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El tercer episodio de Beyond the Light explica cómo se ha construido el origen de este James Bond más joven, idealista y aventurero-
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00:06Bienvenidos a la vuelta a Beyond the Light Episode 3.
00:08Hoy vamos a hablar con el líder líder de 007 First Light, Michael Vogt.
00:13Él va a compartir un poco de información sobre cómo crear la historia del juego.
00:20Mi nombre es Michael Vogt, soy el líder de 007 First Light y he estado con I.O. por 14
00:27años.
00:30El origen aspecto fue siempre central para el proyecto Vision.
00:36Desde que conocimos a Bond como joven,
00:38el tono y la historia también necesitan reflejarse su perspectiva.
00:43No es un trato, grito o cienico mundo.
00:47Es peligroso, pero es divertido, divertido y divertido y, finalmente, hopeful.
00:52Él no es jadido todavía.
00:55So Bond es experiencing this, like, hidden exciting world of espionage for the very first time.
01:01Of course, we want to convey a sense of bright-eyed wonder here.
01:03There's this trope of the hero who walks away from explosions, right, because he's so cool.
01:07But the reason heroes walk away from explosions is because they've seen so many of them.
01:11But this is Bond's first outing and he's 26 years old, so I think he's going to want to turn
01:16and watch that explosion.
01:18Many of the aspects that you associate with James Bond is already there as innate qualities.
01:25He's incredibly charming and charismatic, and he's audacious, he's very cool under pressure.
01:32And, of course, he's insanely capable and resourceful.
01:35There's also a ruthlessness to him when the situation requires it.
01:39Emotional distance, or at least a reluctance to deal with emotions.
01:42He's not the suave connoisseur, either, who knows everything about champagne and wine and fancy cars.
01:48I think that will come with age and experience.
01:50But because he's a young guy, there are also some traits that we haven't really seen before.
01:54There's an innocence to him here.
01:56He's quite trusting and earnest and idealistic, even.
02:00And, you know, traits that you sort of sense will probably not survive this job for long, even if he
02:05does.
02:06Belonging is definitely a theme in this story.
02:09He's a young man who hasn't found his place in the world or his purpose yet.
02:12What does it mean to be a double O in this age, and does the world even still need them?
02:17Will heart and intuition even matter, or can technology just do everything better?
02:23So, in that sense, the story reflects the times that we live in,
02:26which is also something that Bond's stories have always done.
02:29So this youthful take also informs some of the gameplay choices that we make.
02:34For instance, we have a bluff mechanic, something Bond can do to get out of a tight spot,
02:38because we felt that that's exactly the sort of thing a young James Bond would do.
02:41To Agent 47 in Hitman, he plans meticulously.
02:44But Bond is not somebody who plans meticulously.
02:47He's very impulsive.
02:48You know, he just goes in and he wings it.
02:53When we start out in the pre-production, we make a story outline that looks pretty much like a feature
02:59film,
03:00only it's a little bit more elastic.
03:01Technically, you can say you structure it like a film.
03:05You make sure that the first half of the second act is very flexible,
03:09so you can make for a much longer running campaign,
03:12while still preserving the tension curve towards the end of the story, towards the climax.
03:18The way I see it, as a game writer, you really have two toolboxes.
03:22Toolbox number one is the classic screenwriting craft.
03:25The time-honored method of structuring plots and creating character arcs and themes that resonate,
03:34and kind of tying it all together into a meaningful experience.
03:37And then, once you've done that, that's usually when you enter production,
03:41you go to toolbox number two, and that's the game writing craft.
03:44That's where you take that initial outline and then translate it somehow into an interactive experience.
03:53And throughout production, we work especially very closely with level designers
03:56in just designing the moment-to-moment story gameplay flow.
04:01Creating the story gameplay flow is a much more demanding task
04:04than simply writing a classic story outline, and it takes like 50 times as long.
04:11As writers, we are schooled in classic storytelling.
04:15So, in a way, you can say a linear, story-driven action-adventure like First Light
04:20is actually closer to home than, say, a big, sprawling, non-linear, gameplay-driven beast like Hitman.
04:28So, I don't think we, actually, as a team had to adapt that much.
04:32It's kind of within the comfort zone of what we're trained to do.
