[Hilo Oficial] Uncharted 2 El Reino de los Ladrones

Resérvalo en Play.com y recibe el código de acceso exclusivo y único para la nueva beta multijugador del Uncharted 2: Among Thieves. La nueva beta incluirá numerosos mapas y será significamente más grande que la anterior. La beta estará disponible del 15 de septiembre del 2009 al 12 de octubre del 2009 (fechas sujetas a cambio). El código y las instrucciones de cómo canjear esta oferta serán enviadas vía e-mail antes de que la beta comience.

He aquí los nuevos datos / curiosidades

1) Over 130,000 people participated in our Uncharted 2 Multiplayer Beta, covering players from 135 countries all over the world.
2) The total of all multiplayer and co-op games played during the three weeks of our Beta was over 40,300 hours.
3) In Uncharted: Drake's Fortune we had 104 individual environment files on the disc; in Uncharted 2 we have over 400.
4) We spent over 30 days on our soundstage recording motion capture performances which resulted in over 90 minutes of cinematics -- along with a ton of in-game animations.
5) Our daily back-up of data has been averaging over one terabyte lately... and that covers only Uncharted 2 assets and data.
6) We drank a s*** ton of soda -- over 30,000 cans -- and one bottle of bourbon during the two years of production on Uncharted 2.
7) Between the 100+ Dogs working at the studio, we have over 16 nationalities and over 10 languages represented.
8) We've moved twice in our history: From the Universal Studios lot next to Insomniac games to an office spot above a Santa Monica outdoor mall, and to our current space -- formerly Sony BMG's offices.
9) We still have several of the "Original Naughty Dogs" with us, who started the first Crash Bandicoot game almost 14 years ago!
10) We've always had at least one dog "mascot" at Naughty Dog since the beginning. Currently our resident dogs are Pogo, a French Bulldog, and Trumpet, a Bichon Frise.

Planning de la semana en 1up.com

11/08/09 Naughty Dog Studio Visit
Join us behind the scenes at Naughty Dog HQ, and check out our impressions of the game from that trip.

12/08/09 In-Depth: Amy Hennig and Evan Wells
We chat with creative director Amy Hennig and co-president Evan Wells about everything from a sociopathic Drake to your allies in the game.

13/08/09 Nathan Drake Profile
If Nathan Drake had to submit a resume, it might look something like this. Read carefully for story clues, and check out more new screenshots.

14/08/09 Exclusive Videos
Watch five minutes of new single-player footage, plus our analysis video with notes from the team at Naughty Dog.

When you see a glass case chockfull of Crash Bandicoot schwag, then you're either at the headquarters of Crash Mania, or you're at Naughty Dog. Matt and I swung by to talk with co-president Evan Wells and creative director Amy Hennig, play some Gold Rush, and take some pictures. Here's a bunch of pictures from the studio, starting with the aforementioned Crash schwag. A lot of studios have a schwag collection case for their various games, but Naughty Dog has a pretty extensive collection. Offhand, the other studio that has a larger array of toys/magazines/awards would be Blizzard.

This thing guards the entrance to the art area. Yikes. There's a similar Uncharted "oooh, scary!" item right at the front door, but we were way too frightened to take a picture.

Two ways you know it's crunch time at Naughty Dog: the QA room looks crazy-messy and sometimes people in the office forget to dispose of empty water bottle boxes. Evan Wells was very apologetic about the state of this room, but considering the state of my own office, he has nothing to be sorry about.

And the other way you know it's crunch time, the corner of the men's room has an array of hygiene products to help ease the fact that you're working seven days a week without going home much.

EXCLUSIVE SCREENSHOT. Well, not really. Unless you consider, "an animator's desktop while he works on moving Nathan Drake's mouth open-and-close" a screenshot.

SECOND EXCLUSIVE SCREENSHOT. Or, rather, a peek at the concept art wall, with some clear paintings of a warmly-dressed Nathan Drake.

Finally, right outside Wells' office, is this neat frame of Jak's original moveset. Study this, budding designers! Study hard!

We then had some hands-on time with the recently revealed Gold Rush mode. If you didn't catch what Gold Rush is all about during San Diego Comic-Con, here's Naughty Dog community manager Arne Meyer explaining it:

Now, Naughty Dog likes to call Gold Rush "Plunder [an objective-based team mode] versus A.I." I'll be the mean journalist and call it "Gears of War 2's Horde mode, with an objective." Though, I can see this being really really fun -- when you're with a cooperative team. Matt and I played along with multiplayer designer Justin Richmond, and it was easy to figure out who was the Naughty Dog employee and who was 1UP. Naughty Dog guy: grabs the treasure, makes sure to protect his buddies, and throws the treasure like a grenade to gain distance faster. 1UP editors: constantly running into walls and finding themselves in the "down, but not quite out" state and waiting for the Naughty Dog guy to run up and revive them.

As the team successfully places the treasure into the treasure box, the A.I. enemies become more aggressive, powerful, and smarter. Wave one usually has a buncha mooks that go down in a few hits (no matter where you hit them). By wave three or four, you get some medium-level guys who actually know how to use, and avoid grenades. By wave seven (as high as we got; at the moment, the game stops at wave ten), we felt like we were in some sort of ultra-heavy-guys-with-miniguns convention. Once Matt and I got a better handle, we actually followed a pretty solid strategy of "two guys protect the treasure holder" -- which worked until wave seven. Then we just got constantly cut down by the minigun guys. Even though I did a decent job of avoiding fire (heh) and then rescued either Matt or Justin when they went down down, when the screen was full of those fellows, they tore us apart. At the moment, Wells noted that four maps will support the Gold Rush mode; while I haven't played the regular co-op mode, I can tell that I already like Gold Rush more than regular Plunder or team deathmatch.

Finally, here're some nuggets about the single-player story-mode that I hadn't really seen elsewhere. So if you haven't concluded that this is TL;DR territory, here're the gameplay highlights from talking with Wells and Hennig (a.k.a. the part I assume will be cut-and-pasted across forums):

-While Uncharted had a 70/30 combat/exploration-and-puzzles ratio, many people assumed that Uncharted 2 will maintain that. Wells himself thinks that 60/40 is the accurate way to describe Uncharted 2, and sometimes depending on how you play, it might be an even 50/50 split. He credits that because Uncharted 2 breaks away from the "traversal, combat arena, repeat" formula,

-Here's a "70-plus percent" stat for you: Wells stated, "75% of the game, Nathan is accompanied by an ally." Hennig jokes that having someone else with Nathan for most of the game makes him look less crazy than in Uncharted, where he'd drop one-liners that no one else were around to hear. We'll actually reveal the exact number of allies in our interview tomorrow.

