Bonus commentary was included in Sly Cooper and the Thievius Raccoonus, where several members of Sucker Punch Productions discuss design choices and other information for the current level. This page documents and summarizes said discussions.
The bonus commentary is available after completing the Master Thief Sprint in a level; thus, there is no commentary for levels that have no sprint. It is available only in the PlayStation 2 version of the game.
Tide of TerrorEdit
A Stealthy ApproachEdit
Commentators: Nate Fox and Hokyo Lim
- This was one of the first designed levels in the game. It was also one of the most altered, going through several iterations before the final version.
- Lim was in charge of lighting for the game. For this level, his goal was to give the impression of nighttime without making the level too dark. He mentions that he went back and re-lit this level over 30 times. He also talks about the set-up he used while working on the game; he had his computer along with three different televisions—one bright, one normal, and one dark. The purpose of this was to be able to create a pleasurable viewing experience across all types of screens.
A Cunning DisguiseEdit
Commentators: Bruce Oberg, Rob McDaniel, Hokyo Lim
- This is the first of several levels that consists of multiple floors.
- As with "A Stealthy Approach", Lim mentions the difficulty of creating the impression of nighttime while not making the level too dark. Oberg mentions that the lighting model used when obtaining a key—when all but Sly and the key are darkened—was an unplanned feature added in at the last minute.
High Class HeistEdit
Commentators: Rob McDaniel, Suzanne Kaufmann
- This level was created after "Into the Machine". McDaniel remarks that the developers decided to make this level shorter than that one because it would be "impossible to finish [creating] the game with levels that were that size". The increased security in this level was meant to compensate for its smaller size.
- The two-hit alarm system was designed to give inexperienced players an easier time.
Into the MachineEdit
Commentators: Rob McDaniel, Dev Madan, Augie Pagan, Karin Yamagiwa, Hokyo Lim, Suzanne Kaufmann
- Though the final version of this level is large, it is only about one-third of what it originally was.
- The original concept behind the enemies was to tie them to Alice in Wonderland.
- Lim mentions that lighting for this level was difficult because of the varying atmosphere of the level—cool and darker at the beginning but warm and brighter towards the end.
- This level originally included an octopus enemy whose eyes and teeth could be knocked out by the player.
The Fire Down BelowEdit
Commentators: Rob McDaniel, Chris Heidorn
- This level was designed around the mechanics of the running wheel.
- Heidorn, who did the rigging for this level, explains the difficulty of getting the conveyor belt's textures to move with the varying speed of the conveyor belt.
The Gunboat GraveyardEdit
Commentators: Brian Fleming, DJ Stiner, Rob McDaniel
- This level originally placed the player in an invisible laser maze. To make it through the maze, the player would have to spray his or her surroundings with some substance in order to expose the walls of the maze. According to Fleming, this substance was planned to be either smoke or frost.
- This level also included a fish NPC that would follow the player throughout the level. It forced the player to maintain a decent pace throughout the level; if the player idled for too long, the NPC ate Sly. The NPC, along with the maze concept, were both removed in the final version of the level.
Sunset Snake EyesEdit
A Rocky StartEdit
Commentators: Brian Fleming, Nate Fox, Travis Kotzesbue
- Fox stated that this level was originally supposed to be a junkyard maze, with a few breakables, but it was found to be unsatisfying to play, so they changed the design.
- Kotzesbue had pet names for all of the guards in this episode except for the Watch Dog. His pet names became the aliases for the guards as shown in Sly's Binocucom.
- This level was designed to give off a "ghost town vibe"; as the player progressed further into the level they would encounter more images indicative of an abandoned city (like a run-down subway system).
- This level was an introduction to the blinking floor lasers. Kotzesbue said that the checkerboard floor lasers were designed to look difficult, but that when the player made it through easily, it was supposed to give the impression that Sly truly was a master thief.
Back Alley HeistEdit
Commentators: Rob McDaniel, Brian Fleming
Commentators: Bruce Oberg, Nate Fox, Matt Olsen
- Fox notes that this level is, ironically, the only level in this episode that takes place in a casino. The original plan was for the entire episode to take place in a casino; however, after working on this level, the developers decided against it. Instead, they focused on the casino's surroundings for the rest of the levels.
- Fox mentions a game mechanic that is especially present in this level called "m plus 1", where the difficulty of platforming scenarios is gradually increased. He explains using the example of the spinning roulette wheels found in the second half of the level. At first, the wheels are not dangerous (m); then, at "m plus 1", there are individual tabs within each wheel that are covered with lasers. The difficulty level increases twice more by adding a laser wall on one side of the wheel (m plus 1 plus 2) and then by making the wheels spin in the direction of that laser wall (m plus 1 plus 2 plus 3). The purpose of this mechanic, Fox says, is to gradually increase the tension of gameplay without overwhelming the player right off the bat.
Straight to the TopEdit
Commentators: Rob McDaniel, Suzanne Kaufmann
Two to TangoEdit
Commentators: Nate Fox, Chris Bentzel
- Fox began working on this level after seeing the film Moulin Rouge! and was inspired by the, as he put it, "wacky rooftop scenes" in that film.
- Excluding the prologue, this was the first level to feature Carmelita chasing Sly. In creating this "chase" level, the developers wanted to avoid having gameplay similar to that of the Crash Bandicoot games, where the player would simply run down the screen and where memorization of the environment crucial for succeeding.
- This was a particularly difficult level [BEHAVIOR AND CAMERA]
- Carmelita Fox was inspired by two characters; the first was Koichi Zenigata from the Lupin III series and the second was... [sherrif who falls in love with thief]
The Dread Swamp PathEdit
Commentators: Nate Fox, Matt Olsen, Andrew Woods
- Fox and Olsen jokingly remark that Woods bears resemblance to the voodoo rat.
- Woods mentions that he animated the voodoo rat, and would act out its movements beforehand so that he would have an easier time animating it.
- The flashlights guards are referred to as "smart guards" among the development staff. The name comes from the fact that they are difficult to evade once alerted.
- Olsen acted out his lines as Bentley without any visual context. In this level, for example, he voiced the dialogue at the voodoo camp before actually seeing it in-game.
A Grave UndertakingEdit
Commentators: Suzanne Kaufmann, Rob McDaniel, Kelle DeForrest
Descent into DangerEdit
Commentators: Rob McDaniel, Suzanne Kaufmann, Andrew woods, Karin Yamagiwa
The Lair of the BeastEdit
Commentators: Nate Fox, Brian Fleming, Reid Johnson
- The camera angle at the beginning was intended to make the gate, and whatever was behind it, more imposing.
- A major design goal for the level was to focus on Sly's rail walk and rail slide.
- In the original control scheme, the player would have to press a certain sequence of buttons to have Sly grab onto hooks and land on rails. This was changed in the final game, which requires the player to simply jump and press the circle button.
Fire in the SkyEdit
A Perilous AscentEdit
Commentators: Nate Fox, Matt Olsen
Duel by the DragonEdit
Commentators: Rob McDaniel, Augie Pagan, Andrew Woods
Flaming Temple of FlameEdit
Commentators: Rob McDaniel, Darrell Plank
The Unseen FoeEdit
Commentators: Nate Fox, Andrew Woods