04:36The bigger challenge was to figure out how to make a forward momentum
04:40in some game while still preserving, you know, the things that make an IOI game an IOI game.
04:48So, the story is about how Bond becomes a double O.
04:50So, we are going to put him on a trajectory, but we're not going to resolve the character in this
04:56game.
04:57I think, to me, Bond is someone who clearly grows and evolves,
05:02but he's not somebody, necessarily, who changes fundamentally.
05:06Rather, he has some innate qualities that makes him an agent of change.
05:09You know, he changes the world, right? He does that all the time.
05:12He has to have some, you know, some inherent Bond qualities that are just there from the get-go.
05:19So, we're definitely on this journey with him, and we see him mature in many kinds of ways.
05:25But the story is as much about how he changes MI6 and how he changes the characters around him.
05:32Bond has, he has heart, and he's very tenacious, and he's willing to take risk.
05:39And that actually changes the way MI6 operates in an era that is otherwise kind of risk-averse and data
05:47-driven.
05:47Our Bond definitely leans more on other people than we're used to seeing.
05:53One, because he's not a seasoned agent yet, and he's still learning the ropes.
05:57And also because games are fundamentally different from film,
06:00in that players spend a long time alone on the sticks.
06:04So, you do need that supporting cast to communicate story, really.
06:08So, Bond has a number of strong relationships throughout the campaign.
06:12Some known, and some new, and they each kind of affect him in different ways,
06:17and play a role in how he develops as a character.
06:20As a player, especially an IOI player, you want as much agency as possible.
06:26And we want to give it to them, obviously.
06:28At the same time, we do need players to feel like Bond at all the time.
06:32In Hitman, you are kind of able to go spectacularly out of character at any given moment.
06:38But you can't really do that with Bond, that feels wrong, he's too established.
06:42So, the way we approach choice is not about branching, it's about improvisation.
06:47So, your Bond can be more of a brawler, or he can be clever and talk his way out of
06:51situations,
06:52or he can stealth around and use gadgets, and those are all valid choices.
06:56So, we use choice as a way for players to feel clever and to think on their feet,
07:01like a proper 00 agent, but without ever actually breaking character.
07:05Afternoon, sir. Staff and press only.
07:08Oh, damn. Forgot my press badge.
07:10You're not the first.
07:12You'll see, sometimes in the game, we're able to enter a dialogue tree with different characters.
07:16And the way we use it is, again, not about branching, but it's about,
07:20there's usually one option that's mandatory, and then the others are for world building.
07:26So, it's something about how interested are you in this world, in this situation, with these characters.
07:29Part of the creative approach is also eavesdropping, especially in a social arena.
07:35There are a lot of similarities we did in Hitman, where you have to listen in on conversations,
07:40to obtain hints, and unlock opportunities to solve a certain objective along the way.
07:48A good villain is someone who's thematically opposed to the main character.
07:55And it can be multiple people, obviously.
07:58You usually have three or four major or minor villains that challenge different aspects of the hero's character.
08:07Sometimes a great villain is also someone who's a dark mirror, you know, a mirror image of the hero.
08:13But I think that the thematic aspect is probably the most impactful, really,
08:17whose values and ideas are just diametrically opposed.
08:20A character like Bob Ma has a lot of contrast.
08:24You know, on the one hand, he seems very volatile and ruthless, savage even,
08:30but he's also kind of a philosopher king.
08:33You know, he's very thoughtful and eloquent.
08:35And ultimately, I think what makes him interesting and sympathetic is that
08:38he is someone who's really trying to build something from nothing.
08:42You have to respect that, even in a harsh environment.
08:45He's someone who thinks that the sky's the limit.
08:48We have some really great actors and a fantastic ensemble cast
08:51that hopefully players will really fall in love with.
08:55And of course, the story is clever and intriguing and I'm very proud of it,
08:58but I do think games are more like TV series than film
09:02in the sense that it really is characters who drive engagement ultimately.
09:19We hope you enjoyed today's episode of Beyond the Light.
09:22And if you have missed the first two episodes, don't worry,
09:25you can check them out on the channel. We are live here.
09:29And also, don't forget to pre-order the game you haven't,
09:31because you can get a free Deluxe upgrade for 007 First Light,
09:36releasing on May 27th. See you next time.
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