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(typing) (techno music) (wailing) - [Game Narrator One] Johnny Cage wins. (moaning) - [Game Narrator Two] Sub-Zero wins - [Game Narrator One] Fatality. - The very start of it inthe first game is always a fatality that's goingto kind of set the tone for the rest of them. And I'm usually the one whodraws up that fatality and says, this is gonna happen, that's gonna happen.
This is gonna let us demonstrateour new Olympic Blood. And this is gonna be something that's gonna let us exploitthis type of animation or this kind of partical system. And let's-- So I'll draw something up, go into the motion capturestudio, capture the animations. It's usually an animaticwithout the final effects. We get a sense of the pacingof it, where the big bursts of cool moments are gonna be. And by the time thatone is completely done, we have a whole bunch of other ones that are kind of in the queue. But that one kind of leads the charge and kind of sets the tone for all the rest of them to go by. (action music) (slugging) - [Woman] Cut! Reset! - [First Man] Deadly uppercut take two. - [Woman] Action! (powerful slugging) - [Woman] Cut! - [Second Man] Who hiredthis guy? What the fuck? - [First Man] Deadly uppercut take 19.
(guts squishing) (smacking heavily) - [Game Narrator One] Fatality. Johnny Cage wins. - We iterate back and forth as far as where we're going to pause because we have these moments where the blood slash is really big and that's a big part of our visual presentation for the game. (guts squishing) - [Game Narrator One] Fatality. - So we get one of those done, and then everybody goes,okay, yeah I get it. Then, from that pointon, the rest of the team and myself, we spend justweeks, months in meetings where somebody stands up andsays, okay, how bout this? Johnny Cage grabs this, does this. And then everybody kindof talks it through and says yeah, that's cool. Then it goes to a concept artist.
The concept artist drawsit, we motion capture, and then go through the same process as we did with that very first one. Multiply that by 50. And, that's pretty much the process of how we make fatalities. Some of them that wethought were really going to be great on paper or in a concept don't translate through animation or through the cameras. So, we'll make changes on-- This isn't feeling right. How about we add a moment in here, or we remove this oneor replace it with that.
So we do some editing after the fact. Even after we've locked the cameras down because it just doesn't hit the same bar as the other ones that we've done. So, those are the tough ones because the person who came up with them always is a little, "Well, you know, we couldof done this better." Or something like that. But everybody kind of hasownership to the various ones that we have. (aggressive music) (brain squishing) The more outrageous thebetter but not realistic. Nothing that somebody could think, "Oh, I'm gonna repeat that." It's so ridiculous. Garris hits somebody behind in the head and their whole facecomes out is ridiculous. The fact that we've made 11 of these games and each one is moreoutrageous than the other puts us in the stratosphereso outside of reality that it's almost a parody, at this point.
that it's almost a parody, at this point. (aggressive techno music) - [First Game Character]One more time, Hanzo. - [Second Game Character] Never learn. - [First Game Character] Aman is never too old to learn. - [Game Narrator] Round One. Fight! (brutal fighting).
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