God of War – Raising Kratos: Full Length Feature | PS4


Hmm. What do I want to
say with this story? Yeah? What do you want to
say with this story? What do you think? What do you think
about this story? I think running away is what
I want to say. Uh, you know, that… …change is possible. Fuck me, man. I could see it in everybody’s
eyes that they were just like, “We’re not gonna make it.” And then everyone
still treating it like, “You know what?
We’ll just see.” And I’m like, “No.
In my mind, I get it. I see what you
guys are telling me.” I’m not gonna let myself believe
we’re gonna make the date now. KRATOS: The gods of Olympus
have abandoned me. God of War! God of War!
God of War! God of War! God of War revolutionized
the gaming industry with its epic storytelling,
jaw-dropping action sequences, not to mention a quick and brutal
lesson on Greek mythology. KRATOS: Ares! Burn this village!
Burn it to the ground! We’re talking about one of the
most iconic characters in the history of video games. Yeah.
It’s an ass-kicking game. It is. So, I don’t know how many,
what the demographic is of women that play these games
as opposed to men. I’m guessing the ratio is
probably, like, nine to one. KRATOS: Zeus! I bring the
destruction of Olympus! Ladies and gentlemen, the creative directors of the
God of War franchise. What exactly does a
game director do? Acts of pure carnage
from start to finish. Very early on, he or she has to
be able to play the game from beginning to end
in their head. Grabbing people and
throwing people around. You get that
sense of empowerment, you know, like
nothing can stop you. Especially on the first
God of War when nobody, with the exception
of a couple of us, had any idea of what it was. To me, a God of War
game is about the action. It’s about the rage. I was a god in the beginning
and then I was put down, and then I came back
and destroyed everybody. On God of War 2, he
expanded the story of Kratos, deepening the saga and
turning it into a legend. Please welcome, Cory Barlog. A lot of the time we have no
clue what we’re talking about. I mean, there are a lot of leaps
that you make in this job where you’re like, all right, I
kind of know what I want. But sometimes you’re
discovering as you go. So how did you guys
become game directors? For me it was
just that Cory quit. Yeah, I quit so…
And he quit, so I got it. So, really, all you got to
do is find somebody to quit. KRATOS: I pledged an oath
in blood. God of War 1, is about a guy who
puts everything aside for work. And he loses his wife,
and he loses his kid. KRATOS: Pain
is all I have left. Hello, Kratos. “Few games embody the definition
of epic quite like God of War, so it’s disappointing that the
release of Ascension brings with it a whiff of a series that’s
treading water rather than driving forward.” So I guess, killing
people solves problems is not really gonna
go over so well. Oh, where am I sitting? No, no, no.
Corey with an E is sitting here. Cory without an E isn’t
sitting at this table. Oh, that is embarrassing.
That is embarrassing. I am an 80s television star. But that’s all right.
We’ll let this one slide. Maybe. For me, this was a
very long journey. We were in a tough
time within the studio, and there was a lot of emphasis
that we as a team were putting on rebooting this franchise
and what does that mean. And there’s a lot of risk just
in that one sort of concept. Reboot, as Cory
and you guys know, it’s not as easy as it sounds. Okay. First position,
playback, action. And then cut, reset. We’ll do our thing and then go back into first
position, playback, action. Does anybody want to write that
down for me because I feel like I’m gonna mess it up. Before he came
back to the studio, I could tell he was a
completely different person. He had gotten married,
was a father, and he was telling a
completely different story just as Cory Barlog. Legend or myth or
something like that. Shannon, where did you get
this wonderful lawn turtle? I don’t know. Did it just appear? No. You still haven’t
cracked the mystery? Nobody came out? No one claimed it. Somebody stuck it in my garden,
and it’s just been there. Do you know what that means? I don’t. Appearance of a
turtle in your garden… I have no idea. I was trying to stall to come
up with something interesting. When I came back
to Santa Monica, we were trying to figure
out what we wanted to do. I know that what we wanted
to do was not going to just be make another
God of War game. Knowing that, we knew
that same old Kratos, rage-filled, crazy guy
was not going to work. And I kind of started thinking
about this idea that if Kratos ever got a second
chance, you know, this idea of, like, when I had a
kid I felt like my perspective on everything changed. Hello. Hello. Hey. All right. Hi. Do you want to come
over and sit with Papa? Come on.
We’ll go over here. We’ll go call action. Can you say action? Action. Action. See.
He’s learning. Success means the world
to Santa Monica Studio. This is something
that — hold on. My pocket is buzzing. INTERVIEWER: That’s awesome. Yeah. INTERVIEWER: We’re definitely
keeping that. It was Shannon’s idea to go find
Cory again and bring him back as one of the original vision
holders of the whole world that was God of War
and give him time to really try to come up with how do we
reinvent this franchise. How can we make it, not just
bigger and better and the same, but bigger and
better and different. After Ascension they did this
thing to check how the audience felt about God of War. Right? The overwhelming vibe was
that they were done with Kratos. You know, Kratos either
needed to go away or needed a fresh start. Kratos needs a fresh start. If you see the picture. If you can see all
the way in the back, that face is exactly what people
think of Kratos right now, which is just like, argh. You know? There’s no intelligent
conversation that Kratos has. He just rips your head off. How do you feel today?
He just rips your head off. There’s one dimension
to this character, which was awesome as the
antihero of the first game, but it didn’t really grow. We didn’t go anywhere with it. First day back was at Penn
Station in Santa Monica. Everybody was doing prototypes. They were doing concept art,
and they had kind of a pitch for Internal 7, the other game. I was very excited, probably
because I was on God of War 1, 2, and 3, so I was
ready for something new. I was very excited that it
was gonna be futuristic. They were gonna have guns. We were gonna do
something completely different. Internal 7, they
were in preproduction for probably close to 36 months. Shortly after that period, they
needed to inherit the Ascension
team and really put
the pedal to the metal. This studio is the
DNA of God of War. As we start to push
this thing forward, you guys are focusing pretty
much 100% on this other project that will be our
new, original IP. Yeah. The first time was getting
everybody up there while they were still working
on the other project. And I think it was a lot of
people were wondering what we were doing because
it was a small team, and it was just high vision,
like what are we gonna do, and really kind of just throwing
a bunch of stuff at the board. Leadership had made some
decisions around the growth of the studio and how we
would remain competitive. And one of those decisions was
turning ourselves into what we called a 1.5 team, and that
would mean that you would have two larger IP development going
on within the roof of Santa Monica Studio, and those teams would share
resources back and forth. And the theme of the day is trying to keep
quiet during the tour. Lots of reverb in there. We’ll have a whole area of
offices come along here. Offices will be along this wall. Over on this side, we’re gonna have the focus
test room right over here. Incubation team, you just walked
through the new incubation area. Full-fledged
recording studio setup. Green room for the talent
that comes in to record for our games. And as you come this way,
having a projection screen that
will be able to come down, so we’ll have
all hands — all hands in this space, again, similar to
what we do in studio A. Executive board
room for meetings. As you’re winding, you
can look over the railing. It’s a really different
perspective on the space as a whole. That’s my guide. Everyone applaud Shannon for
her great tour guide work. [APPLAUSE] Say hello.
