Core Game Design May 13th 2004
Incredible Hulk Core Game Design
Copyright 2004 Radical Entertainment A Vivendi Universal Company Do not distribute without prior written permission.
Incredible Hulk Core Game Design Copyright 2004 Radical Entertainment

Table Of Contents

2Hulk Game Design....6
2.1Game Analysis.... 7 2.2Game Concept..... 7 2.3Game Goals..... 7 2.4The Incredible Hulk What It Is and What It Isnt... 7 2.4.1The Incredible Hulk Is.... 7 2.4.2The Incredible Hulk Isnt.... 8 2.5Game Genre..... 9 2.6Brand Analysis.... 9 2.7Target Market..... 9 2.8Competitive Analysis.... 10 2.9Gameplay Direction.... 11
3Proposed Features for The Incredible Hulk...12
3.1Feature Summary..... 12
4Game Design Elements and Terminology...13
4.1Design Terminology.... 13 4.2Game Missions.... 14 4.2.1Primary Mission Objectives... 14 4.2.2Secondary Mission Objectives.... 14 4.2.3Mission Acquisition.... 15 4.2.4Samsons Hypnotically Implanted Suggestions... 16 4.3Story Overview.... 17 4.3.1High Level Story Summary.... 17 4.4The Church - Banners Lab.... 18 4.4.1Jump Markers, Jumping Between Church and Maps... 18 4.4.2Banners Machine..... 18 4.5Transformation to Hulk: The Prep Tool... 19 4.5.1Initiation Sequence - From Banners Briefing to Hulk Gameplay.. 19 4.6Banner is not playable..... 20 4.7Collectibles..... 21 4.7.1Health Collectible.... 21 4.7.2Rage Collectible.... 21 4.7.3Experience Collectible.... 21 4.7.4Comic Book Collectible.... 21 4.7.5Gift New Move Collectible.... 22 4.8Feature Characters..... 23 4.8.1Savage Hulk.... 23 4.8.2Bruce Banner..... 23 4.8.3Bonus Character - Grey Hulk a.k.a Joe Fixit... 24 4.9Game Missions.... 25 4.9.1Game Length..... 25 4.9.2Mission Selection.... 25 4.10Front End..... 26 4.10.1Full Front End Flow.... 26 4.11Loading and Saving.... 26 4.11.1Saving Points..... 26 4.11.2Saved Data.... 26 4.12Difficulty Settings.... 27 4.13Pause Menu.... 28

1 HULK GAME DESIGN

Youre like a bomb, and when you go off, buildings catch fire, people die. All thatthats you, Bruce Banner. Youre a big green time bomb. Ticking - Dr. Bruce Banner HULK: THE DOGS OF WAR
THE INCREDIBLE HULK - ACTION ON THE RICHTER SCALE!
SMASH: ALL THE POWER OF THE HULK Jump anywhere, Climb anything, Smash EVERYTHING! You are The Strongest One There Is! Make your own Hulk-powered weapons from anything you can rip out of the world. No other superhero game comes close to the awesome experience of being THE INCREDIBLE HULK!
INCREDIBLE: GAMEPLAY DEPTH AND VARIETY The player controls the pace of the game experience. Use un-lockable moves, custom upgrade paths, to achieve hugely varied missions, or explore free-roaming non-mission game play: all adding to a deep and varied game play experience.
INTENSE: TICKING TIME BOMB STORY Bruce Banner is a ticking time bomb trapped in a race to save himself and the City from both the monstrous Abomination and the Devil Hulk that lurks within him. Immerse yourself in a story written by Hulk comic writer Paul Jenkins. This is an explosive adventure that delivers the AUTHENTIC HULK EXPERIENCE.
RAMPAGE: IN THE REAL WORLD HULK HAS COME TO TOWN! Civilians flee in terror! Hulk uses his amazing powers to fight the enemy on city streets, across rooftops and through neighborhoods. He wields enormous objects, battles legions of amazing enemies and powerful vehicles, smashes major structures and confronts fantastic bosses. Every mission is in the world YOU recognize! Incredible Hulk Core Game Design Copyright 2004 Radical Entertainment 4

1.1 Game Analysis

The Incredible Hulk is an action adventure game based on the Marvel Comics property The Incredible Hulk. Note: The Incredible Hulk will sometimes be shortened to TIH within this document. Note: This is a preliminary document and some sections contain overviews as opposed to detailed design. The detailed information is to be completed as we continue through the design process.

