Star Wars Jedi: Survivor Interview - Developers Go In-Depth on the Plot Twist and Final Boss (2024)

Spoiler Alert: This article contains major spoilers for Star Wars Jedi: SurvivorIn a year filled to the brim with memorable storytelling in games, Star Wars Jedi: Survivor's masterfully executed betrayal stands out as not only one of the most significant plot beats of 2023, but also as a highlight for the Star Wars games franchise. Although some players might have had suspicions about Mantis newcomer Bode Akuna from the get-go, his undeniably lovable characterization brought to life by Noshir Balal's performance made for a tear-jerking reveal when the moment finally came.

Game Rant chatted with Star Wars Jedi: Survivor game director Jason De Heras, senior writer Pete Stewart, and lead writer Danny Homan about how they carefully crafted this hard-hitting narrative moment, as well as how Noshir Balal approached his portrayal of Bode while knowing all along what Bode was up to in the background. Additionally, Jason De Heras went into detail on how the combat design team approached every aspect of Cal and Bode's intense final duel. This interview has been edited for brevity and clarity.

Q: How were the actors involved in the plot twist? Did they know what was going to happen ahead of time? How did they react?

Homan: That’s a great question. We bring our actors in pretty early on in the process to discuss the story with them, their roles, and get a lot of great feedback and contributions. Noshir, who plays Bode, pours his entire soul into his acting and he's always pulling you aside to ask, “Well, what do you think Bode would do in this situation, hypothetically?” because he really wants to understand the core of that character. For such an emotional turn, and such a challenging role – the kind of character that we don't see often in Star Wars – he was really instrumental in creating Bode.

Stewart: We do bring all the actors in for a table read when we have a first version of what we're happy with for a script, and I do remember going through it and when we get to certain moments there were gasps, and we had to wait for that to calm back down to continue.

So while we go into the shooting of the stuff with open eyes and understanding, it is really good to get those moments where the impact that you're going for hits, even with the actors who are going to be doing the roles.

Q: So that factored into Noshir’s acting? Knowing that behind the scenes, his character was really up to something shady?

Homan: Absolutely. Every moment, Noshir knew what Bode was thinking and what his angle was. We did a bunch of echoes that you can play through and experience after the game's over which plots Bode’s character turns and his internal monologue, and we had a ton of fun doing that with Noshir because they were informed a lot by the conversations we'd have with him over the course of the process.

Stewart: What Bode does is evil, but there's an honesty to him as well in the game that Noshir brings out really well. So while he's kind of playing 4D chess and thinking of all of the angles, there are moments like when you're playing through the lucrehulk and other points where he's genuinely trying to convince Cal that he shouldn’t be doing this thing, because he doesn't want to do to Cal what he then does to Cal.

He doesn't want to betray Cal and destroy everything. He really definitely doesn't want to do it. And that I think is important to see in Noshir’s performance. It's not like he’s twirling a mustache saying “go down the dark corridor nothing bad will happen.” He's like, “I want the best for you until it's between me and my ultimate goal.”

Q: Speaking of those post-game echoes showing Bode’s thought process, I’m curious how you approached foreshadowing and hinting at this earlier in the game. Did you try to set up moments early on where players might have picked this up?

Homan: We did, yeah. One of the first significant scenes between Cal and Bode is where they stopped for Bode to repair the ascension cable. Bode is vetting Cal, Cal is unaware that Bode is a spy, and Bode is trying to suss out if Cal is still in contact with Cere, etc. It's all in the subtext of that, and as you go back, if you look through the scenes, you can always kind of see Bode’s angle.

Sometimes he's more explicit about it. Like in the Lucrehulk, he tells Cal, “I love you and I want you to have a good life. Maybe it's time to start something with Merrin and settle down.” That's genuine, that's not artificial. That's him. He genuinely cares about Cal and having such a parallel story to Cal really wants Cal to find happiness on his own terms.

That moment in the Lucrehulk after defeating Dagan really stuck out to me on a replay. Bode sticks around afterward and you realize that’s where he got the lightsaber. It’s fun to notice all these moments the second time around.

Homan: It’s where he gets the lightsaber, it's where he really dwells over Cal’s pitch to potentially one day join forces and take the fight to the Empire. There's a lot going on in Bode’s mind and you can imagine him off-screen in that arena really trying to contemplate his next steps.