Say hello. Thank you, guys, all for coming. I think this is a
crazy, great opportunity. I’m sure all you guys are
totally overwhelmed, like I am, with how incredibly
large this place is. But I think it just shows
that Sony has a really deep commitment to
Santa Monica Studios, and we want this place to grow,
and we want you guys to be someplace special. Opportunities like this
don’t come very often. I’m very honored to be here with
you guys today in our new home, with the team that’s going to be
the future of Sony Santa Monica. Cheers. Cheers! You want me to talk about what
it would be like if it failed? INTERVIEWER: Well, I mean, yeah. Really where it comes from is
what’s at stake because it’s,
like, part of the business. It is part of the business. And, you know, if any franchise
were to fail on an epic scale, like just not
deliver at all, of course, there would be ramifications. Daemon here with IGN News. Layoffs unfortunately hit
Sony Santa Monica Studio today, the Sony-owned exclusive
developer founded in 1999 is best known for
its God of War games. The extent of the
damage remains unclear, but there are indications that
one of the projects the studio was working on has been canceled
alongside this round of layoffs. Sony has provided the
following statement to IGN. SCEA can confirm that we
have completed a reduction in workforce at
Santa Monica Studio. You know, I think it ended
up being a dream that died literally in that moment. That’s one of the hardest things
you’ll ever do in development is when you sink your heart and
soul into something, and you realize it’s not coming together
the way we wanted it to. We need to shift
gears and restart. That was kind of the
abyss for that team. So that was — that was
pretty devastating in many ways. You know, one of the many big
appeals of coming here was to work on a new IP
on a small team. So I actually joined that INT 7 team
when it was about 20 people, so it was a very
difficult time for me, so. Yeah. For us, we kind of
had our heads down. We were like, okay,
we had a timeline, and that timeline
felt pretty good. That other game was going. We were kind of
like, okay, cool. We’ll kind of trail them, draft,
knowing we can get people on. And then when things were not
working out and kind of the big sort of halt
happened on the project, we had to suddenly say
we’re about to get 110 people. I had to figure out how to keep
them busy and figure out now beyond just the concept of
the game but what’s the new pipeline? What’s the engine? It was in a dire
position, right, because you’re in that state
where you don’t have anything to keep people busy. We were in no way
ready for 110, 120 people that we inherited. We were trying to, like,
basically do mental pushups to be ready for the team. And then all of a sudden
they just got delivered on our doorstep about eight
to nine months early, and it was like, what
are we gonna do now? It was just
scrambling, you know. And then there’s a lot of
mistrust right out of the gate because they’re like, “What have
you guys been doing over here? You don’t know what
game we’re making?” We’re like, “You
guys are, like, early.” It was very difficult,
but we had to push on. And we had to find the
positivity out of it and figure out how we could kind of
collect everybody again. I think for me it
was just that, again, perseverance of coming in here
and putting one foot in front of the next to make sure that
tomorrow is a good day for everyone. We have been through some
pretty tough times here, but we are confident
in our foundation, and we’re building on that. We are in a reset
phase with the new studio. This probably won’t
make the final cut, but I like this location.
I prefer this. This will all be lovely,
but this is — I’m fond of this place. It’s pretty bittersweet. It’s sad in some ways to
be leaving the studio. You know, it’s
such a great place where so many great
games were made. This big, open
collaborative space, we realize we couldn’t keep it
throughout the whole building and have that same feel,
so moving makes sense. It feels like a new chapter. We’re making a new style of game. It’s gonna be a good symbolic
break and a new beginning. New generation,
new facility, new logo, all coming
together here now, and it starts the future
of the business that we so love. The business is growing, and we
feel face-to-face communication and dialogue is really critical
to our collaborative nature. Well, I mean definitely we will miss some things
about the old building. We went through a lot there. But I think — I feel
reenergized to be honest. I just feel pumped up for
whatever’s gonna be next. The inspiration is
definitely in the building now. I mean, we have to step up and
make something fantastic because we’re in a fantastic place. For me, I wasn’t
coming to work at Sony. I was coming to work
on that franchise. When I played God of War 3,
I was so excited about it. I just wanted to
be a part of that. You know, if you’re making a
fighting game or a sports game, you build a team
around what you need. And we had a team of people who
love God of War and a team of people who want to
build that kind of game. You know, honestly, for me, I
totally thought that we had to throw it all out, and we had to
find a new hook for this game, something that could anchor
everything that we were doing but something that could also
show that there was some change in all of it. And I’m not as creative as
I would love to believe, so I always just pull
things directly from my life. So I thought it was a totally
clever idea to have Kratos be a dad and try to actually be a dad
rather than use it as a cutaway cinematic to describe
whatever past he had. It is such a departure for
Kratos when the first thing you talk about is him
being a dad, right? His previous experience
with being a dad was murdering his family. And that definitely
gives people pause. I think the remainder of
the rest of the studio, the rest of the team, we
had really worked together, this core group of, like, eleven
people, to find the best sort of version of what we
were talking about. Initially, it wasn’t
even gonna be his kid. Like, I think the first pitch I
gave was that we wouldn’t even know what was happening. So it was like Kratos walking
through the desert because we were, in my mind
still doing Egypt initially. Wind, sand blowing
all over the place as he’s kind of
crawling through. And then kind of stands up a
crest over a dune and checks out this really
fantastic ancient city. And then he kind of
turns around and then says, “All right.
Follow me.” And then we kind of reveal
that there’s a kid there. KRATOS: We have a
long journey ahead. I think it was very little.
It at least got the spark. And then that was the,
“We should do this. We should try this.
We should do this.” I was all in on some of it,
but the son thing, not at first,
definitely not at first. Just mainly because, like, from
my perspective, I’m trying to think of combat and
what we can do next. And then I see this tiny kid
running around Kratos. And I’m like, “My god!”
He’s gonna — all he’s gonna do is slow him
down and make things hard. And nobody wants
that in the game. You ready to kill a deer?
Get your first knife? Yeah. Get in combat? Mm-hmm. Probably do some
extra combat stuff. I think you’re also gonna jump
off a box into John’s arms, so. We just need you
to do a backflip. Can you do a backflip? Actually, yes. Really?
I was totally kidding. You can do a backflip? – Yes, I actually can.
– Wow. When I first did the audition,
I thought it was a movie because it was just like some
dialogue right there, and I was like,
okay, just like a movie. And we just did, like, a fire scene
or something like that, which I barely remember. We didn’t do history today. Yeah. Basically, when we
actually present the game to the executives, this screen will
be sitting on the television. It will just be your face
sitting at the fire, looping. And I’ll be talking to them. And then when we
actually start the game, we’ll press a button, and that’s when you’ll
hear your dad call you. So I’ll press a button, and
he’ll be like, “Boy!” So it will be kind of cool. And then I get the role and then
I go to San Diego or something like that. And I’m like, “Wait, what?” And it’s like a game.
And it’s God of War. And I’m like, “What?” And I’m super excited,
but I was really confused. And it was just a bunch of
emotions going through me. This doesn’t go on Facebook
by the way, or the internet ever. Yeah.
I think Sunny wins that round. What do you got? So I’m gonna go here. Yeah?
That’s how you do it? Yeah. Okay.
Right into the belly? Or this. Yeah. Yeah. Yeah. I actually did that yesterday
where I’m supposed to get really mad at Kratos. Anger. [SCREAM] More. More?
More. Give it to me. [SCREAM] Good. Yeah.
I had to scream really loud. It’s really funny. Okay, Sunny. Loop. Boy! What for? Remember you just killed that thing.
It’s not alive anymore. If it’s got kids,
they’re all alone. So think through that. It sucks.
I know, right? Use that.
Use that. Okay. I can’t. Yes, yes, yes. ATREUS: There it is! KRATOS: Quiet. The vision for getting
that kind of narrative tone, no camera cuts, getting all
that stuff up and running, especially as well with a buddy
AI with the son and having him lead the way properly and having
him kind of move correctly. The vision was so clear,
but it was pretty ambitious. And at that time, we didn’t really have
a lot of that working. It was fucking bad. It was just a mess, right? It was, like, 12
different ideas all at once. It was too much, and nobody was
really sort of giving an inch. Okay.
Well, now what does that mean? Well, that means you go
back to the drawing table, and you do it again. And, you know, we’ve had even I
think Shu visit a little while ago in March where the
second he left the room, I was like,
that was not good. There was something in his
facial expression that is telling us
there’s an issue here. And then Shannon calls
a little while later to say, “Shu had some notes.” He was not happy, but I
don’t think I read exactly how unhappy he was. I was not very
perceptive on that one. And it was Carlo
who ran into him, and Shuhei starts
telling him, “I was horrified, horrified how bad it was.” I think the team,
you know, rightfully so, gets nervous when
they hear, “Oh, Shu’s playthrough
was not all positive.” Right? And people start to
say, “What does this mean? What does this mean?” And it means we got
to solve this problem, right, like we do
every single day. Like, this is a
really big guy at Sony, and he did not have a
very good experience. And I still was under the
impression it was not a very good experience, not horrified,
horrified how bad it was. I think that he probably walked
out of that room that first time going like, “What
the hell did we do? We just gave this guy a lot
of money to make this game. Did we make a mistake?” Run.