1.2 Game Concept

The Incredible Hulk is an action game with aspects of a player-driven experience and limited non-linear elements that deliver all of the power, rage and freedom that the Hulk I.P. promises. The game features a mission-based structure based around missions generally obtained as Bruce Banner and executed with the player always as The Hulk.

1.3 Game Goals

Consumer expectations: Third generation PS2 game that leverage all the abilities that Hulk fans expect, and more. Delivering The Complete Hulk Experience: A game that answers all valid shortcomings of the first game and goes far beyond consumer expectations. Create a benchmark superhero title that defines the Hulk experience: smashing through expectations and blowing people away with gameplay on a scale you cant get anywhere else. Positioning the Hulk Franchise: Position the Hulk franchise as THE must-have system selling title for the next generation of videogame hardware. Defining Experience: Creating a world that makes the player feel as if they have the POWER of the Hulk. The environments should be littered with interactive objects that can be used as weapons or destroyed for ambient effect. Rage: DELIVERING a story that makes the player FEEL the RAGE of the Hulk. Structure and Direction: Creating a game structure and environment that allows the player to capitalize on the startling FREEDOM of being this incredible character.
1.4 The Incredible Hulk What It Is and What It Isnt
1.4.1 The Incredible Hulk Is
o Breathtaking street-based Hulk combat: The meat and potatoes of The Incredible Hulk is urban combat where the player is the mightiest mortal on Earth. Hulk takes to city streets and battles soldiers, tanks, helicopters and fantastic technological enemies. Beyond the technology of today we also introduce other fantastic vehicles and enemies via the anti-gamma Division, a group with technology designed to combat super powered characters such as The Hulk.
Hulk is a much more powerful character than the original Hulk game: Nothing Hulk does is trite, shockwaves are larger than before, knockback is bigger, moves more powerful, Hulk moves faster, Hulk is equipped with many new powerful moves and abilities. Hulk is a direct, immediate game: There is no room for subtlety. The Incredible Hulk is fast moving, loud, obvious and brash. If anything in the game isnt any of these things, its going to get missedso why bother with it? The only place for subtlety is in non-interactive sequences, which is a great opportunity to focus on parts of the Hulk experience not seen in gameplay. The Incredible Hulk is about spoon-feeding the player opportunities for fun: We must build layers and layers of gameplay to keep the player coming back. The immediate fun comes from Hulks powers and control system. The medium-term fun comes from exploration of real estate and gameplay contentseeing new real estate and new enemies. The long-term fun comes from the story and player upgrades throughout the adventure. If someone suggests an idea or attempts to implement a feature thats not fun for the player, then question the idea. Find a way to make it fun, or remove it. A broad experience: Hulk does not always live in the heat of battle. Hulk flees, rests, terrorizes, travels, transports, protects, chasesand, of course, he battles his enemies.

1.4.2 The Incredible Hulk Isnt
o About small, intimate places: The Incredible Hulk deals with large locations, not those below our desired level of granularity like a corporate boardroom, a living room, or a hotel room. Hulks world is not about the intimate, but the epic. The world is defined in broad strokes. About trite events: The Incredible Hulk deals exclusively with significant events nothing Hulk does escapes a newspaper headline. Hulk is a creature hunted by an oppressive government and challenged by supremely powerful bosses. o HULK does: Slam a bunch of soldiers through a storefront Wreck entire express trains with only his bare hands Grab hold of helicopter gunships and pummel them until the flaming wrecks spirals toward the ground - then jump clear across five city blocks Grab cruise missiles and toss them around like javelins Kick a Toyota 4-runner across the street as if it was a cardboard box Flatten a Ford Mustang and use the pancake as a shield Interfaces with the world primarily by SMASHING! Show that he is a noble character. The key to the I.P. is this: if Hulk is offered the chance to do a good or a bad thing, Hulk chooses good. But if he has no choice, its perfectly okay to do the bad thing! o HULK does not. Think hard 6
Reason well Show significant communication skills Stop fiendish bank robberies Save sobbing children from burning buildings Rescue meowing kittens from trees Strategize beyond the short-term
Hulk is not a deep thinker: Hulk is primarily a reactive character. Any events, missions or stories must be EXTREMELY OBVIOUS to the character. Hulk doesnt listen to the radio or the police band; he reacts to the here and now. Even getting the big green guy to achieve mission objectives is going to have to be treated very carefully to avoid disrupting the I.P. This Hulk game is not a Marvel Universe adventure: We are aligned with but not a part of traditional Marvel continuity. While we should not contradict Marvel content, we will not feature any. What this means is that we wont feature or mention Spiderman or other Marvel heroes, but we shouldnt specifically create a continuity that makes Spidermans existence in this world impossible.

