It’s been 16 years given a initial South Park video diversion arrived on a Nintendo 64, an knowledge South Park creators Trey Parker and Matt Stone do not remember fondly. “We suspicion that’s how we do it,” recalls Parker. “A association comes to we and says, ‘We’re gonna make we a video game,’ and we say, “Great, here’s a license, go make us a honeyed video game!”

Unfortunately, a outcome was an overpixelated calamity. “We got unequivocally mad,” says Stone, “We said, ‘We’re never going to do that again.’” But Parker and Stone altered their mind, and were many some-more concerned in a routine of formulating 2014’s South Park: The Stick of Truth, expelled by Ubisoft to large sales and decent reviews. This year, they’re behind during E3 display off The Fractured But Whole, that continues a quote-unquote tale from Stick of Truth by genre-phasing into a superhero story. EW held adult with Parker and Stone to speak about how their work on a video games connects to their stability work on a TV show, and how adding a playable womanlike lead impression changes a game.

ENTERTAINMENT WEEKLY: we unequivocally enjoyed the final South Park game, The Stick of Truth. But that was a diversion where there was a lot of open frustrations about a pushed recover date, and some-more frustrations after a diversion came out about glitches. You guys have won a Peabody and a Tony, so what done we wish to work on another video game?

TREY PARKER: we can tell we a best answer, and it’s 80 percent true. Matt and we talked a lot about what we were going to do next. We’ve learned: We do South Park, and we’ll do one other thing. Between carrying kids and all that, if we wish any peculiarity control, we can’t dabble. We know we’ve gotta be totally involved.

Ubisoft said, “Let’s make another one.” We were like, “No, no. We should make a movie.” And we started talking: “If we did a game, what would it be? We have all this superhero sh–. It could be a subsequent day.” If we did it, what would it be? What would we call it? We came adult with a pretension The Fractured But Whole. And we were like: “That’s such a honeyed title, dude. We’ve gotta make this game. For zero else than that we could travel around E3 and see The Fractured But Whole in outrageous flashing letters. Millions of dollars in The Fractured But Whole.

How does it review doing a work on a diversion like this contra a deteriorate of South Park?

PARKER: It’s harder. It’s different. Whether it’s a uncover or this, it’s a same thing. It’s super fun during initial when you’re only slinging sh–. Then we get to, finally, “we’ve got to make all a gears work,” and it stops being fun. Now we’re in a not-so-fun part.

MATT STONE: The uncover still is a center. We’ve got to emanate a characters there. It still is where we have a many control. You can tackle dicey, irritable material, easier than in a video game. The interactivity changes a morality.

One of a things I’ve unequivocally enjoyed about the final integrate seasons of South Park was a clarity that things were unequivocally changing in town, and for a characters. With a initial game, it felt like it authorised we guys to dive low into a story of a show. Is that a opposite artistic outlet?

PARKER: What unequivocally astounded us, and what we unequivocally schooled from The Stick of Truth, was how, for many people around a world, that was their initial bearing to South Park. All these immature kids, going “I adore that video game! we consider there’s a show, too?”

STONE: What do they consider this thing is?

PARKER: It ends adult carrying this Monty Python effect, “What a f— are they articulate about?” Which creates it funnier! But we also knew that with this, we wish to make something that stands on a own, and isn’t only this large thoughtfulness of a show.

How has a gameplay altered in a new game?

STONE: The thing that indispensable to be updated was a combat. It was flattering elementary turn-based on a final game. So there’s a whole new quarrel complement that’s gonna be flattering fun. There’s a lot of ways to use it, instead of only two-on-two confronting any other. It still looks like you’re in an partial of South Park. Sometimes we don’t need a whole lot of technical stuff. It can only be a menu joke. When we die, it should be funny. When we get hurt, it should be funny.

When “The Coon” initial aired in 2009, we suspicion we were during Peak Superhero. It turns out we weren’t even close.

PARKER: That initial “Coon” was unequivocally only kind of creation fun of Batman. We didn’t know what we were in store for.

STONE: It gives a boys provender to quarrel for their franchise, that is so ridiculous. But it is dual levels going on in a game. The categorical turn is: You’re a child in South Park. They’re personification Superheroes, so we can have fun with all that stuff. But infrequently we have to be reminded: They’re kids

PARKER: People aren’t personification this diversion to fake they’re a superhero. This is not a superhero experience. People are personification it going, “I wish that Earthbound feel. we wish to remember what it was like to be in fourth grade, and go play in some kid’s behind yard.”

You’re observant that there’s a fear of creation it too many of a veteran superhero-video diversion experience?

PARKER: We need to dial it back. Make it not “What’s a coolest superhero thing” though “What’s a coolest thing that they’re perplexing to make cool, though it’s a absurd approach to do it.” It’s only like a show. You’ve got to figure out a altogether tone. You can simply take it too distant one way, and all a attract goes away.

STONE: The best moments in a diversion is when a kids are articulate about something they indeed caring about, and afterwards they’re sauce adult as superheroes to solve that problem.

