Another great interview with Andy Sandham, super talented artist and one of the men behind the making of various Tomb Raider games. It was very kind of him to accept a second interview, so we must really say THANK YOU Andy for your time. This is truly appreciated, and we feel honoured.
Link to the original post on our page: https://www.facebook.com/permalink.php?story_fbid=1200942783267887&id=1020983094597191&substory_index=0
1) Let me just start by paying you my sincererest compliments: The Last Revelation has a beautiful script. I know you worked on it, so could you tell us how the writing process started?
Thanks! We started putting together the script by the core members of the team sitting around a table and discussing the elements we’d like to see - i.e. the setpieces, ‘water cooler moments’ etc.
one of the first, and primary elements of the script was burying Lara! by that time we were becoming a little jaded. It’s interesting to note that management gave us complete artistic freedom in these decisions - not something I’d expect to happen quite so casually today.
2) You were in charge to build the Cairo levels. Did you take insipiration from something in particular during the development of these complex levels?
Cairo! This was the game where Jez (quite rightly) demanded that we actually put some tombs in it - hence the return to the Egyptian setting. The city of the dead, the vast necropolis between Cairo and the pyramids was really the inspiration for the ‘mood’ of the level.
3) In the level “Chambers of Tulun” there is a famous glitch, which allows the player to kill the Minotaur for good. If one manages to perform it correctly, it is possible to notice a specific death animation for the mythological creature. Taking this into consideration, was there another way to get rid of the Minotaur in origin?
This is one for Phil. Phil designed all the combat and animations for the bosses and enemies, as well as Lara’s varied deaths via traps. He was a twisted genius in all the right places.
4) Did you work on the movable pedestals puzzle (the one with the four cardinal points) in the wonderful level of the “Citadel”?
Yup, citadel was all mine. Unfortunately I can’t actually remember that puzzle, but I’m glad it found some appreciation other than being lost in the mists of my addled brain.
5) Did you build other levels other than the Cairo section?
No, just Cairo. There were some last minute issues with the vehicle load between levels, but Chris Coupe, our genius coder, got it sorted (with some frequent swearing, I might add)
6) Do you happen to remember who built the Karnak levels (Temple of Karnak, Great Hypostele Hall, Sacred Lake)?
This was Jamie Morton, Richard Mortons little brother, now working as Lead Designer out in Ubisoft Abu Dhabi.
7) Are there any parts of the game that were later cut or ideas that didn’t make it through the final version?
As always time constraints meant a lot was left on the cutting room floor. In fact, we were due to be flown out to Egypt/valley of the kings for a research recce, but the delay in our proposed innoculation shots would have put the game off schedule, so unfortunately we had to cancel. Visit to the big bookshop in London instead!
8) We noticed something peculiar in the level “Lost Library”, to be more precise in the room with the snake statues puzzle. In the Playstation version, once the player solves the riddle, a fire spirit spawns and follows Lara. On the contrary, in the PC version this event doesn’t occur. Why is there this small difference between the two versions?
Unfortunately the lost library was Pete’s level – and we never played each others levels, partly due to some competitiveness, but also due to the fact they were all developed alongside each other meaning that they were usually disjointed and relatively unplayable until the last few weeks. So can’t help with that one, sorry.
9) Always in the level “Lost Library”, there is a wonderful puzzle with the planet from the solar system. Moreover, the interesting thing is that the puzzle must be solved taking into account the old Tolemaic system (which considered the Earth at the centre of the Universe), given how the library was set in the Ancient Egypt. Could you tell us, If you remember, the process of creation, and how did you come up with such a brilliant idea? Did you also use astronomy books as a reference?
10) Did you have the opportunity to visit the actual places of the game?
We had the opportunity, but unfortunately we couldn’t act on it! (as described above.)
11) How hard has it been to develop this game? Which were the major difficulties that the team encountered during the development process?
We had a lot of issues with motivation, due to the year cycle required by Eidos. we were starting to get a little burnt out, hence our desperate attempt to kill Lara. (which didn’t work, we realised, when Tomb Raider chronicles was demanded about a month after completion)
12) “Tomb of Semerkhet” is one of my favourite levels. Could you tell us how the realisation process for this extraordinary level was born? (Who designed it, who worked on the puzzles, from where the idea for the Senet game originated).
I believe this was Jamie – although Richard may have helped his brother out, as this was Jamie’s first game as level designer. With regards he senet game, unfortunately I’m in the dark!
13) The level “Underneath the Sphinx” is one of the most complex and intricate ever created. The puzzle right at the start, the one with the hieroglyphics to translate in order to activate the buttons, is simply brilliant. How did the team come up with this fantastic idea? Also, did you use real hieroglyphic symbols as a reference?
This was all Joby’s. Joby would formulate complex puzzles by sleeping/daydreaming in the back seat of his car during lunch, with his feet out the window. Once the penny dropped, he would rush in and implement his latest idea in the engine.