Run far away from me. But you have changed. You’re not a monster. The hunt for Kratos
was very difficult. We were probably a
month away from giving up. We were like that close where
everybody started having this pull-me-aside conversation. “We need to start thinking
about the reality of this. Maybe this is not gonna happen. Maybe you’re not gonna
find the perfect person.” My agent had called, and I wasn’t really
sold on auditioning for it. I know it sounds silly now. She’s like, “Look. Just read it,
just read the sides.” And I read the sides, and I
called my agent back and I said, “I thought you said
this was a video game?” You have seen what I am. And when you lose control
and the rage takes you, that is me in your blood, eating
away at any goodness your mother may have passed on to you. It was literally like the test
you do for a TV series or movie. Run, run far away from me. But you have changed! You’re not a monster! That is exactly what I am! Not to me! And it just — I couldn’t wrap
my head around how this would be in a video game. Come on, slowpoke. This is not me leading. [LAUGHTER] Excellent.
Very good. Right from the get-go, you could see him and Sunny
had a really good chemistry. And, you know, he’s huge. Ultra violence and
sexism, that’s God of War. Why aren’t we doing that, right? People will say,
“Kratos can’t grow. He’s just this antihero
who just kills things and bathes in their blood.” I’m like, “You need
to see a therapist.” But I think it was a necessity. If I had my own instrument,
it’s probably the accordion because it’s weird, and most
people think it’s lame, but I think it’s cool. Hi. How’s it going? How are you doing? I remember meeting Cory, and he
told me this story of the game. I think we were there for, like,
an hour, hour and a half. And I felt like I was
sitting around a campfire. Like, I wanted to just
roast marshmallows and just, “And then what happened?” It’s the story that
draws me musically. That’s where I get ideas. And I realize that this game has
a really well-thought-out story and character arc. And I just thought I have
to be involved in this. What is God of War? Is Kratos the mascot or is
Greek mythology the mascot? I was talking to several people
from the European marketing groups because I
think what they saw was, “Oh, you’re just gonna
make another God of War with angry Kratos, right?” And they were like,
“That’s just not a good idea.” And I talked about potentially
exploring other mythologies. And one of the guys
had said, “You know, I just don’t
understand how that would work. What? Is Kratos gonna
pop on a backpack and just walk to
Scandinavia? That just seems weird.” And I was like, ugh. Right at that time
I realized, “Well, he doesn’t have a
backpack, but, yeah.” Hello? Okay. Wow.
There we go. So they’re gonna go out in
the beginning of the game and fulfill the sort of
dying wish of the mother. The mother wanted her ashes —
she wanted to be burned and her ashes to be spread on the
highest peak in all the realms. So that’s kind of the driving
force throughout the entire story is that they
are taking her ashes and heading
to the highest peak. The overall theme of this is
that the kid is gonna teach Kratos how to be a human. Kratos is gonna teach
the kid how to be a god. Right? Each of them has a
piece of them missing, and they kind of help each
other out on this buddy, road trip movie. We are in the middle
of nowhere right now. And we hear a hissing. There’s the culprit. So, another adventure. Yeah. That was an interesting cross
section of people too because we sent
programmers, artists. Shannon I think went as well. It’s a panorama? You’re doing a film. This is serious.
I’m documenting. You’re documenting? Ready, guys? We’re getting ready. This is where it all begins. Cue the soundtrack. We made it to New York so far. We’re halfway there. You can see the people
were much smaller back then. Luke would have been a
giant compared to them. That’s the way we dress
when going to Reykjavik. Smartly. Nordic thunder. I’m gonna get run over. Studstill, taking some photos. HDR shimmering. Are you shooting video? Iceberg ahead! So we’re still here. The tires won’t come off,
so we called a farmer. We got to dig in here. This is where we live now. Come find us. It’s Shannon. I’m gonna
head back to the truck. There’s so much life
that’s happening around you and you can feel it
almost in the terrain. There was a number of really
special moments there for me because of how
magical the landscape is and the way that it
just captures your soul. As I was looking around at
the beauty of Iceland for the first time,
it really hit me that the path that we were on
was the right path. I could see the game for the
first time, truly, in my heart. The Icelandic language today is the closest
language to Old Norse. What that means is, a choir in
Iceland would be able to read a phonetic spelling of Old
Norse and do it correctly. So immediately all eyes were on
Iceland as a possible place to do choir. I thought I was
auditioning for Game of Thrones. I’m gonna be honest. I was pulling on a major Lady Stark
moment with my monologue, and I was like
this is my moment. Hi. It felt like a beautiful cinematic
piece about a father and son and mother and longing
and relationships with these gods and goddesses,
and it was really exciting. So they’re going to meet
Freya in a meet-cute really. She is going to give them a
little bit more information on the world, help guide them to
where they need to go but also start to kind of create this
relationship with both Kratos and the son that
we kind of build throughout the entire game. She will send them off
towards the mountain. And you get attacked right away. She’s totally not trying to
screw you over and just sending you into a really bad place. It’s just a very hostile world
that you’re in. Yes, the gunfire
is very exciting. It’s all part of the experience. So while we may not end up doing,
some of these exact things. I think it’s cool to kind of get
the tactile feel of these things so that we can kind of imagine
what it was like to live like people in the
pre-Viking era. Wait. They have guns
and we have knives. Survival. Watch for poison oak! [LAUGHTER] Taking you into the woods
is like taking Woody Allen. Pay attention to your task, but you should also be paying
attention to your perimeter. There will always
be someone watching. I don’t see anyone. Like a creepy camera guy. Whatever you do, you have to
make sure you can get into it and still close it up and
keep yourself insulated. Oh, he’ll fit. One way or another. Something else you’re looking
for is to make sure you don’t have any widowmakers,
things that can fall and kill you. Come help. You could do it. See if Sonny wants to do it.
If not, I’ll do it. Go ahead. Here we go. Want to help with
the rest of it? Oh my god, Sunny. [APPLAUSE] Well done, Boy. All right. So I will call playback. Okay. Holy crap.
This is exciting. This is our first day. I have to pee. Really? Now? Do not make we pull
this volume over. I won’t. I won’t. I often make bad decisions
and get myself in trouble. So, it will be perfect. I’ll be like, “Look.
What did you expect?” Are you talking about work too? Yeah. See.
It’s all around. Yes, I’m teaching
him the action. All right. It’s a big influencing factor. And I think as I was
growing up on the earlier games, the family was sort of the
individual extended family. My family lived
farther away from me, so I was a lot more
separated from them. So the work family
became the entire family. Now, I have them intermixing. Like, I had my daughter during
production, and just the willingness to work around my
schedule of having a newborn. I had to take maternity leave
in the middle of production. Well, we need you. So I came back. I have two daughters, a
4 year-old and 6 year-old. Hi Sophia.
Hi Olivia. I’m expecting, yes. It will ring.
It will ring. Any minute now? We’re gonna watch the TV, and they’re gonna
be acting over there. And then it’s
gonna be on the TV. TV? Yes, TV. Even in the earlier games, that’s how I kind of rooted
myself in the first story was writing the first
few drafts with my dad and kind of finding the
struggle of Kratos and Zeus. The sort of
father and son story. But this father and son story is
told from that different angle, the son becoming the father, so. I am a little OCD, so I’m
going to take some of this. Oh, you like that. Okay, good. That’s fantastic. I don’t know why.
I’m taking a little bit of this. I’m not certain what
I’m gonna do with it yet. Farting is
allowed in the volume. Only in the volume. If you need to fart,
go next door. All right. Thank you, everybody. Welcome back. We are going to
Zero-M-1, main theme. Hold on one second, everyone. Sorry. I was playing around
with just this melody… And at the last
minute I was like… It’s so simple that I
almost wrote it by accident. It was the last thing I
did in sketching that theme. But I’ve come to really love it, and I think its simplicity is
what makes it so powerful. And it represents Kratos.
He’s a man of few words. His theme should be a
theme of few notes. Here we go. Huh? Kratos isn’t the
most verbal guy. It’s not that he’s
not intelligent because he was a general. He was very intelligent, but
he’s very efficient with what he says and when he feels like
something needs to be said. So with Kratos it’s
like, when a grunt can do, that’s kind of his wheelhouse
because he can convey a lot of emotion from [KRATOS GRUNT]
kind of thing. That was good. It’s really good. Sometimes on set I reference him.
“What is this one again?” [KRATOS GRUNT] I’m like, “Oh, yeah.” It’s phenomenal. E3 is a big opportunity for
media to get a glimpse into what’s going on with the various
software as well as hardware. It’s bigger than Oscar night.
