Interview with Rockstar Games’ Rob Nelson, Part Two


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The continuation of my talk with Nelson pulls back the curtain on Rockstar’s latest baby. Nelson offers up more insight on the particular brand of alchemy that going into Rockstar’s successful games. Find Part 1 here.

We have to talk a bit about “L.A. Noire,” right?


I’ll start off by being frank: I thought “Redemption” was a big dice roll for you guys. By the very nature of the game that you were making, a lot of the tools that you’ve mastered already–for creating this cacophonous, multilayered urban environment where it seems like anything can happen and anything does–you couldn’t use that same tool set when you’re making a western.

It seems like you guys are facing the same prospect with “L.A. Noire,” where you can’t deliver the kind of crazy, chaos-ready world in “L.A. Noire.” Again, just by the very nature of the story that’s trying to be told, the experience has to be different.

So, do you guys think about points of separation, like we could do this in a “GTA” game but we can’t do this in “RDR” or we could do this in “RDR” but we can’t do it in “L.A. Noire”?

I think we definitely think of that stuff but I don’t think we think of it directly in relation to our other games. Obviously we made those games and so our experience of making those games is going to factor into the decisions that we make on others.

But we constantly think about what is appropriate in a game’s world, and it’s a tricky thing. Especially this game was a really new experience for us because you’re playing sort of a cop and you’re a good guy.

You have a problem even saying the word “cop”.

[laughs] It definitely changed things. We don’t make sandbox games, really. A sandbox game, I think, it’s a game where you can do anything you want, anytime you want. That sort of world makes it very difficult to construct any sort of believable engaging narrative, I think.

We like believable engaging narratives and believable engaging worlds. We also like fun. And so constantly fighting to strike the right balance between those two things and not be too restrictive to players, and give them the freedom that they want but still construct a world that they can get lost in and believe in is what we strive for every time out.

The goal is that the world that we put you in makes sense and doesn’t break down for you anywhere. So, it’s not about points of separation between “L.A. Noire” and “GTA” or “GTA” and “Red Dead,” it’s just about whether or not the experience that we’re creating feels authentic, and that the actions that you’re carrying out are appropriate. That’s the trick.

So you try as best as you can to start fresh each time?

Well, we try. We come up with ideas for how we’re going to do things and what we’re going to let you do, and sometimes they don’t make it off of the drawing board. And sometimes they make it right into the game and they get cut. Sometimes they get cut two months before we ship.

It’s a constant, ongoing thing, and there’s no rulebook for it. I remember we made decisions at the end of “RDR” about how to handle the end, and whether the players would feel restricted or whether they would feel like this made sense for what his character was doing.

And we’ve been doing the same thing on “L.A Noire”. It’s been fun to be a detective. I actually don’t have any problem with him being a cop. I definitely like to have some limitations placed on me when sort of trying to figure out what we’re going to do, because I think you come up with interesting solutions that you maybe wouldn’t have if it was just a free-for-all.

That’s an interesting point because, with a free-for-all, then it becomes this huge unwieldy beast. If you wanted to direct some intent into the work, then you can’t do that. At least, that’s what I’m interpreting from what you’re saying.

Yeah, if we wanted to make a game about a super-powered stunt man in a post-apocalyptic world or something, we would make sure that we did everything we could to fit that concept. We might. We wanted to make a game about a detective in the ’40s. And we had to make sure that the vibe fit. The vibe in the field is everything to us. Do you believe where you are? Do you love it? That’s sort of the most crucial thing to us, I think.

It seems like “L.A. Noire” is different in that regard, as well, because it’s a lot slower and a lot more methodical. Brendan McNamara has talked about building the deduction engine and making the player feel like they are solving a crime. What were the important parts that you felt you had to nail there?

I think it’s finding the right balance between not making it frustrating but also making it challenging, and making it feel plausible. So, with the branching stuff that we put in was really challenging to get the logic right. For example, if you go to a crime scene, it’s entirely possible that you don’t find all the clues.

You find three out of six possible clues that you could find or you interview somebody and you get two out of four questions right. That will give you different information than if you got all the questions right and found all the clues. And so, it might give you a different location to investigate.

So, it’s creating a sense of consequence, then?

Exactly. If you don’t find all the things that you need to find at a crime scene, you might have to do more work. You might actually end up going to more locations to end up solving that crime. And, so, it was writing all of that: the branching dialogue and then the branching cases where you could be going to different locations in different orders, and needing appropriate cutscenes for whether you go to the coroner’s office, and you found the knife, or you go to the coroner’s office and you didn’t find it.

So lot’s of alternate cutscenes. Lots of alternate endings and side things. The weird thing about it is you won’t know if you missed them. Because, when it branches, it branches. It’s like a choose-your-own-adventure book, you pick the next page you want to go to. At least with those books, I guess, you know that there’s a branch.

But sometimes you’ll choose between two locations. But sometimes if you don’t find something you don’t go somewhere. And you won’t know until the next day you talk about that case with somebody else who’s playing. And they tell you, “Yeah, I went to the coroner when I found the knife.” And they’re, like, what?

Yeah, that’s kind of new territory for you guys.

Branching? Definitely this level of it, yeah.

You see it in BioWare’s games all the time, and other companies that tell stories in different ways. But this is really different for you guys. Another different thing is the inclusion in the Tribeca Film Festival. It’s obviously a great honor. Do you feel like that symbolizes anything?

Yeah. I mean, it’s thrilling and really exciting to be included. I think it is appropriate in this case for this game, and it’s fantastic that people are interested in it enough to do this sort of thing. But, I haven’t thought too much or too deeply on what it means for games as an art form. I think we love the medium, and this way of telling a story, and creating an experience.

I don’t know whether there’s going to be more of it or not. If it feels right, I guess, and it makes sense, then cool. If people are interested to sort of talk about it in that sphere, I guess.

Well, now, if the next game doesn’t make it to Cannes then people are going to be upset.

[laughs] Yeah.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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