It required different versions of the final battle, depending on how you navigated those parts of the story path. Wyatt: The final battle in the path where you chase all the villains was a real challenge, because on certain paths you've caught some of them already, so we had to keep track of which villains were still free, on the streets, and available for everyone to fight in the end. What was the trickiest path to navigate, storywise? Joonki Park, Chris Rutkowski, Sofia Alexander, Jae Kim, Adam Van Wyk, Alan Lau, Brad Rau, Brandon McKinney and all the storyboard artists did a fantastic job staging it, and choregraphing the action. I am proud of the entire interactive and the hard work the whole crew put into it.
I encourage everyone to watch the end credits. The rest of the end credits feature multiple images of a lot of new cool art from the show with a medley of many of the show’s music themes. We actually start the END credits with our main title sequence that features an important visual cast change-up. But we did create an extra long END credit sequence. It felt too upbeat considering how season one ended.
There were technical aspects with the choice points we never had on a regular episode that Netflix worked closely with us to make work.Īnother thing different from a regular episode is we decided to not start the interactive with the main title sequence. The interactive was a bit of a challenge to record because it wasn’t as sequential as a regular episode and couldn’t be done in one day. Voice Director Collette Sunderman did an amazing job tracking the needs of each sequence while guiding the actors. Scott Menville, Ogie Banks, Steven Yeun, Nazneen Contractor, Kate Mulgrew, Keith David, Wil Wheaton and the other actors were up for the challenge and delivered stellar performances. Our composers, The Outfit, did it in a way that sounded great! We couldn’t start music right at the start of a sequence and it could not go completely to the end of a sequence. The music score had to be done a little bit differently for the interactive than a regular episode. We also assigned the storyboard artists similarly, this helped each sequence hook up. For example, one would oversee all the Smoke Stack disco scenes, another all the Circuit Stream arcade scenes, another the Rook Tower scenes, another the Multifarious construction site scenes etc.
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Cook: From a directing point of view, this was quite a production challenge to piece it all together. Because some of the paths had similar parts, it felt like working on the movie Groundhog Day. Figuring out who was going to storyboard and animate which section was like figuring out how to get a Rubik's Cube's colors to line up!īasically, myself and each sequence director, Kevin Altieri, Alan Caldwell, and Frank Paur handled an environment and villain.
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