It’s huge. It’s a chance where you
get all developers, you get all studios. Everyone’s just a fan of games. I drove around for an hour
looking for a parking space. I had forgotten
how fantastic E3 is. Fuck that. I’m looking forward
to seeing people’s responses back to this thing. Right now I
haven’t heard anything. But seeing the crowds is
definitely an inspiring thing. Hello. This is the first of many
diaries that I’m going to make during the soul-crushing
process of making this game. It’s been three
years on this project. We are a month from
our E3 demo, Alpha, which is the first E3
demo we’re ever gonna do. The art director, who’s been on
the project from the beginning and actually been at
Sony for over ten years, is having his last day today,
which is the reason I’m probably starting to do these things so
that I can outwardly seem like I’m totally fucking
fine with it, but inwardly, then, I can be completely questioning what the fuck
is going to happen. Can we crank
this freedom rock up? What is it at? Eleven. Eleven.
Check. ATREUS: Roar! That dull hammer
doesn’t scare me. Boom.
Oh no. KRATOS: Boy. Boy! Your mother’s knife,
it belongs to you now. ATREUS: What for? KRATOS: A test. So being like two
weeks away from E3, we haven’t really talked about or shown anything
about our game. So it’s like a
pressure cooker right now. We’re all boiling
with excitement. KRATOS: It is simply a target. Clear your mind. Immediately when we
show the E3 demo, you’re gonna see a lot of
introduction of story elements that weren’t in
these games before. And I know that some fans may
have liked the just pure kill, kill, kill,
fight, fight, fight. Well, I don’t know
how they will react, but I am excited
about finding out soon. Everyone’s probably
a little bit tired, a little bit stressed,
a little freaked out. This is the first time after a
very long time we’re gonna show anything to the world. So I hope people are just
happy to see the change. Oh, man. So literally I think I’ve
been rehearsing that demo for a month, and it’s
just nine minutes, but to me the most important
nine minutes of this game because that’s the one where
either everybody’s gonna go, “What the fuck are you doing?” or “What the fuck
are you doing? That’s awesome!” I have no idea what
answer it’s gonna be either. It truly is the cat is alive and
dead at the same time right now. [APPLAUSE] But you know how
to fix it all, right? You picture yourself naked. I like that. Wait, was it the audience? No.
I’m gonna picture myself naked. [MUSIC PLAYING] Do you want to say
bye-bye to Papa? He wants to open that door. Give Papa a big hug. We have seen so much
in the last 20 minutes, and we haven’t even started. I know. So many exclusives,
so much more to come. I’m excited to be surprised. I don’t know
what’s gonna happen. You never know
what’s gonna happen. I will try not to screw up. All right.
I love you. I love you. All right. You have a good day
opening and closing doors. Hi.
Good afternoon. So in here? Fantastic. ATREUS: There it is. KRATOS: Hold. My wife talks about she doesn’t
come home from work being a stay-at-home parent, and she’s
constantly immersed in work. And I kind of feel the same way. And I should be able
to separate from it, but I have this problem where
my brain will not disengage. Last night, it was three
in the morning and “I really need to sleep.
I have to sleep.” And I just could not
stop tossing and turning… KRATOS: What are you doing? …going over most the
positive and negative scenarios. And one of them was
trying to convince myself, you know,
the positive scenario. And the other one was just
worming it’s way in like an earworm, you know. “They’re all
gonna laugh at you.” Maybe not that exactly. Hi, hi, hi, everyone. Oh my god. Thank you.
Thank you. That’s so awesome. When I saw it yesterday I was
with Cory and Yumi and Kevin, and I said, “You guys are just
so close to this that you don’t see how absolutely
phenomenal it is.” And it’s just mind-boggling. They could very much
say, “Wow, that’s great.” This is a new
direction, you know? Gamers, I feel, have grown up
the way that I have grown and the team has grown. We’ve all kind of moved to
this next phase of gaming. Are you excited about
today’s press conference? I have no idea how
people are going to respond. Anything that anybody could say
on the internet is still tame compared to what
goes on inside here. But now there’s so many
more people at stake. It’s the team.
I don’t want to let them down. I think there’s
nothing we can do now. It’s already done. So I have faith that
people are going to enjoy this. And then I won’t have faith,
and then I will have faith, and then I won’t have faith,
and I’ll just — [LAUGHTER] Yumi. You should get footage of them,
Shannon and Yumi. There you go.
Get in there. Get up in there,
right in Yumi’s face. No one wants to
watch you tape them. They want to look at you. Oh my god.
It’s amazing. I can’t believe we’re here. It’s a crazy day. Cory Barlog on the big stage. It’s four years in the making. Woo-hoo! So in terms of going in? Yumi wants the camera off. All right.
We’re done with the camera. Absolutely. Now the big show starts
in just a few minutes. See, now I can leak something
and it will be okay because today’s the day the
leak is coming us out. How are you getting in? I have no idea. Do you have a hat? Huh? Do you have a hat,
a cap, or anything? You could not wear anything that
identifies you as Santa Monica Studio. You can’t talk about the
studio when we were there. It was crazy. Oh, good point. I didn’t really
think of it that way. Yeah.
I’ll put this on. I have a hoodie. I can go Unabomber style. I think this is more for
me thinking that anyone would know who I am. And what a world we
live in when I think that. [“GOD OF WAR” MUSIC PLAYING] We need to get to
the PlayStation sign. Where are we going?
Where are we going? Whoa, this is madness. Whoa, this is madness.
Welcome guys, to the 2016
Sony press conference. Welcome guys, to the 2016
Sony press conference. You’re amazing at this. Okay. Tell me how
nervous you are right now. I’m freaking out. I had Richard on one side of me and had some random stranger
on the other side of me. I wanted to lean
over and be like, “I know what this is.
I know what this is.” [APPLAUSE] ATREUS: Roar! That dull hammer
doesn’t scare me. Boom.
Oh no. KRATOS: Boy. Boy! You’re mother’s knife,
it belongs to you now. ATREUS: What for? KRATOS: A test. She taught you to hunt, yes? ATREUS: Yes, sir. KRATOS: Then show
me what you know. I am hungry. [CHEERING] KRATOS: Feed us. That was straight up paralyzing. I was literally paralyzed,
full chills, entire body. KRATOS: Then show
me what you know. I am hungry. Ho, ho, ho. Whoa. Whoa, whoa, whoa. Hold up.
Hold up. Oh my god! What the? No, no. Oh. Oh shit. Oh my god! I literally got to raise my
arms and hear that sound as he stepped out. KRATOS: I am hungry. I get chills even
thinking about it. It was truly a once in
a lifetime experience. [EXCITED UTTERANCES] [CHEERING] Very rarely in life
do you get that. You know? “Feed us.” Kratos! God of fucking war! Oh my god! Some of my friends
were like “Yeah. Yeah.” But also kind of, like,
jealous at the same time. And then some of my friends
are really happy for me, like, “Bro, like, I saw you
in the God of War trailer. It was so crazy.” And they’re like freaking out. And I was like, “Yeah, yeah.
Blah, blah, blah.” – The beard!
– That is awesome. Oh my god! Holy shit. ATREUS: What are we hunting? KRATOS: You are hunting deer. But what is Kratos doing
in a viking style game? ATREUS: Which way? KRATOS: Your hunt.
You tell me. Kratos with an axe. Oh my god. Oh, no, they didn’t. No, no, no. Fuck. Gameplay. Which was
incredibly ambitious, right? Cory’s going to play the game
while we perform the score live to the gameplay, not
a pre-rendered video. Nah.
Nah, son. Oh my god. They’re actually
going into the gameplay. It was section to section, like,
worrying to some degree about just how it will play. Punch him in the
fucking face, son. Holy shit. Will Cory hit it? Will he get the mantle? Will the son move the
way we want him to move? It looks gorgeous.
It looks amazing. Oh my god.