1.5 Game Genre

The Incredible Hulk is a third-person action adventure game featuring destructive, highadrenaline combat and action. The game is to be developed for the PS2, Xbox and Gamecube platforms.

1.6 Brand Analysis

The game is based on the Hulk comic book character and the legacy of his world. Staying true to the themes of the comic, the game follows the inner conflict between Bruce Banner and multiple Hulk personalities. The game makes every effort to preserve the presentation; style and themes fans have come to expect from both the character and the comic genre and overdeliver on those expectations.

1.7 Target Market

The main target market is 12-24 year olds who are casual gamers. This game is mass-market: and the primary goal is to appeal to casual gamers who enjoy action/adventure games. Our focus will be on the 13 to 17 year olds, but we will layer content to interest those beyond this age group. The Incredible Hulk will appeal to a much larger demographic than comic book fans, hardcore gamers, or Hulk movie fans. Therefore, the game must be FUN, have an intuitive, accessible control system that gives people an immediate cool factor, as well as easily understood game structure and fast pacing, to provide a sense of empowerment and create the illusion that the player IS the Hulk.
Our goals DO NOT include: an overly complex control scheme and structure; super-long play times; extreme difficulty; slavish devotion to the comic or movie back-story. The game aligns itself with the comic property, but does not contradict the continuity of the movie, in order to avoid any problems with people who have seen the film but have no exposure to the comic. We aim to satisfy the hardcore Marvel fan by layering comic book references into the game, unobtrusively. This will generate positive word of mouth for the game among its strong fanbase.

1.8 Competitive Analysis

Competition in the action-adventure genre is fierce. Radical is highly aggressive about developing a cutting-edge action-adventure game. Part of our development process involves creating and continually updating a competitive analysis plan as well as staying abreast of features implemented in the action-adventure genre. Competitive franchises: o Spider-Man o Matrix o Metal Gear Solid o Devil May Cry o X-Men o Daredevil o Batman o Catwoman o Superman o Lord of the Rings o James Bond o Punisher o Fantastic Four o Iron Man o Ghost Rider o Blade

1.9 Gameplay Direction

Gameplay is based around the best possible Hulk experience. Focus is singularly on this character, and the expectations of what it is like to be this character in the real world. Our goal for gameplay experience is to take a sandbox approach to the environments; tey should be places that are implicitly fun places to hang out, because fun stuff just happens no matter what. Scripted content is layered into these environments to suit the current gameplay conditions, (i.e. instructions generated when on a mission.) Gameplay is primarily based around the Hulk and his fantastic abilities. The Hulks abilities develop from the first game to deliver a much more fantastic, complete Hulk experience. The greatest ability development is the all-new Jump Anywhere and Climb Anywhere mechanics, creating a powerful sense of freedom and player control over the experience.

2 PROPOSED FEATURES FOR THE INCREDIBLE HULK
The Incredible Hulk is firmly placed to build on the strengths of the character and the videogame franchise.

2.1 Feature Summary

Weaponize: Tear a car in half and use it as metal fists! Half the fun is just figuring out what you can use as impromptu weapons! Fully Interactive World: Hulk SMASH! The world is your playpen; interact with anything in the game world. Jump and Climb Anywhere: Full 3-D freedom: targeted long-distance jumps, turbo climbing, and aerial attacks on flying enemies. Real World Rampage: Create chaos and mayhem in places you recognize: the downtown core, a warehouse district, a power plant. ALL-HULK Gameplay: All missions are played as Hulk, with Banner as a noninteractive character. Learn New Moves and Abilities: Unlock new abilities through the game, matched with increasing number and difficulty of enemies. Bigger Badder Bosses: Huge enemies, fantastic scale, massive attack vehicles, epic battles.
3 GAME DESIGN ELEMENTS AND TERMINOLOGY