Stewart: I think the closer we get to the actual betrayal, Bode doesn't unravel, but he's hitting a final beat. He's trying his last desperate attempts, like, “Hey, don't go to Tanalorr,” or “Maybe just you and me go scope it out,” and “No, I'm gonna stay here and think” because he puts together bits of plans on the fly.

You can see the cracks emerge as you're running towards the betrayal. Whereas earlier in the story, he's much more composed about it all.

Q: Did you guys consider other alternatives for how things might have played out between Cal and Bode? Was there a line of thinking where maybe Bode survives this?

Homan: I think what fans ended up resonating with in this game above most other things was that Bode’s betrayal hits really hard because he's such a lovely human being on the surface and because he's so human and conflicted, and because I think the best villains retain their humanity even as they do monstrous things. I think to bring Cal where he needed to be at the end of Survivor, he had to confront this monstrousness in Bode because to some extent, he's confronting feelings that he has himself. So at the end of the day, I think things had to end up the way they did in order to make Cal make hard choices.

Stewart: Yeah, in my heart I have different scenarios, but as long as I've known the story and I've understood the story all the time I've worked here, the core of it is the tragedy of Bode Akuna, and reflecting on the tragedy of what Cal has to go through as well. There's a part of me that is like, “And they lived happily ever after and nothing bad happened.” And that's great, and I feel happy for that, but it's not compelling. It's not reflecting anything about Cal or pushing his journey forward. So that's always been the core I think.

Q: Danny mentioned how Bode is a pretty likable guy. He’s such a bro. Was his personality written that way for dramatic effect? Did you want to make us love him so that the betrayal would hit harder?

Homan: We're definitely trying to make people sad if that's the question. They're brothers, as Bode says. Bode is someone that Cal really needs in his life and has him for a time, and then obviously things take a dark turn, but I think when Bode appears, Cal is at a low moment where the other members of the Mantis are scattered to the four winds of the galaxy and he needs someone by his side who understands him and Bode saddles up at that moment.

One thing I want to say about the bro thing is what I love about Noshir’s performances. Yeah, Bode’s a stocky and handsome six-foot-two guy, but I think Noshir added a lot of wonderful goofiness which I think endeared players to him. There's a scene in the Mantis heading to the shattered moon and he's making a meal off-screen and he says “dank farrik” and you know that he's probably got food all over him.

I think Noshir added a lot of softer edges to Bode that made him really stand out as a character.

Stewart: I don't think you have Noshir in a role and expect the role to be unlikable. I don't think I've ever seen him in a role where I didn't find him compelling even if he was a down rotten scoundrel. We knew pretty early on, I think, that we wanted Noshir to be Bode. So once we started getting test samples back and he started doing some recording for us, some of the other writing that we've been doing on other levels – I wouldn't say shifted – but was informed and then got stronger based on the character that he was helping to create with us.

Q: Was there anything in the writing that you tried and found that it didn’t work? It’s always interesting to see if the writers had ideas for one direction and decided to take the story somewhere else.

Homan: Maybe not with big plot beats, but I think actors always need to internalize why they're doing what they're doing and it doesn't matter what the script says if the actor can't feel it. So there are often times where on set, we talk through the script and make edits on the fly to not only fit the voices of the characters, but also so our actors could better inhabit that.

An example would be the scene where Cal confronts Bode in the ISB base. That's a scene where Bode is telling the absolute truth to Cal for the first time, and that truth had to be pitch perfect and word for word for Noshir to be able to really sell it in the way he had to.

Q: We’ve touched on this a bit already, but Bode is pretty brotherly to Cal throughout the game. To what extent was that genuine? Bode is a highly experienced operative. How much of it was genuinely caring about Cal as opposed to just being a good spy?

Stewart: I think it’s genuine. Does he start out that way? I think that's probably the crux of the question. I don't actually know. I think some of the echoes at the end of the game actually talk about how he's catching feelings, right? He's trying to be a consummate spy and he's like, “Oh, snap out of a Bode, snap out of it!”

So I think he gets there, which makes the tragedy of his betrayal even worse because he gets this thing. He's like, “Oh, I have a family. I have what I could call an extended family, not just me and Kata.” Something that's not so isolated, something that's reminiscent of what it used to be like, and then he cuts the tie to that himself, which makes it even worse than if he was just mean and conniving the whole time.