What is going on right now? And we were literally
going section to section, like, and then Andrew
and I would be like, yeah. Whoa! What the? What is this? This is the best game so far
that has ever been shown at E3. And that’s just
this little tiny piece of what this game is gonna be. Yep, yep, yep, yep. Oh my god. Oh shit! The team really got together and
really delivered on something that is very hard to do. Woo! This game is gonna be good. This is game is gonna
be so fucking good! KRATOS: Now you are ready. ATREUS: For what? KRATOS: A new beginning. Yo, dragons! Dude, I can’t. I can’t right now. Please welcome to the
stage, Shawn Layden. Good evening. Good evening,
everyone, and welcome. What a way to
start the show, huh, with a live demo of God of War? It’s recording. As he’s walking
towards his office. Everybody’s telling me,
my gut is telling me, what we did on E3
doesn’t scale, right? We took so much time out of the
project to make that awesome. That doesn’t scale
to a full-sized game. But the scary thing was we
showed 10 minutes and 45 seconds or something, and it took a
year and a half to get there, and now we have a year and
a half left essentially. And we have, like,
30 hours to make. And you’re kind of
scratching your head like how is that humanly possible. How are you skippping all
those different stages? Are you using bookmarks? No.
It’s called Denitech. This is actually
not correct anymore. It’s unbelievable. I can’t keep up
with all this shit. Anything we have to
say we usually say it. So I think that’s what
makes the team work. You don’t settle for
crap that you see. If you see crap, then you
identify it and you say it right to the person’s face, hopefully
with fists and a bat in your hand to make sure
that they change it. And, yeah, basically just talk
it out and figure out how to make it better because
usually it gets better. We’ll do it.
Just a little swap. We can definitely
make her disappear. I know we can warp her. Whether we can make her
turn into a bird in gameplay. I would love to see that. Me too. I have to go do something. All right.
I’m going this way. The camera will steal your soul. I have almost 30
people in my department. And artists tend to be a
little bit introverted, dramatic, read into things, very sensitive
because you’re an artist. That’s natural. It’s all okay. But every single person
that I need to deal with needs to be dealt with
in a different way. If everything was right, then I feel I can
get all this stuff in. But as you can see,
I’m just showing you stuff. We’re gonna leave now because
everything is going wrong. For me at least, I think a big part of it is
maintaining that focus. With a team of our size,
the ideas are constantly flowing. There’s so much feedback. There’s so many things
that need to be done. Sometimes you just want to go to
each individual person and say “Stop thinking. Just do this.”
Right? “Don’t look at all
these other things. Just look at this and do this.” And you can’t do that because
you know the other things are also pretty valuable. Which would simulate that if
you come to it at exactly the wrong phase,
that’s what would happen. So I’ll try switching that to true
and see if that fixes in that case. – Or see if it just has him like…
– Go straight in a line. And if that’s the case,
then check it in? Well, let me know. Cool.
Thanks. But then the
opposite is true as well, right? I remember you and I had many
fights about how the Draugr reveal should work. And eventually it
just came down to, “I have a plan for this.
Leave me alone. I’ve got an idea here.
Go away.” Translating the rune.
Digging up the thing, so. Okay, makes sense. It’s a struggle to try to sort of
unlock this understanding of the process and how all the
pieces fit together and how the players are going to
understand the final product that you’re delivering. More on that? Are you pushing
further on these? There’s bugs like you saw, like the fact that
one is missing the ID. There’s tons of stuff. Just clean up. Probably the most challenging
thing is just people love this character so much, and there is
a lot of pressure to make sure that those people feel like
we’re doing that character, who’s so important to them,
justice while still evolving him because he couldn’t stay in
the one place that he was. Right now, once you go in there and you have all
the doors around you, you don’t now how the hell to
get back out to the bridge. Right now the only doors that
are in there lead to realms. Right? Are you with me? Oh my god.
Your AI broke. Yes. I had a firmware
update just then. Sincerely, like after a party that
just appeared in your house? Now I feel like I want to show
up every once in a while and leave you
new lawn ornaments. Yes, I’m not kidding. Oh, I’m gonna do that.
That sounds fun. They are a practical joking
bunch, the managers. No one’s taking any credit,
which was unfortunate. Weirdly, that was the
inspiration for Freya’s house. Oh my god.
That’s what it is. ATREUS: Look! FREYA: It’s all right. ATREUS: Is he friendly? This is gonna start
filling in all the points in which we meet you. And you’re gonna be going with
Kratos and the son to take them from the mountain
all the way to Alfheim, when you meet
them in your house, all the different circumstances
throughout the game where we need actually your voice versus
my voice or Carlo’s voice, you know, where you have really
bad stand-in dialogue right now. So what are we doing?
So this Lamb’s Cress… So these first two lines here,
at this point now, the player can still
roam around your house. Oh, right. And I’m like, “Come on.
Get it already.” FREYA: I also need
Lamb’s Cress. Do you mind? It’s a white petal
flower in my garden. Just a handful. You better work Kratos. KRATOS: Fine. Lamb’s Cress. I’m the fucking God of War. [LAUGHTER] That’s amazing. I hope you guys
keep that in there. What’s up man? – How are you doing?
– Good, how are you? What? You’re a bigtime
motherfucker now because you’ve been
doing movies and shit? Save some of that money, dog. Who are you working with? Nicole Kidman and Colin Farrell. Oh, good.
So nobody bigger than me. [LAUGHTER] I mean, good to see ya.
Have you missed me? No, not really. Yes, you have. Come on, man. It’s okay to love, dog. You know? Don’t forget that.
It’s okay to love. Love is first, followed closely
by hate and divorce and alimony. Those are the things
we teach kids on set. Let’s do this. Where is it at? It’s in the pit. That’s awesome. I mean, we can show
you stuff without Jason. That’s true. We don’t need him, right? How deep can you’re voice go? Pretty deep. Okay, good.
You’re playing Jason today. Do we think the plan is to
always have the word “Valkyrie” written behind her
just so you’re clear? That’s awesome. That was your vision, right? It was. I just didn’t realize you guys
were able to really achieve it. Jason, what are your
thoughts on the Valkyrie? The Valkyrie? I don’t know. I haven’t looked at
the Valkyrie yet, so I don’t know. – I hear it’s awesome.
– It is pretty awesome. I would not want to be the
character following this meeting. I don’t want to be the
next character because boy, oh, boy, the bar has been
set, ladies and gentlemen, and it’s high. Now I don’t know who
to throw under this bus. Now you got to top
Valkyrie and final boss. No pressure. So I’m gonna be showing you
some work-in-progress stuff. I’m actually the first — so
I’ve heard I’m the first woman in the combat design team
at this studio ever in the history of the studio. And when I heard
that, I went, whoa. You know, that’s
actually really cool. That’s not scary,
it’s cool. However you want.
It’s your meeting. You go. So this is the witch. Usually her eyes glow. Ready. I think my generation, there was
definitely a lot less women in video games. But when I see the
younger generation, there’s a much larger portion
of the people applying that are women now. She’s at the perfect height. If my hand wasn’t there,
you would have me in the nuts. Yeah, you deserve it. In their defense,
you do deserve it. It’s true. I can’t really disagree. In his defense,
he can’t help it. I’m getting into the arena,
and it looks good. And these waves are not going
to throw off combat at all? Apparently not. So he will be meeting probably
like a couple more times in terms of just brainstorming
meetings and idea meetings. They’re trying to schedule
something for an hour and a half over lunches, so Shannon is
going to be organizing that. We’ll let you know. But for her, it’s a priority. Obviously it can’t step
over any project meeting. Yeah.
Because we have — Yeah, apparently our project
meeting is so important. Blah! Just kidding. There is just no way that this
type of activity happens from any type of top-down endeavor. It is every single
person, everyday, right, kind of figuring it out. And it’s like,
again, with your kids, you kind of equip them in
the best way that you can, and you got to
solve it yourself. And for that freedom,
you’ll be accountable to it. My mother said, “Everyone is
smarter than you in something. And if you don’t figure out
what it is and learn from it, that’s your fault.” You know? She taught me that every
person I meet will have worth. And it’s my duty to
be open to receiving what people have to offer. You know?
Don’t discount anyone. Do we have information
on all these playtesters? They are giving us
nothing on their faces. Five is. She is sort of in a
resting happy face. She just seems
happy the whole time. But everyone else
is like, “Meh… thank god I’m getting
ten bucks!” I started in this industry — I always shudder
when I say this — but I started in 1989
as a game tester at Sega. And when I finished school,
I had no idea that they paid people to test games. Jason is gonna give
you a cool presentation, a breakdown of all the combat. And then we’re gonna
let you play through. Like I said, we are
making incredible progress. I am very surprised at how fast
everybody seemed to pick up the controls. They seem to have
adjusted very quickly. It’s almost like
it could be good. Not a lot to
study which is good. There’s only a
couple things on here. You know, pick up and play. Addictive, that’s how we roll. What? Sorry.