-Naughty Dog has learned from the lackluster boss battle at the end of Uncharted. Don't expect a lame QTE for boss battles (well, Naughty Dog prefers to call them "peak moments of excitation"); expect encounters to use your combat and traversal skills, rather than your ability to hit Square or Circle when prompted. "Peak moments of excitation" that Wells has mentioned include an encounter with a helicopter and another one with a freakin' tank.

-If you notice in the initial Warzone gameplay footage, Nathan has to deal with two different factions at war with each other. Wells confirmed that multi-faction fighting isn't just in that level; there will be other areas where Nathan has to juggle multiple forces at work. Then again, at least that means that occasionally, people won't automatically focus on just you.

-"There are no vehicles that Drake drives," is how Wells answers the, "are there still vehicles in Uncharted 2" question. "Every vehicle that he's involved in, someone else is driving or piloting," Wells continues. So if you were somewhat of a fan of those "Nathan drives a jetski while Elena shoots" sequences, sorry. "Driving just didn't fit with what we're doing for Uncharted 2." I asked some other resident Uncharted fans in the 1UP office, for their reaction. Sam Kennedy says, "I'm actually kind of disappointed, because while they could be better, those driving sequences did break up the action a bit." Alice Liang, on the other hand, quips, "Cool, I like being chauffeured around."

And on a final note, here's a wall that declares the creed of Uncharted. Everytime someone on staff wonders, "what the heck are we working on," this serves as a reminder -- it still applies to Uncharted 2 despite being made for Uncharted. I made it clickable so that you can zoom in and absorb the creed. That's it! Come back tomorrow for my interview with Amy Hennig and Evan Wells.

P.S. Alas, I saw neither Pogo nor Trumpet during my visit; so no new pics to establish which dog is cuter. Also, there is a designated "yoga area" of the office, but no one was partaking, so no yoga videos either.

While Uncharted had a 70/30 combat/exploration-and-puzzles ratio, many people assumed that Uncharted 2 will maintain that. Wells himself thinks that 60/40 is the accurate way to describe Uncharted 2, and sometimes depending on how you play, it might be an even 50/50 split. He credits that because Uncharted 2 breaks away from the "traversal, combat arena, repeat" formula

Here's a "70-plus percent" stat for you: Wells stated, "75% of the game, Nathan is accompanied by an ally." Hennig jokes that having someone else with Nathan for most of the game makes him look less crazy than in Uncharted, where he'd drop one-liners that no one else were around to hear. We'll actually reveal the exact number of allies in our interview tomorrow.

alojuanjo escribió:3 cuartas partes? Madre mia, casi todo el juego.

Espero que no se convierta en Resident Evil 5 en ese aspecto....me gusta más ir sólo que mal acompañado.

As the team successfully places the treasure into the treasure box, the A.I. enemies become more aggressive, powerful, and smarter. Wave one usually has a buncha mooks that go down in a few hits (no matter where you hit them). By wave three or four, you get some medium-level guys who actually know how to use, and avoid grenades. By wave seven (as high as we got; at the moment, the game stops at wave ten), we felt like we were in some sort of ultra-heavy-guys-with-miniguns convention. Once Matt and I got a better handle, we actually followed a pretty solid strategy of "two guys protect the treasure holder" -- which worked until wave seven. Then we just got constantly cut down by the minigun guys. Even though I did a decent job of avoiding fire (heh) and then rescued either Matt or Justin when they went down down, when the screen was full of those fellows, they tore us apart. At the moment, Wells noted that four maps will support the Gold Rush mode; while I haven't played the regular co-op mode, I can tell that I already like Gold Rush more than regular Plunder or team deathmatch.

HDMI escribió:comparativa el 2 con el 1.
........................................................

bekiller escribió:

HDMI escribió:comparativa el 2 con el 1.
........................................................

Quito la imagen que pesa un huevo y apunto que estas fotos me autoconfirman que ya el primer juego fué una pasada, gráfica y jugablemente.

bekiller escribió:

HDMI escribió:comparativa el 2 con el 1.
........................................................

Quito la imagen que pesa un huevo y apunto que estas fotos me autoconfirman que ya el primer juego fué una pasada, gráfica y jugablemente.

M@tu escribió:Me estáis metiendo hype para que me vuelva a pasar el primero, OTRA VEZ!

pacojonez escribió:

M@tu escribió:Me estáis metiendo hype para que me vuelva a pasar el primero, OTRA VEZ!

si actualizaran con trofeos yo me lo volvia a pasar

Joanastic escribió:

pacojonez escribió:

M@tu escribió:Me estáis metiendo hype para que me vuelva a pasar el primero, OTRA VEZ!

si actualizaran con trofeos yo me lo volvia a pasar

Uncharted: El Tesoro de Drake sí tiene trofeos

pacojonez escribió:dimelo con mas suavidad que me a dado un crujido

Joanastic escribió:

pacojonez escribió:dimelo con mas suavidad que me a dado un crujido

A ver si así mejor...

Estimado usuario de EOL, me place comunicarle que el sistema de trofeos de PlayStation 3 está instaurado en el videojuego de Naughty Dog "Uncharted: El Tesoro de Drake" desde hace ya casi un año. Clique usted aquí para descubrir como conseguirlos.

Atentamente

Joanastic

Joanastic escribió:

pacojonez escribió:dimelo con mas suavidad que me a dado un crujido

A ver si así mejor...

Estimado usuario de EOL, me place comunicarle que el sistema de trofeos de PlayStation 3 está instaurado en el videojuego de Naughty Dog "Uncharted: El Tesoro de Drake" desde hace ya casi un año. Clique usted aquí para descubrir como conseguirlos.

Atentamente

Joanastic

xals_punk escribió:esta imagen me gusta bastante ,esta chulo nathan con el pelo mas largo y con mas barba ,parece como si se hubiera pasado un tiempo con mala vida y despues hubiera vuelto a la accion para cazartesoros jeje

onyvla escribió:

Uncharted 2: Among Thieves Single-Player Developer Interview

Details on Uncharted 2's story, character building, friendships, and trivia.
By Thierry Nguyen

Naughty Dog is in full-on crunch mode for Uncharted 2: Among Thieves. "Last Sunday was my first day off, and we've been working seven-day weeks since Christmas," notes creative director Amy Hennig. When I sit down in co-president Evan Wells' office to play some Gold Rush, I notice something I don't usually see on an executive's desk: a pile of empty Mountain Dew cans. Yet despite the long days of testing and polishing and tuning, both of them took the time to sit down and talk about the themes, inspirations, and goals for Uncharted 2.

