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Riding Horses In The Last Of Us 2 Feels Great, Here's Why

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Screenshot: Sony

The Last of Us Part 2 is a big, big game that excels at the little things: the way Joel raises his hand to block sunlight from his eyes, or the way Ellie marks up a map of downtown Seattle with a Sharpie.

Another killer small touch is the haptic feedback—the rumble you feel in your controller—particularly when you’re riding on horseback. Plenty of games mimic the look of horseback-riding well enough, but which could truly be said to capture the feel of it? If you’re wondering how Naughty Dog did it, you’re not alone.

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“Who did these haptics?” Katie Chironis, a senior game designer at Riot Games, wrote on Twitter this week. “I’ve done a lot of haptics in VR and it is really quite tough to (for example) make riding a horse feel like riding a horse. This is amazing.”

The Last Of Us Part II - Seattle Gameplay

The person behind the haptics, apparently, is Kurt Margenau, co-game director of Part 2, game director of Uncharted: The Lost Legacy, and co-game director for Uncharted 4. Replying to Chironis’ tweet, he clarified what went into designing the horseback-riding haptics, a process he described as “super simple.”

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Margenau likened it to the Jeep from Uncharted 4. Midway through that game, Nate, Sully, and Sam rent a four-by-four, complete with winch, to explore the Madagascar countryside in search of pirate treasure. The first step, Margenau wrote, called for measuring all of the g-forces in all axes at the impact point, whether that’s the driver’s or the rider’s “butt.” From there, it was a matter of mapping “the overall magnitude of that to a range of rumble intensity every frame.” The final step required tuning the minimum and maximum G’s and rumble forces.

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In a vehicle, Margenau said, bumps and turns in the road dictate the level of rumble. On horseback, however, that stuff is all dictated by the animation. But taking the reins of a steed poses a different issue than stepping behind the wheel of a Jeep: How do you handle the gallop? For that, he wrote, it was imperative to create an on-screen graph visualizing the values for every frame “to find a good range that kicks in when you’re galloping.”

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You know—super simple!

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