Homan: It's not like what Bode has been asked to do is something that he would have elected to do on his own. He's a captive to Denvik, who is using him to protect them. So Bode struggles early on with being close to a Jedi, which he hasn't been for a decade or more. I think it's a surprising moment for him. He's probably been asked to do many things for the ISB over the years, but this is the most personal and the one that forces him to reflect on his own path in a way that he probably hasn't for quite some time. That makes it incredibly difficult for him.

Q: Bode chooses to fight Cal to the death at the risk of leaving Kata fatherless on Tanalorr. Why do you think Bode couldn’t trust Cal in the end after everything they went through together?

Homan: That’s a great question. I think, as we often see with those who fall to the dark side, fear clouds the future for Bode. At that point in the story, Bode is unable to see beyond that fear-covered future. So if he could have been receptive to that, that might have been an earlier moment in the story, but at that point, you really can't see a future in which the hidden path and Kata are both safe on Tanalorr and so he makes his choice.

Stewart: He also becomes fearful of not being fearful. When Kata is appealing to him during the boss fight and he yells “Enough!” and cracks the wall and grips his fist, he's trying to put an end to the voices that are assaulting him and are almost convincing him. He doesn't know what it would be like if he wasn't constantly afraid and constantly looking over his shoulder, which is what he's done since probably before Kata was born. Just to emphasize what Danny was saying, he's scared and then the fear lets the dark side in.

Q: A plot twist like this can be pretty delicate to execute. Were there any particular challenges involved in achieving the impact you were going for and getting the right messages across?

Homan: It's an incredibly stressful thing to try to write a betrayal, let alone a betrayal across an entire game. If you have an hour and a half or two hours he’ll be featured, you can pick and choose your moments, but Bode is with you the entire time! Anything he says that we write incorrectly could ruin the surprise of the betrayal.

So we scrutinized every script from cinematics to seemingly innocuous conversation in Pyloon’s Saloon to really make sure that when you look back, you can see Bode and the betrayal. But for most people – not all but for most people – I think it's a razor's edge. He’s just likable enough but not unbelievable as a character, and there’s enough else going on with Dagan and Rayvis that hopefully you're entranced by that story and you don't see it coming.

Stewart: I think there's a double whammy. Everything Danny said is true, but I also think players and viewers have somewhat of a cynical eye toward newcomers immediately these days because they're scared of betrayal as we all should be, right? Even people who are like “I saw that coming,” did not see the part where he revealed himself to be a Jedi coming. So it's like, “Oh, I figured that out. Oh, no, that is still a shock.” So you still get that surprise and delight that we're aiming for.

I think there were some tricks that we had that might have worked that helped us “sell” Bode, like having him as a companion in gameplay during Lucrehulk and Coruscant. You think, “Oh, whenever I come back here, then I'll have Bode with me again” as you do with Merrin in the desert on Jedha. So hopefully players might feel a bit of comfort on that level, knowing that you can re-traverse it and then Bode will probably come with you.

It's like Danny said, it's delicate.

Q: At this point, Cal has suffered a huge amount of loss and a shocking betrayal. How do you feel these events are going to affect Cal?

Homan: I think you can see in the postgame as Cal – now with Kata on the Mantis, with Marin and Greez – continues to exploit that. There are a lot of conversations where Cal is trying to connect with Kata, trying to see how she's doing, and sometimes she's receptive and sometimes she isn't. I think one of the amazing opportunities of a video game is that because we're taking players on such a ride with a really intense, emotionally fueled betrayal, we really wanted to make sure that there was stuff afterward for players to regroup and talk with the characters that have been part of their journey and think through some of those kinds of questions themselves in Survivor.

I really encourage people to play through that end game content. It has some of our best writing and some really lovely performances from our actors, and it's also a moment to talk with Merrin about the events that had just happened on Tanalorr. I think it's a cool opportunity for us as writers as well.

Q: What kinds of questions are you trying to evoke from players with the story? Is there something you want players to ask themselves after they’ve experienced it?

Homan: I think the basic question that's posed in Bode’s story is, “What are you willing to sacrifice for, and what do you live your life for?” We face these decisions as people every day. The principles of community versus the individual and our priorities. Bode is not wrong. Cal calls him a monster on the ISB base, and he says, “I'm a father.” I think that rings true because parents would do anything for their kids. Obviously, Bode’s actions are monstrous, but he's facing a galaxy where he does not think there's an end to Imperial domination.