1UP: OK, first off: Should we consider Nathan Drake to be a sociopath? I ask this because I realized that while I was playing Uncharted, it felt odd that he would be this charming everyman kind of guy, but he also killed about 400 guys by the time the game was done, and it's just something that's been in the back of my mind that I can finally ask...

Amy Hennig: Yeah, it's funny -- it's actually a dilemma that we're going to face more in this medium now that characters are getting more well-rendered -- I mean in all forms, not just visual rendering -- in characterization, in acting, the performances, and all that stuff. I've heard some people refer to this as a sort of "uncanny valley of characterization." I'm not sure how we deal with it in the industry. Because you don't want to constrain yourself to saying, "well, we can only tell certain kinds of stories and games, and it's all got to be soldiers; they've all got to be hard-bitten, and it's all going to be post-apocalyptic and grim; there can't be any humor or any romance or anything like that because it's still a game, and you want to be shooting things and having combat."

Now, if you made a game that matched a movie... Let's use a literal example -- let's say you made a game out of Raiders of the Lost Ark. It wouldn't be any fun. Because [gaming's] an active experience; you have to have that interaction of shooting and having combat. On one hand, I almost take it as a compliment, that we've done our characterization so well that people have that potential cognitive dissonance of, "I'm this character, yet I'm doing these things." On the other hand, [sigh] you almost have to take the gameplay as a metaphor. Maybe that's going to sound like a cop-out, but, we want the game to be fun at the end of the day. It's not to be taken seriously. Yes, it's maybe a little bit over-the-top in the sense that when you compare it to a film -- or in our case five or six films because of the length -- you wouldn't have that body count. But it's a different medium, and you almost have to take all of that and say, "we want to keep the tone of that genre that we're trying to match." But if we only had you fight three guys over the course of two hours, you'd say, "this sucks." So I think we need a little bit of slack in regards to that cognitive dissonance. Otherwise, the only kinds of games anybody's going to get are...

Evan Wells: Military.

AH: It's a tricky question, and I'm not sure what the best answer is, because you don't want fewer types of games out there -- you want the variety. And you want the gameplay to be fun between all the story elements.

EW: Without giving away too much, I can safely say that we do call it out -- we do make reference to it.

AH: [Laughs] Sometimes you just have to hang a lantern on these things too, when you're like, "OK, we know this is an issue, so let's let everybody know that we know this is an issue."

1UP: OK, here's an easier question: can you talk about the sources and inspiration for this "modern take on treasure hunting?" A lot of other games tend to cite the same movies -- Aliens,Goodfellas, Scarface and so forth, and I'm curious what atypical influences Uncharted 2 has.

AH: Obviously, we looked at a lot of stuff. When we started Uncharted, we did a ton of research and de-constructed a lot of movies, books, and comics in our genre. You're talking about everything from old adventure serials like Doc Savage to comics like Tintin, or old '30s adventure movies like Gunga Din and serials from the '50s, to adventure movies from the '80s and modern stuff like National Treasure and The Da Vinci Code. There's a lot of stuff -- we watched and read as much as we could, and plucked out the themes that we saw over and over again. Some of them were things that weren't really being taken advantage of in the medium, and a lot of it had to do with the humanization of the character and all that kind of stuff.

One of the main differences, I think, is that some of the movies and things we use for inspiration came out of the fallible hero idea. Which isn't at all new in movies, but is pretty new in games. It's the idea of the sort of "sloppy" combat -- the "sloppy" gunplay, and the "sloppy" hand-to-hand combat. It's not martial arts or tactical SWAT guys or Navy SEAL stuff. It's this guy who probably learned how to fight on the street, and can handle his guns but doesn't really know how to shoot them "right." He's not trained; when he throws a punch he'll throw himself off-balance and he can easily get clocked on the head. There's much more of that scrappy style. Everything has been sort of precise and tactical up to that point. And actually, that created a lot of technical challenges; the only way you have organic sloppiness is by not playing the same animation over and over again. For example, all of Drake's cover animations -- he probably had literally about 150 to 200 cover-taking animations -- whether he was low or high, or how he had his foot angled, and that was all done via a proprietary layered-animation system that we developed.

EW: Think of the effort we put into his run cycle, where he can be running for 60 seconds straight and you won't see the same loop twice. There will always be differences to his gait.

AH: It's one of those things that when done right, nobody notices, but when done wrong, everybody will really notice.

EW: I don't know if this is going to be completely obvious to people as they play though the game, but something that is different this time for Drake is that we beat him up like crazy. You probably can't count on your fingers and toes the number of times he gets completely knocked on his ass or on his head. You play through other video games, and you basically only fall down when you die. Drake is always getting knocked around.

UP: Can you talk about where the story takes Nathan, location-wise?

EW: You start in Turkey, and then go through Borneo, Nepalese cities, and then mountains in Tibet and the Himalayas, and more.

AH: Actually, Nepal and onward are pretty much "in realtime." While early on, and in the last game, there were transition cut-scenes to mark the passage of time between locations. Once you reach Nepal, when it comes time to go to Tibet, you actually play through the journey to Tibet. So we have levels that model the transition between locations.

EW: Let me touch on one of those transition levels: we have you go on a train. In fact, the train fight is the first thing we started with after completing Uncharted. In most games, a train level is simply a stationary area with the background moving all around you. We didn't want that, and we started early on and created enough real estate to have an actual moving train. Once we had the moving train, then we could do the things we wanted in a train level; it could go up hills or twist around bends. A lot of Uncharted 2's systems, like collapsing buildings, came from the train level.

1UP: Away from the nuts-and-bolts stuff: in some of the story elements we've seen so far, there are moments of clearly conflicting ideologies. Does Nathan go through a defined character arc, or will there be some sort of "player choice moment" on occasion?

AH: In the overarching narrative, there's a defined arc. This isn't the kind of game where the narrative would take a different direction based on player choice; that's just a different kind of game. This is the kind of game that definitely has a clear and linear narrative. But within that space, the player chooses how they behave. Now, once we hit the points where we're trying to tell a certain aspect of the story, yes, things are going to play out the same way for everyone, but how they get to that moment might be slightly different.

