Issue link: https://digital.copcomm.com/i/1436283
60 I m ps e . o rg systems were different. All the technology that went through to get the dialogue to sound different and more "in the world" using this propagation system that Jonathan built, was necessary. Many things were the same, but so many things were different. We used the same engine, the SCREAM engine from Sony and Jonathan's metadata. It's incredibly flexible and you can make some really awesome stuff in there, but you really have to know what you're doing and how those all fit together because audio at Naughty Dog touches every single system in that game to get all the data, and get it to work in some intelligent way where we can get away with data- driven systems that actually work as behaviors should work to mix themselves. It was a different approach to tone that was the biggest thing. Bruce and I had a lot of conversations about where we would go because we knew we were going to cross the streams. We didn't know how crazy it was going to get with finishing Uncharted 3 versus getting into The Last of Us. Bruce was very significant in one of the most influential levels, the opening level in The Last of Us. It was an amazing bridging moment for all those aesthetics to come together. BS: Yeah, Neil Druckmann and Bruce Straley made it clear from the very beginning of The Last of Us that audio was a significant component of how to tell that. So of course, Jonathan, Phil, and both of you guys drove that progression. I was a little resistant because Jonathan wanted to plug those systems in globally. They added a whole lot of tools and features that were not in the Uncharted games. The Uncharted games were quaint comparatively. Toward the end, we had been in pre-production and early production on Uncharted 4: A Thief's End and they said, "Hey everybody, quit what you're doing and run to the other side of the ship." So we did that, and for a few months, everybody chucked in there and did what they could, and the game turned out incredible. And the rest is history. But Phil, you definitely led the way on that thing. PK: Rob had significant input on the end of Uncharted 3, but we brought in Rob on The Last of Us as well. He was a significant technical sound designer and creative sound designer on that project, making sure that all the systems were working in tandem and that there was a connection between all the different levels and how things worked. Ellie and Joel stealthily evade enemies in The Last of Us.