So I feel confident that we’re going to get it right, definitely. They make great games and they take the time to get it right and we’ve being given that treatment as well. They are a company where if you look at their portfolio generally, they curate stuff. And they’ve obviously seen everything and the direction we’re going in. We don’t want to be forced into toning something down because we feel it’s going to harm something somewhere else.ĢK’s a great company and they’re thoroughly behind us in all of this. We’re happy to put this together from a narrative point of view, from a gameplay point of view, stand by it and say “This is what we consider authentic to be”, because I think as creatives we feel better doing that. But again, shying away from it, or trying to make it sort of a comic book, for us it’s not the right thing to do. Players can choose the way that they actually want to play the game. There are going to be non-lethal options in the world as well. Again, we’re trying to do it in a credible way. Again, Lincoln as a character… he’s a Vietnam vet, he’s a gangster himself, and he’s going up against some really nasty people in terms of the Italian mob.
There’s a difference between context-less violence and what we’re showing here. P101: From a commercial standpoint, and even though you want to be authentic, do you not think that the level of violence that’s being portrayed in Mafia 3, for example with its shotguns and what not… I thought it was pretty visceral and graphic.ĭo you not think that given the expectations of Mafia 3 as being the continuation of the franchise, the fact that it’s on current-gen consoles which as a consequence means that it’s costing a lot for 2K to develop as the publisher… with all these commercial expectations placed around it, do you not think that maybe the level of violence, and part of that is obviously to do with the dialogue which I’ve previously spoken about, will hamper its commercial viability and appeal?ĪW: I don’t think so. And what you’re seeing is just the first taste of how huge the ecosystem is and how it will hang together. So I feel like we’re doing our research, we’re keenly aware that we have to get this right, and we’re putting a lot of time and attention into it. If you look at his background as a writer and some of the properties that he’s worked on… he’s actually taken on some characters with a tricky subject matter before and he’s dealt with it really well. And again, I’ll say in terms of the narrative team that we’ve got… we’ve got Haden and he’s extremely capable when it comes to this kind of thing. So it’s very important that the world reacts to Lincoln in a way that it would have done, and it’s going to change district by district as well. I don’t think that that would be credible. And I think if we were to shy away from it, and if we did not have the world react to you in an authentic way… if we treated it with kid-gloves and it felt fluffy and nice, then I think we would be copping out and we’d be trying to dodge a bullet in a sense. P101: How do you ensure that the story that you’re telling is both plausible and interesting without necessarily resorting to tired tropes and cliches? For example… I understand that there’s racism, but sometimes people use that almost as a crutch and as a band-aid.ĭuring the demo, I heard the phrase “get lost n****r”! And I’ll come back to these shock tactics later, but it’s almost a case of… are you confident enough in your own storytelling ability to not have to resort to profanities of that nature in order to gloss over whatever cracks there are in the story?Īndy Wilson: Yeah, I mean “authenticity” is the word, right? And in that era, and in that part of the world, those are the kind of things that as a mixed race guy walking down the street in a predominantly white area, you’d have that kind of stuff thrown at you.
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