So their interpretation of that moment may be different based on how they played, if that makes any sense. But, I don't know, we'll see how people respond. I'm always in favor of leaving a lot to inference. I don't like to bang players on the head with a lot of exposition -- especially emotional exposition. I think you just let things play out a bit, and then let people then imply what they like to imply. Obviously, there's a lot of interesting characters in the story that you react to in different ways, and they're all meant to reflect or challenge different aspects of his personality. Part of the story is about making choices: self-sacrificing or altruistic choices versus ones that are purely self-preservational. Obviously, this isn't coming out of a choice-based game system.

1UP: So there's no "Hit Square to go with Elena; hit circle to go with Chloe" moment?

AH: I wouldn't even want to try to make that game. "Here's the end: which girl?" No, it's a little deeper than that. I've said before, this isn't just "angel on one shoulder and devil on the other" -- everyone's written a little bit deeper than that. They all have their own conflicts and character flaws as well, and they're all coming from different places, so it's interesting to see when Drake is pulled in different directions by his allies. I think it'll be more interesting to the player as well, because as Evan showed you [when he demoed the single-player campaign], it's not a question of watching a movie and thinking, "OK, I saw how that played out." Now you're going to play something that then makes you feel, I hope, the emotion that's being carried out in the scene. Like, "OK, I have a dilemma: there's this wounded guy, and how do I deal with this?" And no, the player doesn't have the option to drop him, because we want him to play through this event, but they may be wondering, "Maybe Drake shouldn't have done this; I wonder what the right choice is."

1UP: I really like Eddie Raja from the previous game; hearing him yell at you in Indonesian was a great little surprise. Will there be another foreign language foil for Nathan in Uncharted 2?

AH: Everyone's going to be really surprised by the languages in this game. We have Turks, we have Tibetans, we have Nepalese -- we have hundreds and hundreds of lines all in other languages. One of the main characters in the game is Tenzen -- this guy you meet in Tibet who becomes your partner for a while. The interesting interplay there is that Tenzen doesn't speak English, while Drake doesn't speak Tibetan, and their dialogue plays out that way. We don't subtitle the Tibetan either, so the player is in the same boat as Drake is -- in the "Uh, I have no idea what you're saying." I don't want to say too much about all the characters and the roles they play, but there's a lot of interesting foils in the game.

1UP: Actually, with Tenzen being an ally, along with Chloe and Elena, can you say how many different allies Nathan will have over the course of the game?

EW: Hmm, at least four...

AH: [Mumbling incomprehensible names while counting off with her fingers] At least six.

EW: Six? Who am I forgetting?

AH: I don't want to say; how about "five and a half?"

EW: , OK. I got it.

AH: Five and a half, because there's a dwarf. [Laughs] But seriously, there're also things like situations where you have multiple allies like Chloe and Elena together, or when you're in a defensive position and there're lots of people around, and the fight is more than just you against an army -- you got a bunch of allies with you. But yeah, six.
And here's the thing: when we set off to make this game, we knew our number one thing was to capture that feeling of being in a great action-adventure genre movie that we all love when they come along, contemporize it, make you feel the same feelings you get when you watch them, and then put the controller in the player's hands. The number one thing is humanizing the hero. Not making a cardboard cutout that serves as your avatar in the video game space, but instead making him a living, breathing character with flaws and fears -- someone who can get hurt and all that kind of stuff. Not something you expect to see in a video game.

There's a deliberate reason he was in a t-shirt and jeans in Uncharted. In video games, that was unusual; that was weird. And he had hair. Even though people say, "That's such a generic characterization," I'd say, "Not in this medium. Generic would be space armor and a shaved head." The other thing is: watching a movie, you don't put the protagonist out there with no one to bounce off of. You have to tell a character-driven story to bring your audience in. Video games haven't traditionally done that; it's usually just the sole protagonist charging along. For one, it's hard to have allies on-screen be A.I. controlled and just have that work.
And also, it's a writing challenge; I think we've been a little bit immature in the creative writing of this industry to be honest. How you're supposed to tell a story that's not character-driven, that doesn't reflect off of other characters? I don't know. That's also where I think our wide demographic appeal comes from. Over and over again, we hear that it isn't just popular among the expected demographic -- girlfriends and wives and parents want to see the game. They want to play; they want play it in one sitting just to see what happens next. That's hugely gratifying for us to hear, because that tells us that we've done the character-driven story right. You're not just being propelled along by the visceral need to see what's next, but by the emotional need to see what happens next.

1UP: So have there been features or scenarios that were cut due to not "feeling in character?"

AH: There might be some weaponry that didn't feel "right."

EW: We definitely shied away from doing anything too gadgety or James Bond-like. Stuff that you'd expect to see in a spy thriller; we tried to make sure it stays in the action-adventure genre. Usually, everybody kind of "gets it" here -- not much gets brought up that needs to be shot down.

1UP: Except for that one guy quietly sobbing in the corner.

EW: Sure, like the guy who suggested anti-gravity boots.

AH: Every once in a while, something would come up and we'd go like, "that would be out-of-character or not appropriate for the franchise." Even with the possible cognitive dissonance of saying, "here's a guy who shoots at everything in front of him," there're still certain [lines]. We don't want him to be bloodthirsty -- we could easily go a lot further in terms of making everything gory. We try to keep everything to that "stunt" level of violence; a bit of a cartoony romantic veneer -- and when I say "romantic", I don't mean Cupid-and-hearts, I mean a little bit larger-than-life like when you're watching a stunt show and everyone goes flying in the air like in old Westerns. We try to keep that veneer on it. We don't want it to be like, "wow, that was graphic." It's a fine line that constantly moves and keeps us on our toes.

1UP: So, speaking of him being in t-shirt and jeans, who can claim credit for the whole "half-tuck" phenomenon?

AH: Tim Schafer coined that phrase, right? Because we all love it, and now everybody says "the half-tuck." Of course, credit goes to the character modeler, but I remember a conversation about how you never want your character to be symmetrical. So when you see that he's a guy in t-shirt and jeans, you go, "hmm, we'll have to have something on him to throw the symmetry off." So we have things like the fact that his sleeves aren't pulled up the same way on each arm, his holster was on one side, and his shirt half-tucked-in, to give him some asymmetry. We didn't know how awesome it would look. For this game, now Elena is rocking the half-tuck.

1UP: Is there a conscious effort to tuck his shirt in more often now?

