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Everything starts with a beautiful story...
Michel Ancel: And by a great fright...It was in January 2004,in L. A., that I was to meet Peter Jackson to discuss about thw adaptation of his future film, King Kong. I was shaking, up until the moment I sawe Peter arrive at the hotel, barefoot with a copy of Beyong Good and Evil in his hands! He'd loved the game. He gave it to me, and asked me to sign it. The situation was so sureal for me that the mood was suddenly relaxed.
At the time, the shoot hadn't begun. What did your team use to work with?
Michel Ancel: To get the feel of the movie, we visited the set. There, Peter brought us into this gigantic room where every wall was covered with pictures describing the story of the film. He gave us a lot of time, showed us himself how his King Kong moves. Peter is ver manual and devoted to his project. When you're with him, everything becomes very special...
It was him who decided to separate the adventure between Jack and Kong?
Michel Ancel: Yes, he wanted that from the start. It was absolutely needed. Fopr him, both of these characters at something in common : Ann ! Both of them try to protect this women. During devellopment, we understood how their enemies were similar as well.
It's impressive to see no hud on screen.
Michel Ancel:
Immersion… here's the key element to King Kong. Everything was simplified to offer an almost primal experience. For example, a button lets you check your gun to see how many bullets you have left. Your health is symbolized by the alteration of your sight. If you think about it, when you check an health meter, lthe fear of dying comes when you have only 2-3 life points left. Before, you had the reflez to jump right in. Now if one shot can kill you, your perception of tension peaks. It's our goal…
Despites its very cinematic feel, the adventure seems to be very fast paced.
Our main goal was the action, always the action. The player must be placed at the heart of this story and confront it full frontal, immediate. Then, in taking out as much cinematics as possible, you create a beat. You force the player to be on edge all the time, to stare at the screen, to get his complete attention. We wanted to reenforce this feeling of emergency that prevails in that situation of being tracked by beasts when you're Jack.
And more explosive with Kong.
Michel Ancel: Completely. If the transitions are natural, the style of gameplay obviously varies. In one case, the Jack sequences are in FPS, but with King Kong, it's more of a stylized fighting game ! you can unleash devastating combos, the visible wounds on your body play a dual role. It adds visual realism and it's a health meter in disguise.
Speaking of wich, graphics don't seem to be the priority.
Michel Ancel: We use the "Jade" engine, the same we used for Beyong Good And Evil and Prince of Persia. Obviously, we heavily modified it to incorporate great new features, like our jungle system. The results are pretty convincing if you look at it for immersion and mood. It's not a race for polygons, but more of a game for the imagination thanks to these enchanted places.
So desptie all the violence, King Kong has a lot to do with titles like Ico.
Michel Ancel: Funny you should mention that title. CIt's a true referrence for me. In fact if you look at it closer, in both games, you play a characters who's main goal is to protect a young women. I also think our work on immersion ressemble the one Sony did. It's a great referrence anyways.
Well, there you have it.
And let me just say this to conclude my first post.
I work at Ubisoft and I've played a lot of King Kong. It's looking VERY GOOD. Actually, GREAT.
It's going to be one SOLID game.
I can't give you ANYMORE than my opinion on the game since it's still kept in secret. And I've signed some papers saying I can't say nothing.
Let me just say you're all going to be very happy with it. I know I am.
