to be a superhero.
07:03If we can make a game that lets you be that superhero
07:07and own that experience,
07:11that's really my objective.
07:14And I think we are probably still the underdog,
07:17you know, of the whole thing.
07:19Marvel and DC and Batman, Spider-Man,
07:22all those guys have years and years of history
07:25of kind of ingrained into the modern culture.
07:30So we're just trying to, you know, put our notch in it.
07:33We'll see you next time.
07:35.
07:35.
07:35.
07:39.
07:49.
07:49Grazie a tutti.
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