AH: I don't know how conscious of it we were; we definitely knew that even though he does a lot of climbing and jumping, and a shirt wouldn't be tucked-in at all, that we at least want some sort of semi-tuck this time. At least it's more tucked-in for the front than last time, since we have to attach his pouch. It's still half-out in the back.

1UP: So it's official: Nathan Drake's shirt is more tucked-in.

EW: It's a little more than last time. You can notice if you put [the two games] side-by-side.

AH: It's the three-quarter-tuck this time.

1UP: Moving on, we recently saw Gears of War 2 put out a deleted scene as DLC. Would you be interested in doing something similar?

AH: We don't really have deleted scenes; we have altered versions of some scenes that we'll probably include on the disc... [looking at Wells] if you allow us to.

EW: Are you thinking of Lazarevic [the main villain in Uncharted 2] in the...?

AH: Yes. But I mean we have lots of bonus material to include, as long as we can fit them onto the disc.

EW: We're bursting at the seams already.

AH: I didn't think we'd fill a Blu-ray disc, but we do and we did, and we're constantly fighting it now. But DLC is always a possibility.

EW: Yea, but with multiplayer now. We'll probably make DLC multiplayer-focused, but we haven't made a final decision yet.

AH: But we do have lots of outtakes and fun bloopers to include, if we have the room.

1UP: Wait, how long do you have to decide on those outtakes and extras? Shouldn't that be decided soon?

EW: We're actually pretty good at deciding things at the last minute. The bonuses and stuff you unlock is always something you put in the tail end, since the artists get freed up and can start to wrangle the assets. We have already planned more than we had in the last game. It really does just come down to disc space. And of course, you have to wait until the end to make that call, as game content comes first, and if space is tight, the extras are the first to go.

1UP: And you guys are doing a demo, correct?

EW: We have the multiplayer demo starting on September 15 as a two-week exclusive with GameStop initially. So that takes us to the end of September, and then the next two weeks leading up to our launch date -- October 13 -- it will be open to everybody.

1UP: So multiplayer demo, but no single-player one?

EW: Yeah, it's probably not looking like we're going to do one.

AH: It's always tough to do a single-player demo. You can always argue whether it benefits you or not in the long run, because so much of it depends on you understanding where you are in the narrative, and then appreciating what's going on in the single-player demo.

EW: Not to mention that it's a 12-15 hour experience and you have to somehow collapse that into 15 minutes. I mean, we have something like hundreds of moves to train you over several hours, and if you just drop somebody into the fire...

AH: It's hard to take a slice. But what's nice is that multiplayer actually gives you that, "if you're enjoying this gameplay, you're going to enjoy single-player gameplay," which is certainly a benefit that we didn't have last time.

EW: You certainly get to see the quality of the graphics and animation. So yea, the multiplayer demo is the only one we've got.

1UP: Hmm, it seems like it might be more intimidating to just drop a player into multiplayer though.

EW: Well, I think it's about different levels of expectation. Because in single-player, you want the story and the adventure, and you want to experience the narrative. If you're only taking a slice of that, you haven't developed the attachment to the characters; you haven't developed the motivations these characters have; all the stuff Amy was talking about. These are all critical parts of the experience; people just sit down [and finish the game] in one or two sittings because they get engrossed in the environment. If you just plunk any 15 minutes out of the game, it's not going to be the same.

AH: We sort of got that anecdotally from the first demo. Some people loved it; some people thought, "eh." I read over and over people saying, "Oh yeah, I played the demo and I didn't think much about it, but I bought the game and it's the best game ever and I love it to pieces." And, well, how do you solve that? A 15 minute slice just doesn't give you all that. I'd rather have people play the multiplayer, get the feel for the mechanics, and then look at the game, and think, "Yeah, I want to see the single-player experience." Yeah, I think we're giving people a lot of value for their money.

EW: The game is enormous; the first one just looks like child's play.

AH: It's a longer single-player experience.

EW: Significantly longer single-player. We've got competitive and cooperative multiplayer. We've got 90 minutes of cinematics compared to 50.

AH: It's literally a feature-length film, with fully-fleshed out multiplayer and co-op experiences. That's why we all look so tired.

Uncharted 2: Among Thieves Single-Player Developer Interview

Naughty Dog is in full-on crunch mode for Uncharted 2: Among Thieves. "Last Sunday was my first day off, and we've been working seven-day weeks since Christmas," notes creative director Amy Hennig. When I sit down in co-president Evan Wells' office to play some Gold Rush, I notice something I don't usually see on an executive's desk: a pile of empty Mountain Dew cans. Yet despite the long days of testing and polishing and tuning, both of them took the time to sit down and talk about the themes, inspirations, and goals for Uncharted 2.



1UP: OK, first off: Should we consider Nathan Drake to be a sociopath? I ask this because I realized that while I was playing Uncharted, it felt odd that he would be this charming everyman kind of guy, but he also killed about 400 guys by the time the game was done, and it's just something that's been in the back of my mind that I can finally ask...

Amy Hennig: Yeah, it's funny -- it's actually a dilemma that we're going to face more in this medium now that characters are getting more well-rendered -- I mean in all forms, not just visual rendering -- in characterization, in acting, the performances, and all that stuff. I've heard some people refer to this as a sort of "uncanny valley of characterization." I'm not sure how we deal with it in the industry. Because you don't want to constrain yourself to saying, "well, we can only tell certain kinds of stories and games, and it's all got to be soldiers; they've all got to be hard-bitten, and it's all going to be post-apocalyptic and grim; there can't be any humor or any romance or anything like that because it's still a game, and you want to be shooting things and having combat."

Now, if you made a game that matched a movie... Let's use a literal example -- let's say you made a game out of Raiders of the Lost Ark. It wouldn't be any fun. Because [gaming's] an active experience; you have to have that interaction of shooting and having combat. On one hand, I almost take it as a compliment, that we've done our characterization so well that people have that potential cognitive dissonance of, "I'm this character, yet I'm doing these things." On the other hand, [sigh] you almost have to take the gameplay as a metaphor. Maybe that's going to sound like a cop-out, but, we want the game to be fun at the end of the day. It's not to be taken seriously. Yes, it's maybe a little bit over-the-top in the sense that when you compare it to a film -- or in our case five or six films because of the length -- you wouldn't have that body count. But it's a different medium, and you almost have to take all of that and say, "we want to keep the tone of that genre that we're trying to match." But if we only had you fight three guys over the course of two hours, you'd say, "this sucks." So I think we need a little bit of slack in regards to that cognitive dissonance. Otherwise, the only kinds of games anybody's going to get are...

