The mixture we've tried to come up with is to keep the game's pacing just right. The player needs to be able to have objects to grab and throw, places for cover, and the right space to use the powers. On top of that, you have this huge assortment of powers and talents, which made level design such a crucial component. SC: One of the key aspects of the gameplay is "quad-wielding." This means that the player can use a grabbing demon's arm, a slashing demon's arm, and two weapons all at the same time. GSA: In terms of the level design for single-player mode, are we looking at linear corridors or more wide-open spaces for combat? We wanted to use as broad of a palette as we could for this game because when you look at the comics, you really notice the vibrancy of that palette. Every texture in the game is hand painted to give you the feeling that you're playing in a graphic novel. "Graphic noir" is the name of our game's vibrant and red-lighting-heavy art style that's directly inspired from the comic books. The great thing about using our own tech is that we were able to tailor it to best express the graphic noir art style that so beautifully stands out in the game. SC: The game runs on our own engine called the Evolution engine. GSA: Tell us what is unique about the game engine you're using, in terms of technology. Paul wrote a bunch of the Darkness II comics, he wrote the first game, and he maintained that storyline for the second. The comic books were our inspiration, but the first game was our model.Īs such, we kept the same writer from the first game. GSA: Was there at one point any consideration by the team to get the original creators, specifically David Wohl, Garth Ennis, and Marc Silvestri, on board The Darkness II for writing duties? What made the team decide on using Paul Jenkins' talent in the end? SC: The most important thing for us in making The Darkness II was to strictly stick to the story of the first game. We worked together and started figuring out the methods and rituals that the Brotherhood-the ancient organization that Victor controls-would use and eventually came up with the scene you will see in the game.īy clicking 'enter', you agree to GameSpot's In the starting point of the script, Jackie is trapped and Victor is trying to take the darkness away from him. There is a moment where Jackie is being crucified by our main antagonist Victor. We had a very collaborative experience on The Darkness II, in which both sides bounced tons of ideas off each other and we tried to be as integrated as possible.Ī good example of this is in one of the scenes from the demo we've used to introduce the game to everyone. After all, he also did writing work for the first Darkness game. Sheldon Carter: Paul had an understanding of the way the games and comic lore work right away. Elaborate on the process of how both the writer and a group of game designers work together for The Darkness II. GameSpot Asia: It seems natural to bring Paul Jenkins on board because he wrote about The Darkness in comics. We recently had a chat with The Darkness II's project director Sheldon Carter, whose previous acclaims include being a producer for Dark Sector, as well as contributing to the development of BioShock 2 and Jade Empire. With the development of the upcoming shooter based on the comic book franchise coming to an end, we figured it would be best to get a bit more insight into the game's development.
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