3.1 Design Terminology

Chapter: A chapter is a series of missions, with some common story theme threading all the levels together. Generally a boss fight will bookmark the end of a chapter. Mission: A mission is a set of objectives for the player, with accompanying scripted events to realize a gameplay experience. Specific scripted events such as sound effects, prop introductions and enemy spawning are queued up to happen based on logical events. This create the experience for the player. E.g. Player is told to ambush a military convoy (objective); a large group of tanks are spawned in the world (script) and told to follow a path (also script). When the Hulk attacks the convoy they will attack him, various music and speech events are played to further the experience (script). Environment: The environment is the sum of all game geometry currently available to the player at a particular time. An environment is only geometry, and nothing to do with missions or mission scripting. Location: A location is a specific, themed, loaded chunk of the world. A location has a specific theme and a style. Each location has a theme. o Location Theme: Location theme is the thematic concept behind the environment; (e.g. Downtown Core, Docklands, Desert, Military Base, Sewer Plant, Nuclear Power Station, etc.) Gate: A gate is a connection of some sort between two locations which are not directly adjacent in the world. Some gates can be closed and/or opened. A gate may be constructed from a number of mechanics, e.g.: o Scripted player movement and fade to black/fade from black. o A huge, scripted charge jump delivered via NIS. o An NIS o An FMV o A streaming gate

Mission Branch: A mission branch is where the player has a choice to make about an objective to pursue or a challenge to take on. Cutscene: Any non-interactive scene that is out of the players hands. Cutscene types: o Scripted sequence: Where ingame events are controlled via a scenario script or similar, and use stock animations. This is the most economical form of cutscene to create. Using these is preferable for two reasons; it keeps the player in the game and is by far the least expensive to implement. o Realtime (a.k.a NIS): Where purpose made animations and camera paths are employed to create a short movie that is rendered by the game. o FMV: Full motion video, pre-rendered before shipping and streamed off the disk at playtime. This is the most expensive form of cutscene.

3.2 Game Missions

The Incredible Hulk is primarily a game about completing a variety of missions towards realizing a single, larger overall game goal. As you achieve individual goals, you move towards the completion of the current chapter of the story. For a complete list of these missions, order and contents see the separate excel spreadsheet file: Preliminary - Incredible Hulk Chapters and Missions Layout.xls
3.2.1 Primary Mission Objectives
The player, as Bruce Banner, receives missions when at his safe haven. These objectives will be delivered through various means, including conversations, cut scenes, or computer interface access (Front End screens). Example Mission: Player receives a mission to derail a military train transporting M1 Abrams battle tanks to the local military base. Destroy the train, or the tracks ahead of the train to stop the shipment. A full list of the game missions is available in a separate spreadsheet.
3.2.2 Secondary Mission Objectives
On some missions, the player will have secondary objectives. These types of objectives are less significant than the primary objectives; missions can be completed by ignoring the secondary objectives. Secondary Mission Objectives serve as a training mechanism, to make players aware of the variety of Free Roaming Gameplay present in the game and to reward them for using their skills. These Secondary Objectives cover a variety of collectible items, and tests of skill that use
all of Hulks abilities. Players are free to pass up on the opportunity to perform these objectives, as this content will still exist in the Free Roaming Play mode. Example Secondary Objectives: Perform 5 Weaponization moves for bonus Perform 10 Grapple Finishers for bonus Sustain Critical Mass for 60 seconds for bonus Destroy 10 Tanks for bonus

3.2.3 Mission Acquisition
The player only ever acquires missions via Story Mode. The mission is acquired via selecting the mission in the front end. Sometimes more than one mission will be available. The available missions will be determined during our tuning process.
3.2.3.1 Free Roam vs. Story Mission Gameplay Free Roam is used to explore the game world and earn bonus experience points. Story Mode is used to develop the story and progress the game. Its also where the majority of the experience points are available.
From the front end, the player will be able to select between Free Roam and Mission gameplay at any time. In the front end, there will be a selection of all missions completed and/or active at that moment. When a player selects a mission from the front end, they are given a mission briefing and then will enter into mission gameplay. If the player chooses to play Free Roam and chooses the appropriate map, they will start at the default start position of that map. 3.2.3.2 Initiating a Mission The player can only ever initiate a mission from the front end, by selecting the mission in question before entering gameplay. Missions never start spontaneously, e.g. while Free Roaming.
3.2.3.3 Unlocking Missions The method for unlocking missions will be the success of the preceding mission. Upon the successful completion of a mission, the ending sequence should be played and then the front end is brought up. The player will then have to then select the next mission to activate it.
3.2.3.4 Mission Failure and Restarting During story mission gameplay, the player will always have the choice to quit or retry the mission. If retry is selected, the mission will be reset and the player is moved to the proper start point. If quit is selected, the game returns to the front-end. 3.2.3.5 Obtaining Objectives Mission Briefings Mission briefings are your initial briefing illustrating your objective for your next ingame mission. These could be achieved via a number of delivery methods: Rendered cutscenes (FMV). Runtime cutscenes (NIS). Camera pans across pages of comic book images, with full audio track to support action. A series of comic book images shown in order (full page, or one at a time to reveal a full page of art) with full audio track. Sequences of 2D flat images with full audio track. They are ALWAYS played in the front end, before gameplay begins.
3.2.4 Samsons Hypnotically Implanted Suggestions