Evan Wells: Military.

AH: It's a tricky question, and I'm not sure what the best answer is, because you don't want fewer types of games out there -- you want the variety. And you want the gameplay to be fun between all the story elements.

EW:Without giving away too much, I can safely say that we do call it out -- we do make reference to it.

AH: [Laughs] Sometimes you just have to hang a lantern on these things too, when you're like, "OK, we know this is an issue, so let's let everybody know that we know this is an issue."



1UP: OK, here's an easier question: can you talk about the sources and inspiration for this "modern take on treasure hunting?" A lot of other games tend to cite the same movies -- Aliens, Goodfellas, Scarface and so forth, and I'm curious what atypical influences Uncharted 2 has.

AH: Obviously, we looked at a lot of stuff. When we started Uncharted, we did a ton of research and de-constructed a lot of movies, books, and comics in our genre. You're talking about everything from old adventure serials like Doc Savage to comics like Tintin, or old '30s adventure movies like Gunga Din and serials from the '50s, to adventure movies from the '80s and modern stuff like National Treasure and The Da Vinci Code. There's a lot of stuff -- we watched and read as much as we could, and plucked out the themes that we saw over and over again. Some of them were things that weren't really being taken advantage of in the medium, and a lot of it had to do with the humanization of the character and all that kind of stuff.

One of the main differences, I think, is that some of the movies and things we use for inspiration came out of the fallible hero idea. Which isn't at all new in movies, but is pretty new in games. It's the idea of the sort of "sloppy" combat -- the "sloppy" gunplay, and the "sloppy" hand-to-hand combat. It's not martial arts or tactical SWAT guys or Navy SEAL stuff. It's this guy who probably learned how to fight on the street, and can handle his guns but doesn't really know how to shoot them "right." He's not trained; when he throws a punch he'll throw himself off-balance and he can easily get clocked on the head. There's much more of that scrappy style. Everything has been sort of precise and tactical up to that point. And actually, that created a lot of technical challenges; the only way you have organic sloppiness is by not playing the same animation over and over again. For example, all of Drake's cover animations -- he probably had literally about 150 to 200 cover-taking animations -- whether he was low or high, or how he had his foot angled, and that was all done via a proprietary layered-animation system that we developed.

EW: Think of the effort we put into his run cycle, where he can be running for 60 seconds straight and you won't see the same loop twice. There will always be differences to his gait.

AH: It's one of those things that when done right, nobody notices, but when done wrong, everybody will really notice.

EW: I don't know if this is going to be completely obvious to people as they play though the game, but something that is different this time for Drake is that we beat him up like crazy. You probably can't count on your fingers and toes the number of times he gets completely knocked on his ass or on his head. You play through other video games, and you basically only fall down when you die. Drake is always getting knocked around.

1UP: Can you talk about where the story takes Nathan, location-wise?

EW: You start in Turkey, and then go through Borneo, Nepalese cities, and then mountains in Tibet and the Himalayas, and more.

AH: Actually, Nepal and onward are pretty much "in realtime." While early on, and in the last game, there were transition cut-scenes to mark the passage of time between locations. Once you reach Nepal, when it comes time to go to Tibet, you actually play through the journey to Tibet. So we have levels that model the transition between locations.

EW: Let me touch on one of those transition levels: we have you go on a train. In fact, the train fight is the first thing we started with after completing Uncharted. In most games, a train level is simply a stationary area with the background moving all around you. We didn't want that, and we started early on and created enough real estate to have an actual moving train. Once we had the moving train, then we could do the things we wanted in a train level; it could go up hills or twist around bends. A lot of Uncharted 2's systems, like collapsing buildings, came from the train level.



1UP: Away from the nuts-and-bolts stuff: in some of the story elements we've seen so far, there are moments of clearly conflicting ideologies. Does Nathan go through a defined character arc, or will there be some sort of "player choice moment" on occasion?

AH: In the overarching narrative, there's a defined arc. This isn't the kind of game where the narrative would take a different direction based on player choice; that's just a different kind of game. This is the kind of game that definitely has a clear and linear narrative. But within that space, the player chooses how they behave. Now, once we hit the points where we're trying to tell a certain aspect of the story, yes, things are going to play out the same way for everyone, but how they get to that moment might be slightly different.

So their interpretation of that moment may be different based on how they played, if that makes any sense. But, I don't know, we'll see how people respond. I'm always in favor of leaving a lot to inference. I don't like to bang players on the head with a lot of exposition -- especially emotional exposition. I think you just let things play out a bit, and then let people then imply what they like to imply. Obviously, there's a lot of interesting characters in the story that you react to in different ways, and they're all meant to reflect or challenge different aspects of his personality. Part of the story is about making choices: self-sacrificing or altruistic choices versus ones that are purely self-preservational. Obviously, this isn't coming out of a choice-based game system.



1UP: So there's no "Hit Square to go with Elena; hit circle to go with Chloe" moment?

AH: I wouldn't even want to try to make that game. "Here's the end: which girl?" No, it's a little deeper than that. I've said before, this isn't just "angel on one shoulder and devil on the other" -- everyone's written a little bit deeper than that. They all have their own conflicts and character flaws as well, and they're all coming from different places, so it's interesting to see when Drake is pulled in different directions by his allies. I think it'll be more interesting to the player as well, because as Evan showed you [when he demoed the single-player campaign], it's not a question of watching a movie and thinking, "OK, I saw how that played out." Now you're going to play something that then makes you feel, I hope, the emotion that's being carried out in the scene. Like, "OK, I have a dilemma: there's this wounded guy, and how do I deal with this?" And no, the player doesn't have the option to drop him, because we want him to play through this event, but they may be wondering, "Maybe Drake shouldn't have done this; I wonder what the right choice is."

1UP: I really like Eddie Raja from the previous game; hearing him yell at you in Indonesian was a great little surprise. Will there be another foreign language foil for Nathan in Uncharted 2?

AH: Everyone's going to be really surprised by the languages in this game. We have Turks, we have Tibetans, we have Nepalese -- we have hundreds and hundreds of lines all in other languages. One of the main characters in the game is Tenzen -- this guy you meet in Tibet who becomes your partner for a while. The interesting interplay there is that Tenzen doesn't speak English, while Drake doesn't speak Tibetan, and their dialogue plays out that way. We don't subtitle the Tibetan either, so the player is in the same boat as Drake is -- in the "Uh, I have no idea what you're saying." I don't want to say too much about all the characters and the roles they play, but there's a lot of interesting foils in the game.