So I think we're asking players to take a step back and realize that the galaxy and our own world are incredibly complicated, and they're difficult to navigate. At the end of the day, one of the things that Cal and his friends find comfort in, in a war that seems like it will never end, is family and friendship and love and the bonds that sustain you and help you survive through really dark times.

Stewart: One of the binary themes that we're looking at through these ideas are duty versus desire, as well. Cal is particularly torn between his desire to have a home and a safe place for him and his family, and his duty to the Jedi Order, and how we see that reflected in other characters.

Dagan has chosen desire over duty to the Jedi Order as well, but then, in a warped way, Bode in himself has chosen duty to his daughter as a father as opposed to desire, because he puts desire aside when he betrays Cal.

So we're always asking these questions about how the push and pull of those gravitational forces on you affect you. For Bode as a father, and with the fear, that pushes him in the direction that he goes in.

Q: How did you feel about fan feedback on this plot twist?

Homan: We were pretty overwhelmed, to be honest. Again, because it's not an easy plot twist to pull off. I think it spoke to a hunger in the Star Wars community to have complicated characters who have real stakes that you can feel. Like Pete was saying, in my heart, as a player, I kind of want Cal and Bode to be best friends and take on the galaxy together. That's a fantasy I want to be a part of. But that's not the time that they're living in. I think players felt the stories so deeply because we were offering something a little different.

Stewart: There were a lot of tears. I'm not saying I want people to cry, but I'm saying if they do it means something.

Homan: I’m saying it. Those tears feed me. I absolutely love them.

Q: Moving over to combat, how did you approach Bode’s role in combat? He’s got a lot of different possibilities with jetpack, his blasters. How do you decide what he can do in combat and how it’s balanced?

De Heras: Sometimes game designers have to start from nothing with a blank canvas. Luckily, both how it was portrayed in the script and the story, he was given a few key things that designers like to hone in on for mechanics, mainly his lightsaber, a pistol and a jetpack. So off the bat we have inspiration, we have a base that we could use to have our combat design team prototype various moves and we’re pretty quick to get stuff up and running. So they ran with that and they started trying different things.

In terms of the boss design, early on we knew we wanted a reverse grip with how he held the lightsaber, and he had a pistol in one hand and the saber in the other – that was an iconic silhouette and just a real different check for the player from a mastery standpoint to fight against against compared to the whole cast where there was nobody else like that. That's the base of how our combat designer who worked on his boss design started, and then from there, we start thinking about how he's going to be the big bad at the end and how we can have somebody that's going to be super hard, super powerful, and showcase that mirror version of Cal in terms of power level and how you're going up against yourself or your brother.

From there, they took it in different directions where we were trying different phases. When he played the game, he goes through different stances and that's kind of the ones we landed on trying to showcase something other enemies and other force users don't typically show like floating guns and switching to the tried-and-true two handed pose and stance, but we wanted to give the players something unique to fight against.

Q: Were there any mechanics you were working on for the boss fight where you knew that this is probably going to be the move that kills a lot of players?

De Heras: We like to always mix up the rhythm and pacing of how an enemy attacks, and one of those is something we call the “delayed grabs.” He has that one where I think he puts the blaster away, and he goes into this pose, and then he jets at you and he's about to grab you. That's the one we always laugh at as a combat design team, like, “Yeah, we got you.”

You do figure it out eventually, but still, we wanted to make it really tight and really scary. You could see it coming a mile away, and you know what's coming, and you still panic. That's what combat designers like to do to the player sometimes. Just really make them feel like they've reached the bottom.

Stewart: I think Trilla had a move like that in Fallen Order. I didn’t work at Respawn back then, and so the trauma is still very much in my head.

De Heras: Yeah, we like to borrow our own ideas or be inspired by other things. There's certain things that we know the player is gonna get hit with and you have to reach the bottom before you can reach the top right? Somebody told me that.

Q: Cal has all these different saber forms and strategies he can use. How do you approach Bode’s mechanics keeping in mind that Cal might be using a crossguard, or dual sabers, and the timing might be totally different for the player?