14) We would like to know if the game had “The Mummy” movie as one of the inspirations you have based on, while depeloping your masterpiece. The Beni character from the film reminded me of the local guide whom Lara has dealt with: they share the same ethnicity, are both manipulators and ran away after knowing about the curse. Also, both in the film and the game, aegyptian beetles are carnivorous, while they actually feed themselves with dung. Has the Stephen Sommer’s movie been inspirational to you?
Certainly the scarabs were influenced by the film – unsure about the guide, I believe this was more in line with Satipo out of the original raiders film, one of the teams core references when developing any TR game. I note the scarabs were later 'borrowed’ for uncharted 3. they get around, those flesh eating scarabs!
15) There are some slight differences between the pre-rendered cinematics and the in-game ones, including Lara’s backpack and the environments. Did an external team work on them?
Nope - the FMV team were situated just down the corridor from us, and although we all went out drinking together, it was rare we actually visited each others rooms. Bit odd when I think about it.
16) How was the team organised for the development of the levels?
we proposed our levels to Jez, and if greenlit (they all were) we fitted them into the order of the story we had outlined.
17) Why did you choose to set the game entirely in a single country, unlike the previous ones which featured a wide range of locations spread all around the world? How did you come up with this idea?
to quote Jez 'It needs to be set in some fucking tombs. Do it in Egypt’
18) Is there a particular level of the The Last Revelation which left you particularly satisfied, and even today you feel proud of being able to create along with the rest of the Core team?
We were all in charge of our own section, and it was always a labour of love. we were allowed to design around thematics that interested us personally, and this was a great help in keeping us inspired.
19) Do you remember who designed the “water and scales” puzzle in the last level of the game (Temple of Horus)? Did the team take insipiration from something in particular to create this brilliant puzzle?
This will have been Joby. I am guessing whilst sleeping in his car (as previously described) the hot sun may have caused thirst and hence a water based nightmare which influenced the creation of the puzzle. Actually, saying that, in reality I think we all helped out a bit on the climatic levels, as I remember discussing this puzzle – it was based on a simple mathematical quiz used in schools, I believe.
20) In the cover art of the game we can notice Lara holding a torch in her hand. Was it initially planned to be an in-game feature, replacing the classic flares? If this is the case, why has the idea been scrapped from the final product?
Actually, I believe you’re correct. Again, I remember some tests with the torch, but I believe it was too processor heavy for the (relatively) primitive PS1. Interestingly, I’m currently replaying TR2 on the PS1 with the class as part of a course I’m teaching at Leeds Beckett University, and it’s amazing how difficult it is to get to grips with the digital 'tank’ controls on the original controller. Modern students almost throw it across the room after the first 5 minutes. Some sense of reward when you actually make a jump successfully, though!
21) Could you tell us additional info on the psychological profile of Werner Von Croy? He seems to be a rather interesting character, with a peculiar personality and very mysterious traits.
We wanted a really meaty baddie, similar to belloq out of raiders, but looks wise along the lines of Max von sydow who we felt had enormous gravitas. Probably a bit of the nuttiness of werner Herzgog thrown in as well (I believe I was reading about the antics of him and Klaus Kinski shooting at/trying to kill each other at the time)
22) Who worked on the wonderful sections of Alexandria and Giza?
Alexandria was Pete Duncan, Giza was Joby Wood.
23) Is there anything you would like to add about the development of this game?
we all felt to some degree this was our finest game – and a lot of that goes to the constraints of keeping it in Egypt, which meant our levels tied together thematically. And constraints often force the most originality!
24) At the end of the game, we witness the death of Lara Croft. There’s always been lots of speculations on the matter, many of them referring to Core Design being tired of developing Tomb Raider and wanting to get rid of its protagonist. What truth is there in all of this? And should this really have been the end of the saga, or was it more like a symbolic death of the Playstation One era, to later revive the saga on the next gen platforms (with The Angel of Darkness)?
this was absolutely down to me and the team being sick of Lara. So we wrote in her death. We were surprised that Jez and Adrian (our managers) seemed relatively indifferent to it. But in effect we shot ourselves in the foot, because it meant the next game was somewhat disjointed and episodic, and most of the script was about Lara being dead.
25) After the end of the development process, what were the feelings and expectations inside the team at Core Design?
Happiness tinged with the suspicion and fear that we’d end up doing another one.
26) Core Design was a really talented and creative software house. Did you keep in touch with the rest of the team?
Yup, still in touch with the majority of the team, I’ve just arrived back in the UK after four years living in Holland, so we went out for a drink the other week to get together again. A couple of the guys have dropped off the radar, but I speak to most on a regular basis. We were a very close knit team - in fact there is currently talk of a full blown Core Design re-union!
27) Which is the Tomb Raider game you grew more attached to, and why?
Tomb 3 - we were given carte blanche to develop levels that were very personal to us in respect of their content, and also, as my first game as a designer/artist, it was a case of proving ourselves – so we all worked ourselves to the limit.
28) Where do you work now?
I’m currently over at Leeds Beckett in the UK, teaching various aspects of game development.
Thank you so much, Andy. We are grateful to you and the whole Core Design team for giving us this extraordinary masterpiece.
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