This is my director. She is actually
guiding me through this. Yumi is like, “You’re already four and a half
minutes off schedule. Get on schedule.” It’s amazing. Thank you, Yumi. I will stay on this. That’s true. She could be smiling
beneath the frame. I’m gonna go with I believe
she’s smiling beneath the frame. Can you get me a larger monitor?
I’m not sure i can — This is a little small. This is not the executive
monitor we normally have, so you’ll have to slum
it like the rest of us. Is he trying to hit the kid? He is. He’s trying to punch —
he’s good at killing. What are your predictions? Do you think they’re going to
give it really good scores? Really bad scores? The lack of facial expression,
I can’t tell where any of them are at, if they’re
enjoying it or they’re bored. I just see Derek. He just looks so professional. What did you guys
think about the son? Was he useful?
Not useful? – Yeah.
– He electrocuted guys. Without that it
would be a nightmare. I am not a blocker
in God of War, never have been. Is that the old way where if you
just keep doing the combo and they’ve chosen to block, they will just keep
blocking until you stop? Yeah.
They will never stop. They’re like the
Terminator blocks. And I don’t want to
babysit someone. That’s the whole fun of being
Kratos is running through and mercilessly murdering people
with fist weapons and hammers. We just have to make sure
we are in agreement of like these are
the possibilities. Are we in agreement? I don’t know.
We never talked about it, so. What do you think? That’s the most
satisfying thing, when they dodge my attack. It’s just not
something I’m used to. Oh yeah. Turn it up.
Turn it up. I didn’t like the button layout. My question is, why didn’t
the son ever get attacked? The son was kind of like,
hey, I’m here. I’m like your OP freezer. OP freezer? What the fuck is that? Mihir!
What is this craziness? Yeah. He’s definitely — He’s definitely on the OP side,
but it’s fun. I did not know what that meant. During the playtest
someone said he’s really OP — So it felt, really, like I didn’t
have to pay attention to him, and he was just kind of like
a fairy sitting on my shoulder, like, shooting stunning arrows. It was really overpowered,
and it felt really cheap. The addition of the son
kind of felt very cosmetic because I feel like you
can have the same ability without the son
even being there. So I feel like if the son is
supposed to be an integral part of the game, then he
should have a role, and the player should always
be actively aware of that, like, as a
liability or maybe, having the son play a
larger role in combat… This is the all or nothing. It’s everything. We are literally
all in on this game. You have to get a 150 people who
are very stubborn and passionate and creative to all
see a similar picture that doesn’t exist. And doubt is the demon that
lives in the ear of every person in this industry. That is, to me, the
biggest obstacle, keeping everyone focused on the
goal and not listening to that little demon in
their ear that says, “They’re all gonna laugh at
you, and it’s not gonna work.” I have that same exact same
thing in both ears constantly, but I’m still trying
to steer people back. And, you have to be able
to trust each other that you can fail and openly fail
together and still recover, otherwise everybody just starts
protecting what they’re doing and nobody wants to
share anything. A lot of what we’re doing is
not simply throwing every single thing out. It’s looking at the DNA of what
God of War is and finding out the mountain we had to climb to
kind of change this franchise. It is the traditional
sort of child coming of age, but it’s also
Kratos coming of age, the idea of Kratos
being a closet human being, right, somebody who
hides his humanity, somebody who was
shunned and run away from it. So we’ve always kept it a little
bit open to allow people to freely play with it. But now we’re gonna start really
honing in on forcing people to have to use the son to
create opportunities. ATREUS: I see runes there. It reads, “Sacrifice your
arms to the center of the water, awaken again the
cradle of the world.” What? Throw our weapons
into the water? And that is the lead-in to the
whole World Serpent coming out, so that way at
least it shows, hey, look. He’s saying be a warrior.
Everyone is a bad guy. And then when you
meet this World Serpent, the thing in the God of War
universe that seemed like the bad guy is the one
thing the kid says, hey, this is
actually the good guy. hey, this is
actually the good guy.
I think everybody
recognizes we get one shot. I think everybody
recognizes we get one shot. We screw this up, I don’t
see us making another one. You know? This is a massive bet. No pressure. KRATOS: Stay calm, Boy! ATREUS: He wants to help us! It’s an interesting approach
because in the last ones, you know how he
killed his family, and in this one he’s
actually got something left. So it might be interesting
how they use him. It’s still badass Kratos. I think it’s looks
like a badass Kratos. I love the beard. He’s still badass. So being from Norway,
does it seem legit? Well, I mean.
It’s gonna be fun. I don’t know yet.
I haven’t got any hands-on time. So it looks nice,
but until I get to play it, I don’t know. I want to first start by
welcoming all of you guys to the God of War,
Behind The Curtain panel. Hello, everyone.
I’m Cory Barlog. I’m the director of the game,
and I make their lives completely miserable
on a daily basis. That’s really it.
That’s the best description. When you’re tabbing,
you can tab fast, right? Yes.
It’s instantaneous. What’s happening on
screen while I’m tabbing? It’s staying on the
current screen until we make the selection and stop tabbing,
and then what happens? Currently just by
moving over to this, there’s no confirm
input to go to it. So currently, as you tab over, you instantaneously
bring this UI screen up. So when I tab, tab, tab,
it instantaneously moves? Literally? Not figuratively. Metaphorically. You’re just trying to trick me
into having not seen these. All right.
Well, let’s get to it because we have a lot
of questions going on. This is a big
reimagining of God of War. So I think my first question
really would be for Shannon. You guys were, I guess
the fairest way to say, at a crossroads a couple of
years ago for the studio. You know, as we were
kind of at that crossroads, it was really apparent to me
that we needed to really look for a new beginning. And someone that could tell that
new beginning in a way that — are you causing problems? From here, we need a fade to
black for the duration of this. We need an action that
blacks out the screen, right? We’re not gonna fade to black. The action is the
hand coming over. Right. But it’s not gonna look
like a fade to black, right? Well, we’re gonna try to… No, it’s not gonna look like
a fade to black. Awesome! I realize that when I made
the first and second game, I was a very different
person than I am today. I’m a bigger asshole
today than I was then. Growth, people.
It’s fantastic. Are we sure about the
size of this arena? That’s a big art scope,
just to throw it out there. How much work is that gonna
take? Weeks and weeks and weeks. What’s the problem?
What’s the real problem? I’m just asking, do you think
this arena is the right size? It helps to work with
absolutely great people. I am surrounded by people who
are so much better than me. It would be nice to
have this effect. It would be nice to
have this breakable. It would be nice to
have this and that. And it’s like, Dude!
It’s ten days away from Beta lock. It’s been tough. It’s been tough
the last few years. It’s never easy balancing all
these personalities and all this talent. If you guys think
it’s not a problem, then it’s not a problem. That’s why I formed
it as a question. I’m asking them not you. Okay,
I defer my question to you. It’s definitely not a problem. Every story you tell,
everything that you make, you have to have some kind
of personal connection to it, some kind of truth that
comes from your own life. Right now this is a
giant empty space that doesn’t have anything in the
ways of interaction or change. We’ve changed everything from
the combat to the mechanics to including the son to the
environment to — everything is
different, new, and fresh. And scary. It needs to be lock it down. Move it forward, lock it down. Move it forward,
lock it down, as a leader. I find myself sometimes
terrified at the decisions that we’re making. We made the choice. We got to figure out how
to make that shit work. You have something that fans
really care about and players really care about, but we
still want to flip everything, break it apart, and then start
putting it back together slowly. The feet in the floor?
That’s… The feet are in the floor on
every single level. You know, we bump in
together every once in a while, but it’s all for the good of
the ultimate goal of greatness. I’m so thankful every single day
that they are the ones that have to do the hard work. Those guys are
busting their ass. But we brought this dude on. We passed on other
people to bring that guy on, so I don’t want anymore
fucking excuses from that guy. I just want to get shit done. I just want to
thank Cory, Ariel, Jeet, and Shannon for
joining us today on the God of War,
Behind The Curtain panel. Oh, yeah. It fell through the
cracks on that one. This whole time we were supposed
to have you play the game, but you haven’t played the game. What would be great is
if we boot this up and it doesn’t work. Now I’m very excited.