1UP: Actually, with Tenzen being an ally, along with Chloe and Elena, can you say how many different allies Nathan will have over the course of the game?

EW: Hmm, at least four...

AH: [Mumbling incomprehensible names while counting off with her fingers] At least six.

EW: Six? Who am I forgetting?

AH: I don't want to say; how about "five and a half?"

EW: , OK. I got it.

AH: Five and a half, because there's a dwarf. [Laughs] But seriously, there're also things like situations where you have multiple allies like Chloe and Elena together, or when you're in a defensive position and there're lots of people around, and the fight is more than just you against an army -- you got a bunch of allies with you. But yeah, six.

And here's the thing: when we set off to make this game, we knew our number one thing was to capture that feeling of being in a great action-adventure genre movie that we all love when they come along, contemporize it, make you feel the same feelings you get when you watch them, and then put the controller in the player's hands. The number one thing is humanizing the hero. Not making a cardboard cutout that serves as your avatar in the video game space, but instead making him a living, breathing character with flaws and fears -- someone who can get hurt and all that kind of stuff. Not something you expect to see in a video game.

There's a deliberate reason he was in a t-shirt and jeans in Uncharted. In video games, that was unusual; that was weird. And he had hair. Even though people say, "That's such a generic characterization," I'd say, "Not in this medium. Generic would be space armor and a shaved head." The other thing is: watching a movie, you don't put the protagonist out there with no one to bounce off of. You have to tell a character-driven story to bring your audience in. Video games haven't traditionally done that; it's usually just the sole protagonist charging along. For one, it's hard to have allies on-screen be A.I. controlled and just have that work.

And also, it's a writing challenge; I think we've been a little bit immature in the creative writing of this industry to be honest. How you're supposed to tell a story that's not character-driven, that doesn't reflect off of other characters? I don't know. That's also where I think our wide demographic appeal comes from. Over and over again, we hear that it isn't just popular among the expected demographic -- girlfriends and wives and parents want to see the game. They want to play; they want play it in one sitting just to see what happens next. That's hugely gratifying for us to hear, because that tells us that we've done the character-driven story right. You're not just being propelled along by the visceral need to see what's next, but by the emotional need to see what happens next.



1UP: So have there been features or scenarios that were cut due to not "feeling in character?"

AH: There might be some weaponry that didn't feel "right."

EW: We definitely shied away from doing anything too gadgety or James Bond-like. Stuff that you'd expect to see in a spy thriller; we tried to make sure it stays in the action-adventure genre. Usually, everybody kind of "gets it" here -- not much gets brought up that needs to be shot down.

1UP: Except for that one guy quietly sobbing in the corner.

EW: Sure, like the guy who suggested anti-gravity boots.

AH: Every once in a while, something would come up and we'd go like, "that would be out-of-character or not appropriate for the franchise." Even with the possible cognitive dissonance of saying, "here's a guy who shoots at everything in front of him," there're still certain [lines]. We don't want him to be bloodthirsty -- we could easily go a lot further in terms of making everything gory. We try to keep everything to that "stunt" level of violence; a bit of a cartoony romantic veneer -- and when I say "romantic", I don't mean Cupid-and-hearts, I mean a little bit larger-than-life like when you're watching a stunt show and everyone goes flying in the air like in old Westerns. We try to keep that veneer on it. We don't want it to be like, "wow, that was graphic." It's a fine line that constantly moves and keeps us on our toes.

1UP: So, speaking of him being in t-shirt and jeans, who can claim credit for the whole "half-tuck" phenomenon?

AH: Tim Schafer coined that phrase, right? Because we all love it, and now everybody says "the half-tuck." Of course, credit goes to the character modeler, but I remember a conversation about how you never want your character to be symmetrical. So when you see that he's a guy in t-shirt and jeans, you go, "hmm, we'll have to have something on him to throw the symmetry off." So we have things like the fact that his sleeves aren't pulled up the same way on each arm, his holster was on one side, and his shirt half-tucked-in, to give him some asymmetry. We didn't know how awesome it would look. For this game, now Elena is rocking the half-tuck.

1UP: Is there a conscious effort to tuck his shirt in more often now?

AH: I don't know how conscious of it we were; we definitely knew that even though he does a lot of climbing and jumping, and a shirt wouldn't be tucked-in at all, that we at least want some sort of semi-tuck this time. At least it's more tucked-in for the front than last time, since we have to attach his pouch. It's still half-out in the back.

1UP: So it's official: Nathan Drake's shirt is more tucked-in.

EW: It's a little more than last time. You can notice if you put [the two games] side-by-side.

AH: It's the three-quarter-tuck this time.



1UP: Moving on, we recently saw Gears of War 2 put out a deleted scene as DLC. Would you be interested in doing something similar?

AH: We don't really have deleted scenes; we have altered versions of some scenes that we'll probably include on the disc... [looking at Wells] if you allow us to.

EW: Are you thinking of Lazarevic [the main villain in Uncharted 2] in the...?

AH: Yes. But I mean we have lots of bonus material to include, as long as we can fit them onto the disc.

EW: We're bursting at the seams already.

AH: I didn't think we'd fill a Blu-ray disc, but we do and we did, and we're constantly fighting it now. But DLC is always a possibility.

EW: Yea, but with multiplayer now. We'll probably make DLC multiplayer-focused, but we haven't made a final decision yet.

AH: But we do have lots of outtakes and fun bloopers to include, if we have the room.

1UP: Wait, how long do you have to decide on those outtakes and extras? Shouldn't that be decided soon?

EW: We're actually pretty good at deciding things at the last minute. The bonuses and stuff you unlock is always something you put in the tail end, since the artists get freed up and can start to wrangle the assets. We have already planned more than we had in the last game. It really does just come down to disc space. And of course, you have to wait until the end to make that call, as game content comes first, and if space is tight, the extras are the first to go.



1UP: And you guys are doing a demo, correct?

EW: We have the multiplayer demo starting on September 15 as a two-week exclusive with GameStop initially. So that takes us to the end of September, and then the next two weeks leading up to our launch date -- October 13 -- it will be open to everybody.

1UP: So multiplayer demo, but no single-player one?

EW:Yeah, it's probably not looking like we're going to do one.

