The Final of Us‘ second episode finally introduced the Clickers, one of the game’s deadliest enemies. And whereas they share lots of similarities to their in-game counterparts, a number of the creators of the HBO Max sequence defined how portraying these beasts within the present differed barely from the interactive medium.
Neil Druckmann, author of the sport and TV sequence, set the scene by speaking about how Naughty Canine needed to place the motion on the controller for the sport. So when gamers encounter Clickers, they’ve to beat the problem by themselves, which inserts with the interactivity of the medium.
“For an action sequence, we would almost never put that in a cutscene in the game because it would be, like, ‘Oh, I want to play that,’” mentioned Druckmann. “Those are the parts that we want to give the control to the player and say, ‘Deal with this situation.’”
This strategy doesn’t work within the realm of tv, so Druckmann talked about how they selected to carry again and hardly present the creatures with the intention to construct stress, a lesson undoubtedly realized from different horror classics like Alien and Jaws.
“With the show, it was a lot about restraint,” he continued. “Typically when one thing is horrific like this, it’s scarier if you don’t see it. So let’s maintain off and never present it for so long as potential, after which once we do present it, let’s be certain it’s in a setting the place the characters don’t get a transparent eyeline to it.
“And when we see it, it is very fast, very quick. We’re gonna see a glimpse of them or you’re going to see them in a reflection in the glass. And it’s scarier, especially in that medium, to see the fear in the character’s eyes. So a lot of the direction, as far as where you put the camera, is, ‘Let’s show the character’s fear as much as possible, even more so than the thing that’s chasing them.’”
Nonetheless, the sport naturally has a number of Clicker encounters, which wouldn’t work for a present. Government Producer Craig Mazin mentioned that this distinction meant that the motion within the sequence needed to have extra influence and be extra distinctive.
“When you have an action sequence, it should be singular,” mentioned Mazin. “So, one of the things we talked about was the role of action in the show and our belief that we would appreciate the action moments more if they were each unique, separate and apart from each other, each one of them impacting the story directly in a very clear way and either being very small or very big.”
The primary Clicker scene within the sport (which is on the college) is supposed to behave as a tutorial, however the medium change additionally meant Clickers couldn’t be launched in the identical approach within the sequence. The crew knew this scene must have a larger influence on the story, so, as Druckmann said, it wanted to power Joel right into a state of affairs the place he wanted to guard Ellie, somebody he isn’t too keen on at this level within the story.
“In the game, you need to have enough action for mastery of mechanics so you can connect with the characters, you get into a flow state,” he mentioned. “With the show, every action sequence, our approach was, ‘How do we make it character driven?’ Something needs to happen with the characters. They can’t be purely about spectacle. And in this [Clicker] sequence, up until that point, Ellie is really connected to Tess. Only when she’s forced to does she talk to Joel, and it feels like it’s an effort for her to ask him questions. They don’t like each other, but this sequence forces them together and forces Joel to protect her in a way that he didn’t want to, but he can’t help himself.”
The remainder of the video and corresponding post go into a number of the particulars concerning the origins of the Clicker in addition to their audio design, some of which has been covered in the documentary about the first game.