“We’ve gotta talk to this guy,” said Emelia Schatz from the front row. I was on stage at the Game Accessibility Conference 2017, and though at the time I didn’t know Emelia, or EM for short, I soon would. I at least suspected who she represented, as the topic I had just been discussing was the Last of Us. I was talking about games I couldn’t play, but wished I could. I spoke of how I would give anything to play The Last of Us, and how it was a physical ache when I couldn’t play a game. That is when the infamous line was uttered, and as small a thing as it was, it’s a thing I will never forget.
They did indeed “talk to this guy,” and that conversation, which contained a bit where I told them how I would love to play a game for my sighted fiancé instead of her having to play it for me, started what would become a fantastic and beautiful working relationship. I didn’t know it then, but my pathway was set, and I had already started walking down it.
There’s a lot that I can’t say about my experience working with Naughty Dog. What I can say, though, is that it was unlike anything I could have expected. From the moment I stepped into the Naughty Dog studios for the first time, I felt welcomed. I felt like I belonged there. And that was before I knew for sure that I would really be working with them. This was just a conversation. This was my attempt to sell myself to this studio. I knew it was a huge opportunity, but it was on me to make it work. Could I do it?
Well yeah, I guess I did. I ended up working on the Last of Us 2 for 3 years, both in and out of the studio. My brain never stopped. I was always coming up with things. Things I simply had to get to the team as quickly as possible! I would often write emails that were both really long, but also really frantic, full of walls of text about how we should look into trying this or that thing. From the moment I started, I was all in. I was passionately pursuing this idea that we COULD make this work. I wouldn’t allow us to be stopped. This was going to be the one! I’m doing this!
But I was never alone. First, the passion and dedication of the Naughty Dog team themselves was unbelievable. They were just as all in as I was. I would often speak to them encouragingly, both in person and in emails, and I did this at first because I thought I had to. I thought it was on me to keep them on the accessibility train, encouraging them at every turn so they wouldn’t give up and say “Nope, all this is too much. Can’t do it. Done.” I was THAT terrified at first. But after a while, I started to see that they really, really did want to do this. I saw that I had already won. I saw that there was no turning back for them either. I kept encouraging them after this, but more just because I was saying what I felt, not because I was worried they’d just stop.
Secondly, this game would not be as accessible as it is right now if it hadn’t been for Misty, my wonderful fiancé. Working on a game like this from a blind accessibility perspective was difficult, and it was difficult for the same reason that playing it will be difficult for some blind people for a while. A game like this requires a tremendous mental shift. This is not your audio games, developed by only a few people. This is a huge, huge game, developed by a very large team. Because of this, this game contains massive levels, tremendous amounts of verticality, different ways to get into places, multiple options and approaches for each encounter, an insane number of mechanics and systems, and so on and so on.
I was not immune to needing this shift, and Misty was the one who helped me get there. Most audio games, for instance, require you to kill basically every enemy you encounter. You grow up on audio games and some playable mainstream games, you get used to that idea. But even having watched a zillion playthroughs of the first game, somehow it didn’t stick in my head that I didn’t need to kill everything, and that there were other options I could try for. That’s where Misty came in. Well, that, and keeping me focused on talking to the team instead of just playing the game the whole time. Her input was truly invaluable in helping shape this experience.
So, in case you didn’t know, we did it. 3 years of intense work, and the Last of Us 2 has achieved total blind accessibility. It is my utterly tremendous honor to be a part of that, and not just because it is THIS game. Not even because I longed to play the Last of Us at GAConf all those years ago. The Last of Us 2 is going to stand forever as the first huge, triple A game to embrace and fully support blind accessibility, and I will always, always be able to say that I helped make that happen. That I am in fact largely responsible for that happening. Of course, this game breaks down more barriers than blindness, providing accessibility for tons of disabilities, and for that I look to my other consultants. Steve Saylor, Paul Lane, James Wrath, and even folks I never met like Morgan Baker. All of us did this together. We became a team, and we made something that will be recognized for years to come. And let me tell you something, dear readers. I’m not stopping anytime soon. The Last of Us part 2 is not the last of anything. It is, in fact, the first.