As Banner and Hulk are separate identities with different consciousnesses, we can use Samson as a vehicle for relaying complicated objectives to the Hulk. Samson is a trained psychotherapist and hypnotist. Samson can speak to both characters at once and both retain the information. This hypnotic speech is affected to sound distinct and separate from normal speech. Once a suggestion is implanted, it can be reused and triggered again in an echo-like way to remind the player of an objective in a level. Example: Samson tells Banner the scientific reasoning behind their need for a container of spent fuel rods held at the nuclear reactor outside of the city limits. Samson shows Banner a photograph of the container and it is displayed prominently on screen. Samson says in his affected hypnotic voice, You need to return one of these to the lab, intact. Banner then repeats exactly the same phrase. A low-key sound is played, indicating an objective has been added to the Hulks upcoming mission. At the start of the mission, the objectives are displayed onscreen. They can also be accessed at any time through the pause menu. As this text is shown to confirm the objective, the same low-key sound for mission added is played when this initial mission objective is displayed onscreen.
3.2.4.1 Supplemental Information This is extra information and/or objectives given to the player through the mission. Example: When Hulk reaches the chamber housing the fuel rod containers, they trigger a quick camera cut. Our first shot shows Hulk staring off camera, his eyes narrow as something catches his attention. We close up on the fuel rod container with an identical camera shot as seen in the photo at the start of the mission. HUD elements indicate that the container is key to completing the mission. If needed, we can also repeat Samsons words to further reinforce the mission objective.

3.3 Story Overview

The following is a basic overview of the plot structure of the game.
3.3.1 High Level Story Summary
Emil Blonsky, director of the Divisionthe government agency tasked with the capture of gamma entities and mutants is accidentally dosed with gamma radiation, granting himself an alter ego with the strength and resilience of the Hulk. Blonskys transformation is a tragic and ironic event; he hates mutants and is now becoming one. Blonsky is convinced that Doctor Bruce Banner can cure him. He seeks to take Banner prisoner and research on him, all the time his sanity begins slowly slipping away as the mutation becomes more and more powerful. At the same time, Banner is changing. He is undergoing a change that will eventually unleash the Devil Hulk, the next stage of the Hulk mutation that struggles to escape and take over his host. To cure himself, Banner seeks to build a machine. When the machine is done, Banner/Hulk is betrayed by Samson (who feels he is a threat to public safety) and is captured by Blonsky and transported to the Vault-the Divisions superhuman containment facility. Banner is sentenced as a test-subject in the Vaults weapons research program. Banner escapes and in so doing trashes the vault. Blonsky transforms into the Abomination and their battle trashes the Vault. Blonsky, revealed as a gamma mutant himself, flees the scene. Banner returns to his machine and complete the construction of it. Using the machine interface, he visits his minds landscapeThe Crossroadsthere he defeats the Devil Hulk inside. The Hulk and the Abomination come to a final conclusive battle atop the citys dam, threatening to destroy the city itself. Hulk defeats the huge mutated Abomination and he himself flees, returning the road. In the end, victorious, the Hulk flees the scene.

3.4 The Church - Banners Lab
Banners lab is the pivotal location in The Incredible Hulk. Located in a rundown, abandoned structure, the focus of Banners lab is a collection of scavenged high-tech equipment. The primary focus of the lab is a machine Banner is building to cure the Hulk. As the player progresses through the game and collects components, the machine becomes larger, and various sub-modules become powered. The machine is integrated into various collections of scientific equipment around the room and Banners laptop (to relay information and missions to the player). Hulk gameplay begins from the church location. Saving game progress is primarily conducted in Banners Lab. There are some specific exceptions to this rule - specifically in the chapter where Banner is a prisoner of the Vault. Regardless, the entire front end treatment will be the same for this chapter. The player will enter each game environment from specific Jump Markers in the Churchyard.
3.4.1 Jump Markers, Jumping Between Church and Maps
Jump markers are glowing markings on the ground. In the Church area, these are the trigger volumes that are used to allow the player to jump between the church and the principal mission environment - and vice versa. To initiate one of these large-scale jumps, the player must stand on the jump marker, and fully charge a standing jump. This will take several seconds. If the player is interrupted at all during this time, the NIS jump will not take place. On releasing a fully charged jump, an NIS will initiate, carrying the Hulk will launch to his destination. Once Hulk takes to the air, the camera will focus on the Hulk in the air, avoiding looking at the ground. This will allow us to dump the old location and quickly stream the new location, where Hulk lands.