I want to try that out. 391.95. I have no idea what that means. I’m able to now share with you
guys the specific release date. The date we’ve
landed on is March 13, 2018. [APPLAUSE] This is also going to be 11
years to the day from Cory Barlog’s God of War 2
that came out on March 13, 2007. Jeet. Jeet. Up until this point, I think
a lot of it has been we have latitude and we have time, and
we have the ability to tune and think and iterate in a way
that allows lots of different perspectives. And as that time
starts dwindling down, the number of touches you
can get to do to validate the decision that you want to make starts sort of going down
and down, right? It’s risk versus reward, right? “Well, there’s this
issue at the end. If we fix it, man,
the payoff is huge, but the risk is super high,
so what do you want to do?” So the bug is
you’re invulnerable. So what will happen is you can
kind of walk into the trap and then really bad
things start happening. Yesterday I was in the middle
of taking a bunch of — that’s awesome.
Look at that. Fuck. There’s no reason at this phase
that the log should just be walking on its own. It’s the magic log right there. So currently we have about 3,878
total bugs in the database. We’re supposed to be
at zero bugs right now. That was our goal. And we’re here in a state
where we still have quite a lot of bugs open. This is a perfect example of
the bizarre shit happening with the kid’s face. We don’t want to have
triplicates of the same bug. So I’m going through and if
anything is called out for one of your guys’
groups, just say, oh,
we’re already doing this. This is a good example of,
like, the average scenario that happens in a day in my life. Seriously? Now I’m looking at the game as
a whole knowing there’s no way we’re going to stabilize this. Oh my god.
Seriously? Can we go out there and
tell them to fucking stop? I know many of you have
been pushing really hard. We’ve been asking people to
step up their hours and time spent in the studio. I know people have made some
compromise’s to make this work and to bring home the
result that the studio needs. So to those of you pushing
hard towards these goals, thank you so much.
I really appreciate it. And I really did believe,
I think, four weeks ago that we were on target. We were absolutely, no problem,
going to make the date. Now… All right.
So in terms of release date? So I need to start to —
we committed to a January 9th sort of status on
announcing release. I don’t know. The scary, scary thing is I
really, really don’t know. Which means, beg for more time. What do we do if they say no? We’re screwed. When you guys were first
brought on this thing, did you have any
idea what to expect? ATREUS: Father, help me. This scene, this is the first
time that the son kills a human being, so it’s a
pretty powerful moment. You know, as a father
of four children, it’s interesting that this has
been a man who has missed ten years of his
child growing up. I really found some parallels
with my own life there because I was working on a show, and I
basically missed ten years of my kids growing up. So it’s just an interesting
dynamic for me, you know. It’s a little closer to home
than I would like it to be. As two human beings, what are
the sacrifices that you guys have go through to protect
something like this legacy, to have a secondary family? I am very fortunate in the
sense that I have a home sort of network and a husband and
parents and children that are very, very
supportive and very much, you know, are as excited
about what we’re doing here as I think I am. And I have it pretty good.
So I feel very fortunate. Um, I don’t think I want
to answer this right now. [CHOIR SINGING] FREYA: What does
this goal mean to you? ATREUS: It’s everything. FREYA: Follow me. KRATOS: Why help us? FREYA: Maybe I see
more of myself in you than I’m willing to admit. Maybe… maybe by helping you, I’ll make
up for a lifetime of mistakes. Or maybe I just like you. There’s lots of different
methodologies of how to be vulnerable in a scene or how
to be connected to an emotional scene where your son
is basically saying, “You ruined my life.
I hate you. I never want to see you again.” It was right around the time of
I was going through a divorce, so that wasn’t difficult for
me to be in a space that was vulnerable and
fractured and confused. Like, it wasn’t
supposed to turn out this way. It’s my job as an actress to
keep myself in that space of, like, being permeable and being
effected by what’s happening in the moment. And so if I can recall what
those feelings were like with my ex-husband, then I can
understand some of the pain that Freya’s going through with
someone that she loved and had the best intentions for, but it’s not going the way
that she had hoped. If it hadn’t been that, it could
have been anything else in my life where there was a
good-bye from someone that, you know —
abandonment issues, you know? Come on.
We’re human. We’ve all got our bag of pain. Oh, that.
Okay. We’ll use that one. Cut. Clear. Markers down. Oh, just one little marker. Who needs my pinky? Oh, his pinky too. You know, I think as a actor
you always want to feel safe. You always want to — because when you
do choose to do that, you can’t bring
yourself out of it. It takes some decompression. The scene when I go back
and get the Blades of Chaos, it was probably
not real early on, but early on in the filming,
and that’s kind of what — like, do I want to go there
because this was a moment. If I was going to
take the scab off it, as a person, as a human being… …this is where it is. ATHENA: There’s
nowhere you can hide, Spartan. Put as much distance between
you and the truth as you want. It changes nothing. Pretend to be
everything you are not… …Teacher… …Husband… …Father. But there is one unavoidable
truth you will never escape. You cannot change. You will always be a monster. KRATOS: I know. A lot of this performance for
me is a love letter to my kids. And it’s an apology. Yeah. And that’s all I’m
gonna say about that. Do you want a minute? No. Fuck me, man. I could see it in everybody’s
eyes that they we’re just like, “We’re not gonna make it.” And then everyone is
still treating it like, “You know what?
We’ll just see.” And I’m like, “No.
In my mind, I get it. I see what you
guys are telling me.” I’m not gonna let myself believe
we’re gonna make the date now. Now, I’m just gonna try
to adjust to the April… That changes — that means
you’re not going to Europe next month, but February. Yes. It means next
month is very hard. But four years of a marathon,
you don’t want to stop running the last 200 feet. You know, for many
years you don’t see, or at least I didn’t see, what
a sacrifice was until you start sort of living the sacrifice. You start feeling the sacrifice
if that makes any sense. We as working parents always
wonder and question, do we really spend enough
time with our children? I carry that with me everyday. And I never have
the right answer. All I can do is be the best I
can be in those moments that I do have my children, that
I’m really able to engage. And hopefully the stresses of
the job don’t get in the way of me being the best
parent that I can be. Hey, Asad. How you doing?
Happy new year. Are we still in that phase? Well, thank you. Just to update you on
the date discussion. So right now, the earliest the
IP folks and the salespeople feel comfortable with is the
20th, which is Friday the 20th. We cannot go any earlier. Well, quite frankly.
Asad, we don’t want earlier. I think it works for you guys,
and it works for everyone. At the end of the day, and I
keep saying this to everyone, at the end of the
day, the game comes out. It’s gonna be amazing.
Everyone’s gonna go bananas. No one is going to remember
all the date shifts and all that nonsense. Right. We just have to actually make
it through this period without keeling over. The industry is
incredibly demanding. It’s all about what
you’ve done lately, and you need to constantly move
forward and do other things. I’ve always described my career
as typical in the industry of having two states. You’re either doing everything,
or you’re doing nothing. For me, it’s like being normal
is what I struggle with. You know, like, taking time off. Like, why don’t we
take a vacation, or any of these things? Even saying them it’s
like, what am I saying? It’s so alien to me. And I think it’s — I’m feeling it.
I’m feeling it. It’s time to take the foot
off the gas a little bit. Thank you for all
your hard work, for serving quality and
excellence even with the personal sacrifice, staying true
to the vision even at points when things felt uncertain. As a team, we’re on course
to deliver something pretty magnificent. And it’s because each and
everyone of you and the passion you bring every single day. FQA Submit has
moved to March 9th. And GOLD and release to
manufacturing moves to March 15th, which pushes the game’s release
from March 13th to April 20th. [APPLAUSE] Without everybody, we would
not be doing any of this crap. It would be me talking
to myself in a room. So what we are going to end up
with at the end of all this? This amazing game is truly
something that I will carry with me forever. And I believe it
is a first step, a first step in many, many games
that we are going to make that will, I think, really
redefine what the studio is. So I’m very proud to
work with everyone here. So thank you. [APPLAUSE] Again, thank you for
all your hard work. I know we have still
a push ahead of us. Let’s go to M-6-20,
Epilogue teaser. We are supposed to
be going GOLD today. So we’re going to see if Yumi
has any idea of whether or not we’re making a disc today. So we’re at a point where QA
is testing around the clock, getting new issues
coming in all the time. You know, everybody on the
production side is constantly evaluating what
new bugs come in. The hope being that once we
end up at the end of the day, we have a solid build that
has zero critical issues. That’s the one
that we’re like, yes, we want this to be
burned on a disc. We want to take a
picture with it. Send it out. This is it.