Were we comic book fans when we were kids?

PARKER: We’re fans. We go to a superhero movies. On a one hand, it is humorous to take a piss out. But it’s also overwhelming that, [with] people like [acclaimed comic book writer] Ed Brubaker, people are observant his work finally. There’s great. Great writers that wrote this stuff. That’s since it’s so successful, we think. There’s this reserve of extraordinary stories that are finally means to be told. we consider they’re gonna finally do all a good ones, and afterwards they’re gonna get by it, and they consider it’s going to keep going. But it’s not. [laughs]

STONE: You saw from a trailer, we had that fun in there about a black guy. What we unequivocally like is some superhero things is starting to feel like real stuff. And some of a Marvel stuff, we can tell they stay divided from anything too irritable or political. We’ve had this issue. In other video games, we can select to be black, we can select to be a girl. In a game, we’re finally gonna do that. You can be a girl. Very revolutionary. Very 2016 of us.

But it’s weird, because… on one end, it doesn’t matter to a superhero partial of a game. Superhero franchises have that luxury: “We have a unequivocally open casting policy, women superheroes, black superheroes.” Doing all this thorough things – that is great! But they don’t have to understanding with injustice and sexism. They’re traffic with these fantastical ideas.

You’re observant that, once those characters are in a universe of a superhero franchise, they’re hermetically hermetic off from real-world issue.

STONE: we consider John Boyega’s a good actor, and a expel in a new Star Wars cinema are f—ing great. But there’s not unequivocally racism. we only don’t know how many injustice there is on Hoth.

In Stick of Truth we got median by a game, and we had narratively come adult with a large Girls’ Quest median by it. [The Girls] were a coterie in a anticipation world. And afterwards someone’s like, “What if we wish to be a girl?” Narratively, it didn’t work. We’d have to sh– can a whole game. So we only left it a approach it was. This time, we apparently wanted to supplement that.

But a boys are small boys, since it’s unequivocally a story about small boys using around. So they don’t caring about [your impression being a girl]? That seems weird. They always seemed to caring about it in a show. Are they reticent about it, and they don’t know? So you’re in hiding? Or do they totally caring about that, and totally provide we differently? So we finished adult doing those things differently for opposite characters.

It indeed incited out to be utterly a bit some-more work. I’m also personification The Division – I’m not only observant that since it’s Ubisoft. we done a impression demeanour like my wife, only since we suspicion that was funny, using around New York sharpened people looking like my wife. But a diversion doesn’t provide we that differently. The guys still fire you. The diversion doesn’t unequivocally conflict that many differently. That’s cold for that kind of game. It’s been a humorous tour to go through, introducing something that we suspicion would only be a cold feature. You’re a girl! But now they’re going to provide we different.

I tend to play as a womanlike character, if that’s an option.

Stone: we do that too, now. We figured everyone’s gonna collect it.

You’re observant a lot of people came to this array through a final game. Are video games a vital partial of your prophesy of South Park?

PARKER: It’s not something we can ignore. We’re gamers, and gaming is such a large partial of South Park. That’s since we provide this seriously. We provide this like a movie. We could have done a movie, instead of this, though we chose to do it as a diversion instead.

When we say, “We could have”…

PARKER: we don’t know if we would’ve done a superhero movie, necessarily. Just time-wise, if we were going to do another large thing, we could’ve said, “Let’s make that other large thing a South Park movie.”

The Fractured But Whole will come out right after a finish of South Park eason 20. Not many creators work on a plan for over dual decades. But we both still seem unequivocally encouraged by your work on South Park.

PARKER: it’s such an open-world. It’s still such a sandbox. What we did final deteriorate was only so different. It felt so uninformed and new. It’s one of a best times we ever had doing a show.

STONE: To follow storylines through? We couldn’t do that when we started. We were from a opposite epoch of TV, when we had to do a sitcom-style reset each week. That’s since a lot of shows – we see it in The Simpsons and us, too – they have dumbest final one notation of a show, since we have to go behind to normal for subsequent week. We don’t have to do that anymore.

PARKER: It is good to comprehend we don’t have to tie adult everything.

Between a new storytelling character and a video games, is this a start of a new phase? A few years ago, with “You’re Getting Old,” people suspicion that was a finish of South Park.

PARKER: We kind of did too, for a small bit.

STONE: we consider we’ll substantially do semi-serialization for a rest of it. Cat’s out of a bag. We can’t go back. If it’s a right thing for a finish of a story, we let some things hang.

PARKER: We also know that this [he points during a video game] competence be a destiny of South Park. This competence be where things are going.

STONE: we consider in 20 years, 10 years, people will be personification more. That joining of entertainment, either it’s VR or a some-more immersive thing. The some-more we get in it, a some-more we watch Pew Die Pie, and people watch Pew Die Pie play, and we watch E-sports. You watch immature people, and a approach they rivet with something – sh–, maybe that is a destiny of South Park.

South Park VR in 2018?

STONE: You’ll take your South Park pill.

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