De Heras: That’s a good question. When we design the whole cast, we have to consider that especially for Survivor since like you said, Cal has multiple stances, and some things we want to make easy on ourselves. So there are some global systems and how they react and how they block certain stances that we could tune. There are sliders we have per stance on each enemy and we could tune that.

But for Bode, we wanted to give him some special stuff and how he behaved if you shot him, for instance. If you use the pistol, he'll ping pong the blaster bolt back to you. So that's a unique behavior we gave him to show that he knows your tricks. He could have an answer for whatever Cal has in his bag. It’s the same thing for heavy saber. If you swung with the heavy, sometimes he would evade it, or he would always evade after the first block. We purposely spent more time there.

Even though we spent plenty of time on the rest of the cast honing in Cal’s stances. we made sure that Bode had an answer to most of Cal’s attacks, no matter what stance you're in. Some of that can be a slap on the wrist with how he responds to you, or some could really punish you to say “Don't do that again.” A lot of time was spent on that.

It sounds like you took care to avoid cases where one stance was a “hard counter” for Bode, or that another stance would be extremely difficult to beat him with.

De Heras: As a rule, you could beat the game with any stance, but we do want to encourage or discourage certain moves or maybe certain abilities in each stance. Although it’s still winnable, we want you to optimize and min-max the favorite stance for the optimal stance, but there's nothing that's a hard lock where you can't use this stance against Bode, no.

Q: Is there anything about Bode’s combat design that was very different from designing other encounters? I know you mentioned how he’s somewhat of a mirror match against Cal.

De Heras: Yeah, I think the biggest challenge and the biggest amount of time we spent was getting the pistol and the saber to work together for him. How can Cal and how can the player defend against that, and how can it be readable and not be too much bullet spam on the screen?

One thing we landed on is mixing in the pistol into a very reasonable cadence. When he swings he’ll shoot, or sometimes he’ll swing twice and then shoot once. We map it out on paper and then we go in and tune it, and we try to get these poses to read. So after he swings we know he's gonna shoot, or sometimes he’ll swing and then he'll back evade and then come forward and dash towards you.

There's all these branches in there and we started to treat the pistol sometimes like a melee weapon. It is ranged, yeah, he could shoot from afar, but sometimes he’ll use it up close and he'll do a power shot where you can't block and we wanted to interlace that with the combat. That's where the biggest challenge was. I think that paid off well because he didn't feel like anybody else.

Q: How did you approach designing Bode’s phases and how the fight would evolve?

De Heras: Typically, in my experience, and from what I've seen, when we try to do phases with bosses, or really hard enemies, the designer usually wants to try to have the boss do the phase, or stance change anytime they want. And usually, that makes it hard to read for the player, and how to prepare for each stance.

So we approached it twofold. How do we have Bode show off his power level? He's a Jedi. He's different from you. There are other Jedi in the universe historically, but how do we make him unique? That was one guiding light for the designer and for the design team to approach each phase.

We called it the “pirate stance” for his first stance where he had the saber and the pistol, and then we would name things to get the juices flowing. The next stance, I think was called TK stance internally – telekinesis – where he's floating the guns, and the final stance we called “traditional stance.” We use a combination of the character to showcase the personality and their power level, being conscious of what other enemies do in the game and making sure he stays in his own area.

From there, we get creative within each stance and push that as far as we can. There are a lot of ideas when you're designing something that get thrown out because they're either too goofy or they're too hard to read, or it's just simply too much for the player to handle. So you start big, and then you start to pare down and take ideas that work and then make sure they're very individual and readable.

Q: Do you have any examples of some of those “goofy” moves that ended up not making it into the fight?

De Heras: In the TK stance where he's floating his guns, there were some abilities where he would spin the guns or they would spin in 360 and he would reflect each one with a saber, which I thought was kind of cool actually. It wasn't goofy, it was just hard to make that readable to the player.

And then we shipped something where he spins a saber and it's going around, and then he's shooting to that point, we kind of took that to the 10th degree. Again, that was too messy so we dialed it back so it's very slow how it approaches you. I think a positive outcome from that is that the slower something goes, sometimes it's a little scary for the player, as opposed to being fast and coming back to the enemy. I think that was a happy accident there.

Q: This is obviously a huge narrative moment. How do you factor that into the combat design so that the fight carries that emotional weight?