This is still, for me, officially the
first game I’ll ship. And I’ve been
here for five years, and it’s, you know,
like a big legacy. Okay.
This way. ATREUS: What’s going on? I was walking by
someone’s desk today, and I saw something
that had been updated. And I was like,
“That looks amazing.” He’s like, “Yeah.
This just came in.” I was like, “Dude, we just
have to finish this game.” If we finish this game,
it will be awesome. There’s so much good stuff. Oh. She’s not here. “Yumi, you were not here when
I stopped by. I am sad.” There you go. That way she’ll know that
someone is looking for her and they’re sad. All right.
This way. Here she is. Yumi Yang, we found her. We just left you
a note that said, “I am lost without Yumi Yang.” All right.
This way. Don’t run, Raf. Run, Raf. This is so exciting. It feels like
we’re doing something. Oh my gosh.
I want to press the button. How can I screw this up? Just this?
That’s it? The whole thing
just says, “Write.” There it is. Stand here and
watch a progress bar. This is gonna
take a little while. Little while, like how long?
Give me an estimate. Probably about an hour. Dude, I’m not going to
stand her for an hour. That’s crazy. A lot of disagreements
and a lot of passion went into
making this blank disc. For all of you watching, this is how we used to play
games back in the 90s. This is a weird,
like, retro experience. It’s so analog. Yes.
It’s beautiful. There’s your boy. This is wonderful. Kratos actually joined the
tree preservation society. He’s super into trees now. This tree is a metaphor for
the franchise of God of War. And at the very beginning
of the franchise, we chopped that fucker down
so that we could chop it up and carry it around
and then burn it. For me, what I would
love to see from this game, what we’re pushing
is dramatic context, you know, reason,
the concept of why. Why am I here? Why am I doing these things? Why do I care as a player? Engaging people on a more
emotionally visceral level than just revenge killing,
you know, which is great. Combat is fun. It’s the way you communicate
with the environment in so many games. But I think games that feel
repetitive and boring are because there’s no strong sense of why. You don’t feel
connected at all to the world. KRATOS: A broken
quiver will slow your draw. Pain, we endure. Faulty weaponry, we do not. This will do for now. Good? ATREUS: Good.
KRATOS: Hmm. Go. Okay. Do you need to say
anything for these guys? Who? – The documentary people?
– Yeah. We’re on our way to
France, and it’s wonderful. Cory Barlog. So you are the first group of
people aside from our team to actually get
hands-on of the game. So this is a very
exciting moment for all of us. I think that what makes a great,
strong character is absolutely what makes a great, strong
human because when you’re embodying a character, you’re
embodying the life of a human that is some parts of many
things within the mind of the writer, and they pulled from
some person they know in their life, and so it is a
living, breathing thing. We just got a fantastic
historical overview of the city, in Berlin for day
two of our world tour. For us, this is a very big
sort of change for Kratos. Yeah. There were times when my
wife was holding the camera and FaceTiming a basketball game so
I could watch it while I was at some corporate off-site
meeting or something like that. You just do what you have to do. We all as a
family had to balance. Were there struggles? Were there tears? Of course, there was.
But that’s life. You get through it, and
we’re all still around, and everyone kind of
grew from those moments. KRATOS: That was the last. All right.
Let’s do this thing. “Never played a God of War game, but what’s exactly
the nature of Kratos.” That’s a very good question.
What is the nature of Kratos? There is an interesting,
universality to it as well. The idea of even if
we don’t have kids, we were kids
ourselves at one point. ATREUS: Lo, there
do they call to me. Lo, there do they call to me. So this game, God of War, this
iteration is probably the most personal project I think I’ve
worked on in my entire career. That is the true challenge of
parenting is not to sit there and hide the world from them, but to prepare them, you know. Go through the pain. Yeah.
To go through the pain. KRATOS: Find your way home. You are free. For me, I think as a writer the
most interesting challenge is to take a character that you have
made intentionally an antihero and actually turn them around. I think a difficult
thing for anybody is the time you put into it. At the end of the day, we’re
going to spend nearly four and a half, almost five
years on this thing. Five years. Five years, and at the
end you have one thing. And then one day it’s out there,
and either everybody loves it, or everyone hates it,
or even worse, they’re indifferent
and it’s just crickets. Right? And that’s it.
It’s feast or famine. God of War! God of War!
God of War! God of War! [CHEERING] We have great jobs.
I’m not complaining. But there is a
sacrifice, you know. And we question
is this worth it? I’m excited. I’m not sure how he goes
from Greek mythology to Norse mythology, but I’m interested
to see how it happens. Normally, we know him as an
angry and aggressive person, but I mean it’s — I think change is good
sometimes in a sense, you know. I wasn’t okay with it
until my kids said, “Dad, we know. We know why you were working.
We know why you miss stuff.” You know? I was never okay until then. ATREUS: Something’s happening. It’s Mother. So this right here represents
five years worth of work going gold. The incredible team
that I worked with, so many people, and Yumi Yang,
the most important person for my sanity throughout this
entire crazy journey. By now I had read through
this remarkable adventure. And the one thing I got out of
it was this character’s love for his son. Look at that. PlayStation Europe retweeted.
PlayStation retweeted. ATREUS: That’s us. The first time we
met the World Serpent. But how? Art reflects life,
reflects art, reflects life, and that’s why we have it,
so we don’t feel so alone. So we see these stories, whether
they’re folklore, mythology, made up or real is because this
thing called life is interesting and confusing and it’s wonderful
and it’s horrible, and it’s all these things, and here we are. From the beginning, it was, we have the potential to
make a defining game. And to this day, I say we have the potential to
make a defining game. ATREUS: All these drawings,
This is our story. Okay.
I’ve stalled enough. I’m hitting enter now. And thank god it’s
not on the front page so I can stall just
a little bit more. Information is not
there on the front page of what God of War is yet. I’m clicking on games now. Holy shit. That — hmm. Success is not guaranteed. You don’t get it just because
you are who you are. You get it because you work
really crazy hard and sacrifice for something else, you know,
which is kind of like a parent. You’re gonna sacrifice,
work really hard, and then they’re gonna fucking
hate you in fifteen years and not talk to you
for ten years. And then they’re
gonna be like, “Hey, I remember why you
were pretty good.” “Three, two, one!” “God of War is now
available on PlayStation Store.” “This game is big.” “This is a big, big
special, great game.” “God of War is back on PS4.” “This game changes the franchise
in a number of huge ways.” “It’s a bold and risky move,
one that paid off in spades.” “As one of the
greatest games of all time.” “God of War is a masterful
composition of exceptional interlocking parts.” “Santa Monica Studio is
taking us all to Valhalla.” There was a lot of
fucking doubt on this project. But it is you people, everyday
coming in and doing what you do that made this a reality. “The game is a masterpiece.” “One of the most well-thought
out and well-paced games in quite a long time.” “Hands down, game of the year.” What I want the
takeaway to be is, wow, this was necessary. This was interesting.
This was different. This was engaging. “This game is just
fucking incredible.” “God of War doesn’t just feel
like the next step for the franchise, but the
entire video game industry.” Yes, yes. Yes, I’ve been
waiting to do that. “We’re joined by Cory Barlog.” “Cory, of course, is the
creative director of God of War.” “The father and son dynamic is
obviously — that’s the beating
heart of the game.” I wouldn’t say I had any doubts
about if we could do it because the talent at the studio
is absolutely amazing. And there are people here
that won’t let this game fail. I consider myself one of those. I do this because I want to
make something beautiful, and I want everyone to see it. “God, this game already
got me in the feels. How did that even happen?” “Oh!” “I stunned one.” “Yes!” [SCREAM] “Oh!” “Oh shit!” “Kratos is back!” All right, and the game award
for Game of the Year goes to… God of War. [CHEERING] Thank you, everybody! I want to thank my children and all of the families
throughout the God of War team. And you guys,
the fans around the world, together we all dream
big dreams. Thank you, everyone. So the amazing thing is,
for everybody at home, this is how easy it
is to make games. Just walk around the studio,
you hit a button once, and the game is finished. It’s like that
scene in Spaceballs, instant video cassettes. “They’re out in stores before
the movie is finished.”

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