3.4.2 Banners Machine

Banner and Samson work together to realize Banners cure in the form of a machine. This
machine is a large device built out of a series of components acquired over a series of missions. It is assembled within Banners lab. For a complete list of machine components and where/when they are acquired, see the Chapter and Missions spreadsheet.
3.5 Transformation to Hulk: The Prep Tool
Hulk transformations are dependent on leaving Banners safe haven. The player plays only as Hulk in the main game world outside the safe haven. In-theme reasoning is used to allow Banner to transform repeatedly, and on-command. This reason is fully explained in the story. Banner and Samson refer to these devices Prep tools The prep tool is a small, disposable device with two functions; miniature voice recorder and playback, and is also a powerful electrical discharge unit. Banner has a batch of these disposable devices. There are a number of them on the wall of his lab. Throughout the game, the number of them will go down as they are used. They are used to allow Banner to forcibly transform into Hulk and at the same time pass mission related information to the Hulk.

3.5.1 Initiation Sequence - From Banners Briefing to Hulk Gameplay
The device is used by Banner/Samson to record the next missions objectives. Banner then takes the device and goes to waste ground adjacent to his lab. Here Banner initiates the prep tool. On activating the device, audio playback of the mission objectives begins. E.g. Travel to the power station on the west side of town. Break your way inside and find the fuel storage facility. Retrieve a case of spent fuel rods. If required, still images of the objectives are flashed on screen as the objectives are verbally relayed. Example: container holding device part to be retrieved, or landmark object to be destroyed. Samsons voice in the recording becomes affected to sound hypnotic - it is implanting a hypnotic suggestion. Banner reacts to suggestion implant, his eyes glaze over. At this point the electrical discharge unit begins to charge; this is a distinctive electrical whiny sound akin to shock paddles charging. The climax is the sudden and violent discharge, with electricity visibly carried across banner's skin; Banner immediately collapses and roars in pain.
The prep device voice playback continues looping the objective. e.g. Retrieve the fuel rods Retrieve the fuel rods Banner > Hulk transformation takes place Hulk stands up from floor, furiously angry. The playback is continuing and Hulk can hear it. Hulk smashes the device with his foot. Cut to gameplay camera. Text on HUD indicates the mission objective you have gained.
After the first full sequence showing how this works, we will use a shorthand to both avoid repetition and to be more economical. Example shortened sequence: New mission is selected in FE. Game level loads. Samson voiceover plays as we just go from still picture to still picture of each mission objective. Audio of objective repetition > electrical chargeup sound > electrical shock sound cueing transformation, Banner cries out in pain. Cut to camera with Hulk getting up from floor. Hulk smashes device. Cut to gameplay camera. Text on HUD indicates the mission objective you have gained.
Any more full-featured scenes throughout the story should indicate Banners apprehension at the pain he has to cause himself to use these devices, representing his reservations about being the Hulk. His human reaction to the pain, coupled with a willingness to sacrifice himself to do the right thing will also help to illustrate his heroic nature.

3.6 Banner is not playable
Bruce Banner is not playable in this game. He appears only in non-interactive sequences. There is no realtime transformation when at large in the city. The player is ONLY ever The Incredible Hulk. 18
This means Banner is implemented primarily as a front-end for the Hulk experience, book-ending missions and establishing an objective to each section of Hulk gameplay.

3.7 Collectibles

There are several types of collectible in The Incredible Hulk. Collectibles are sucked into the Hulks chest when he comes within 4 meters of the object. On being absorbed into Hulk, the collectible provides feedback with a burst of energy as the Hulk collects it.