AH: It's always tough to do a single-player demo. You can always argue whether it benefits you or not in the long run, because so much of it depends on you understanding where you are in the narrative, and then appreciating what's going on in the single-player demo.

EW: Not to mention that it's a 12-15 hour experience and you have to somehow collapse that into 15 minutes. I mean, we have something like hundreds of moves to train you over several hours, and if you just drop somebody into the fire...

AH: It's hard to take a slice. But what's nice is that multiplayer actually gives you that, "if you're enjoying this gameplay, you're going to enjoy single-player gameplay," which is certainly a benefit that we didn't have last time.

EW: You certainly get to see the quality of the graphics and animation. So yea, the multiplayer demo is the only one we've got.



1UP: Hmm, it seems like it might be more intimidating to just drop a player into multiplayer though.

EW: Well, I think it's about different levels of expectation. Because in single-player, you want the story and the adventure, and you want to experience the narrative. If you're only taking a slice of that, you haven't developed the attachment to the characters; you haven't developed the motivations these characters have; all the stuff Amy was talking about. These are all critical parts of the experience; people just sit down [and finish the game] in one or two sittings because they get engrossed in the environment. If you just plunk any 15 minutes out of the game, it's not going to be the same.

AH: We sort of got that anecdotally from the first demo. Some people loved it; some people thought, "eh." I read over and over people saying, "Oh yeah, I played the demo and I didn't think much about it, but I bought the game and it's the best game ever and I love it to pieces." And, well, how do you solve that? A 15 minute slice just doesn't give you all that. I'd rather have people play the multiplayer, get the feel for the mechanics, and then look at the game, and think, "Yeah, I want to see the single-player experience." Yeah, I think we're giving people a lot of value for their money.

EW: The game is enormous; the first one just looks like child's play.

AH: It's a longer single-player experience.

EW: Significantly longer single-player. We've got competitive and cooperative multiplayer. We've got 90 minutes of cinematics compared to 50.

AH: It's literally a feature-length film, with fully-fleshed out multiplayer and co-op experiences. That's why we all look so tired.

Joanastic escribió:Fidillo, como diría Aznar..."estaba trabajando en ello"

fidillo escribió:Maldito, ayer me adelantaste justamente por 3 minutos tambien xDDDD

Yo esque no uso RSS ni nada, y quizas por eso siempre te me adelantas xDDDD

Lewis-Angelo escribió:

onyvla escribió:

¿soy el único que ha tocado la pantalla del ordenador cuando vi esta imagen?

Evan: We have the multiplayer demo starting on September 15 as a two-week exclusive with GameStop initially. So that takes us to the end of September, and then the next two weeks leading up to our launch date -- October 13 -- it will be open to everybody.

Evan: Yeah, it's probably not looking like we're going to do one.

Amy: It's always tough to do a single-player demo. You can always argue whether it benefits you or not in the long run, because so much of it depends on you understanding where you are in the narrative, and then appreciating what's going on in the single-player demo

Evan: The game is enormous; the first one just looks like child's play.

Amy: It's a longer single-player experience.

Evan: Significantly longer single-player. We've got competitive and cooperative multiplayer. We've got 90 minutes of cinematics compared to 50.

Amy: It's literally a feature-length film, with fully-fleshed out multiplayer and co-op experiences. That's why we all look so tired.

Amy: We don't really have deleted scenes; we have altered versions of some scenes that we'll probably include on the disc... [looking at Wells] if you allow us to.

Evan: Are you thinking of Lazarevic [the main villain in Uncharted 2] in the...?

Amy: Yes. But I mean we have lots of bonus material to include, as long as we can fit them onto the disc.

Evan: We're bursting at the seams already.

Amy: I didn't think we'd fill a Blu-ray disc, but we do and we did, and we're constantly fighting it now. But DLC is always a possibility.

Evan: Yea, but with multiplayer now. We'll probably make DLC multiplayer-focused, but we haven't made a final decision yet.

Amy: But we do have lots of outtakes and fun bloopers to include, if we have the room.

Evan: Hmm, at least four...

Amy: [Mumbling incomprehensible names while counting off with her fingers] At least six.

Evan: Six? Who am I forgetting?

Amy: I don't want to say; how about "five and a half?"

Evan: , OK. I got it.

Amy: Five and a half, because there's a dwarf. [Laughs] But seriously, there're also things like situations where you have multiple allies like Chloe and Elena together, or when you're in a defensive position and there're lots of people around, and the fight is more than just you against an army -- you got a bunch of allies with you. But yeah, six.

Evan: Everyone's going to be really surprised by the languages in this game. We have Turks, we have Tibetans, we have Nepalese -- we have hundreds and hundreds of lines all in other languages. One of the main characters in the game is Tenzen -- this guy you meet in Tibet who becomes your partner for a while. The interesting interplay there is that Tenzen doesn't speak English, while Drake doesn't speak Tibetan, and their dialogue plays out that way. We don't subtitle the Tibetan either, so the player is in the same boat as Drake is -- in the "Uh, I have no idea what you're saying." I don't want to say too much about all the characters and the roles they play, but there's a lot of interesting foils in the game.

Evan: You start in Turkey, and then go through Borneo, Nepalese cities, and then mountains in Tibet and the Himalayas, and more.

Amy: Actually, Nepal and onward are pretty much "in realtime." While early on, and in the last game, there were transition cut-scenes to mark the passage of time between locations. Once you reach Nepal, when it comes time to go to Tibet, you actually play through the journey to Tibet. So we have levels that model the transition between locations.

Joanastic escribió: Antaño ese tipo de escenas se hacía con un tren fijo y un escenario que se movía dando la sensación de movimiento en el ferrocarril. En este caso no: el tren se mueve y el escenario se queda inmóvil (hypeeeeeeee).

fidillo escribió:

Joanastic escribió: Antaño ese tipo de escenas se hacía con un tren fijo y un escenario que se movía dando la sensación de movimiento en el ferrocarril. En este caso no: el tren se mueve y el escenario se queda inmóvil (hypeeeeeeee).

No querrias decir que el tren se mueve y el escenario tambien? Esque me es incomprensible pensar que el tren se mueve y ver un escenario que no se mueve, es decir, si nos basamos en las ultimas fotos del tren vistas anteayer, no me imagino esos arboles parados mientras se mueve el tren...

Digo yo que esos arboles los veras en la lejania y veras como se acercan no? Todo esto pues con buenos efectos, con sus sombras y movimiento en las ojas.

Salu2