De Heras: I think that ties back into how we design bosses. It’s a group effort. The combat designer may sketch out a whole progression, but we bring in narrative, we bring in cinematics, level design, and in that boss fight, there are a lot of transitions, and in a lot of those transitions, they bring in Merrin or they're intercut with moving the story along and that's something we want to make sure we get right. There's a lot of back and forth there with trying to get the mechanics and the narrative to line up.

Stewart: I think Bode’s animation as well is one thing I love about the fight. Even if you took away the performance of Bode officially losing his mind – which is excellent – he gets more and more feral from phase to phase, and he gets more and more desperate. I think that reads super well, and by the end, you're fighting a man just desperate to try and stop you, and you feel bad about it because of the way that it shouldn’t be like this. That's the sweet spot.

De Heras: Especially his final phase. He's pretty much out of control. For some players, it might be a cheap phase because he's doing wave force waves and he's doing instakill grabs, but to Pete's point, that's where you feel like he's reached the end and he's putting it all on the line and putting it all out there. That's always the back and forth we try to achieve with the narrative and game game design.

Q: Speaking of instakill grabs, that’s something that players tend to get frustrated with if they’re overused. How do you balance moves like that in a boss fight?

De Heras: I think generally you try to keep them rare, if at all, and generally speaking, in this type of combat, the longer the wind up I think the players have an expectation that, “Okay, I can see this move coming in from two miles away. If it hits me, and it's fair-ish, then it's my fault if it hits me.”

But you know, there's all these metrics and lag time and we want to get the player to where they least have a chance to see it. We also have difficulty modes. So depending on the difficulty mode, it will mitigate some of that. So on Grandmaster it's a one hit kill, which I think is fair for Grandmaster players, because they love to feel pain, right? But if you drop it down a few difficulties it will not kill you. That's one of our guiding lights for difficulties where you've reached a certain lower difficulty, we never want to do one-hit kills or that type of thing.

Q: Merrin helps Cal out during this fight. How do you strike a balance between involving Merrin and not letting her carry the player too much?

De Heras: That was one of the big challenges for Jedi Survivor: making sure the player is still playing the game. Obviously, the sig is there to make the story move forward, but they also need to be believable when they're with you and not be a cheap husk of a character.

We always wanted Merrin to be involved in that fight in different phases and in different ways, that was always there on the table, but we had to figure out “How long is she going to be in the first phase?” I think in the original idea she's always there, and that becomes a balancing problem with having two characters fight Bode at the same time. It doesn't always look the greatest. So you could spend a lot of time making that look good, but there is a finite amount of scope.

So we got her in there and made her feel like she's worthy, and she had to go out and protect Cal. Then she came back later through a big awesome exciting transition similar to the Trident sequence where she uses the wind and the green tubes to help you out and do some co-op moves. We know we wanted a mix of co-op excitement, sig real-times with Marin helping you out in combat and then interlaced with some cinematic moments.

Q: Do you feel like this is the hardest fight in Jedi Survivor?

De Heras: It's definitely up there. Vader I’d say is one of the hardest. But none of these bosses are as hard as Spawn of Oggdo. They could only hope to be as hard as the frog.

Q: Any final thoughts before we wrap up today?

Homan: We’re just really excited with how the fans and critics respond and it's a wonderfully grueling process to make a game. It takes years of commitment, and it was really gratifying for all of us on the team to see fans respond positively.

Stewart: If we haven't said it enough, I want to give a shout-out again to Noshir who turned our decent-enough words into actual magic. Bode is as endearing as he is because of Noshir’s performance to the point of how bro-y and friendly he is. It's why the end feels so great when he’s practically screaming at you during fights like a feral animal, and you feel so bad like, “This isn't you Noshir! This isn't you Bode!”

Just big up to Noshir.

[END]

Star Wars Jedi: Survivor

Star Wars Jedi: Survivor is the sequel to the critically-acclaimed Fallen Order, which was also developed by Respawn and published by EA. Continuing Cal Kestis' story, Survivor is an action-adventure game with Soulslike combat, multiple planets to explore, and an engaging story.

Franchise

Star Wars

Platform(s)

PC , PS5 , Xbox Series X

Released

April 28, 2023

Developer(s)

Respawn Entertainment

Publisher(s)

Electronic Arts

Genre(s)

Action-Adventure , Soulslike

ESRB

T For Teen due to Mild Language, Violence