3.7.1 Health Collectible

o Types: Full/Major/Minor These restore Hulks health towards 100%. Types: Full/Major/Minor This increases Hulks rage, increasing his damage potential and possibly pushing him into Critical Mass. These do not give Hulk any particular immediate advantage, but grant him currency towards unlocking new moves. Think of them as currency with which the player can buy new moves. Types: Numerous, each is unique. These are hidden around the environments. Some enemies can also release comic books. On collecting a comic book, the comic book cover is displayed onscreen. Collecting a number of comics unlocks an Unlockable Feature. Each time a comic book is collected, the player is informed of his total collected so far and the total that must be acquired to unlock the next feature. E.g. 12 Comic Books collected. (pause) 3 Comic Books required for next Unlockable Feature. In each chapter a certain number of unlockable comic books will be made available. These will be present during both missions and free-roaming gameplay. We will begin tuning the number of comic books required to unlock a feature at 5 Comic Books per feature. 19

3.7.2 Rage Collectible

3.7.3 Experience Collectible
3.7.4 Comic Book Collectible

o o o o o

3.7.5 Gift New Move Collectible
o This collectible gives Hulk a specific new ability. This is separate from the players ability to unlock moves by collecting unlock tokens, as it is used to reward the player with core moves as he needs them. (e.g. unlocking the ability to triple jump before the player has to cross a desert plain while pursued by Helicopter Gunships; only the triple jump allows him to escape their fire and move quickly enough. This same encounter also serves as a training exercise.) Upon unlocking a new move, the player is given text about the moves functionality as well as a brief tutorial illustrating the use of the move. Each tutorial is brief and to the point.

3.8 Feature Characters

Principally there are two playable characters in The Incredible Hulk; Savage Hulk and Grey Hulk. Bruce Banner is NOT playable. Savage Hulk is the classic green-skinned behemoth, the default player character. Grey Hulk is an unlockable bonus character.

3.8.1 Savage Hulk

This is the Hulk we know; a massive, savage, green skinned beast. The Hulk is a living engine of destruction with amazing power at his disposal. The Hulk is the part of Banner that is pure rage, reacting in the interests of survival; fight or flight. Savage Hulk is a noble creature; when given the choice between good and evil, he chooses good. His ferocious nature often means he is misunderstood.

3.8.2 Bruce Banner

Not playable in the game. Used principally to bookend the Hulk experience. 0% of game playtime as Banner.
3.8.3 Bonus Character - Grey Hulk a.k.a Joe Fixit
This character is a BONUS character. He is NOT playable in the regular story mode, but is unlocked as an extra selectable character. Grey Hulk is a smarter, more calculating incarnation of the Hulk. Grey Hulk has a questionable value system, and is easily motivated by self-preservation or selfpromotion. Grey Hulk lacks Banners scientific knowledge and academic mind but has proven to possess great cunning both in personal relationships and on the battlefield. Grey Hulk is slightly less muscular than Savage Hulk, but has similar powers and abilities. Grey Hulk also becomes stronger as he gets angrier, but due to his increased intellect it is more difficult for him to become as angry as Savage Hulk. This limits his strength. Grey Hulk is insidious and cannot be fully trusted.

3.9 Game Missions

3.9.1 Game Length
A rough breakdown of the game length follows. 10 hours core story mode gameplay + 2 hours multiplayer gameplay + 3-6 hours exploration based gameplay, unlocking extra moves, collecting comic books etc + up to 10 hours of bonus playtime if playing through the entire game again as Grey Hulk Total of 15 to 25 hour game total playtime

3.9.2 Mission Selection

When more than one mission is available at a time, all of the available missions are displayed in the front end. The player must choose the mission he wishes to tackle next before entering the game world. Due to budgetary constraints, it is likely that only or less of the missions in the game feature choices between missions before entering the world. Example Level: Level X is a set of three mission branches: Branch A Is themed around disarming the military of a new type of ammunition they are developing. Destroy the lab to stop the supply. Branch B Is themed around pursuing an electronics component that you need from a corporate laboratory. Transport and defend Betty as she seeks out the material you need. Branch C Is themed around finding a chemical in one of the chemical storage facilities based around the warehouse district of the city. Grab the appropriate container and escape across the city with the container in hand. Level X Ends by forcing an encounter with the Abomination at the chemical lab, where he intends to destroy the companys research before Banner can make use of their findings. Hulk must intercept and overcome him, without destroying the lab or endangering researchers in the process.

3.13Pause Menu

3.13.1.1 Pause Menu Flow

Pause Menu Design

Continue Back to Gameplay

From Gameplay

Mono/Stereo/ Surround

Sound F/x Slider

Sound Options

Dialogue Slider

Pause Menu

Music Slider

Move Menu

Bare Handed Attacks

Jump Attacks

Grapple Attacks

Club Attacks

Weaponization

Controller Options

Vibration On/ Off

Config 1/2/3

Mission Objectives

Objectives list

Cancel Mission

Restart Mission
3.13.1.2 Pause Menu Mockup
3.13.1.3 Pause - Move Menu The move option under the pause menu contains a list of all the available moves to the player, showing the appropriate controls and requirements to trigger each move.

Smash It! - simulating car crash in the Incredible Hulk
Tae-Yong Kim Rhythm and Hues Studios David Horsley Rhythm and Hues Studios.
For the recent production of The Incredible Hulk, Rhythm and Hues Studios has developed a set of tools to simulate crushing and crumpling of metalic objects (such as car smashed by a hero character). Metal Deformation To simulate crumpling of metals, we revised our in-house cloth simulator in many ways. In reality, stiffness of metal is orders of magnitude higher than normal fabric. This presented challenges - cloth would stretch unrealistically and , more seriously, bending models would break simulation as we cranked up the stiffness of bending. In the limit, the cloth object had to move almost like a rigid object, We derived the bending energy on dihedral angles between a pair of triangles as in prior works [Grinspun et al. 2003]. In such models, force jacobians (as used for implicit integration) are not always positive denite, and this accounted for most instability in the cloth solver when the bending stiffness had to be high (in fact, orders magnitude higher than the usual cloth materials). We came up with a novel linearization technique that would transform these force Jacobians such that jacobians matrices stay always positive denite regardless of the material stiffness. The resulting simulator was very stable - in fact, we did not have any stability issue with even xed time stepping scheme of as few as 4 steps per frame. To solve the equations of motion, we used the standard conjugate gradient method for lower stiffness and would turn to the efcient PARDISO solver for higher stiffness. Plasticity Once we could simulate very stiff material, the next step was to add a notion of shape memory, so that metals could preserve deformed shape after each crushing event. We added several control on plasticity, updating rest condition on both length and bending forces. When and how these conditions were updated depended on such parameters as amount of collision impact, impact propagation distance, weakening factor of the material upon collision (plastic softening), and hardening factor of the material after collision (plastic hardening). Such paramters could be painted over the cloth surface, yielding different behavor on different parts (e.g. a door would crush upon collision while a tire would bounce back after initial deformation). Deformation Transfer The simulator was relatively efcient (it could handle the whole simulation for 50000 triangles under a couple of hours). However,

e-mail:

actual rendered geometry had over a million triangles, and it was clearly not practical to run simulation on such complex geometry. We started by a proximity based point trasfer - for each point of the rendered geometry, we nd the closest triangle on the cloth geometry, and store local coordinate of the point w.r.t the triangle. As the cloth gets deformed, we use the stored coordinate to update position of the rendered geometry. When a point is bounded to only one triangle, this tends to generate artifacts for points that were far away from the cloth geometry and/or around highly deformed region. As our cloth geometry was constantly wrinkled due to crushing, this artifact would distort the rendered geometry too much. On the other hand, using global transfer technique such as Lattice (FFD) would smooth out too much of detail from the underlying simulation. In the end, we developed a tool that seamlessly transfers deformation that would sit somewhere in-between above two techniques. Instead of binding each point to a single triangle, we scanned a region of cloth geometry so that each point would be attached to a set of triangles. The amount of deformation transfer was then weighted by triangle normals and distance to the triangle. We called this technique multi-proxy, and it served our purpose well. Rigid body simulation When some parts of the car had to be detached (such as doors) due to collision, we turned to rigid body simulation that was run in Houdini. From a single cloth simulation, each breakable piece would be separtely deformed using multi-proxy until breaking event would happen. Once detached, each piece was converted to a rigid body initialized with deformed shape at the moment, and then simulated with rigid body simulator for the remainder of the shot. When two metal objects had to collide (such as hummer getting hit against a pole), we simulated heavier object rst and then locked it as a rigid body, and ran a second pass simulation of another object while using the rst one as collision object. Such simulation layering turned out to be more efcient both in compuation and user time than a single simulation on combined objects. Most of the car crash had to be accompanied with other destrutive events, such as breaking window and falling pieces. Breaking window was handled similarly as other rigid objects, except in this case, each fragment of window was handled separately.