Sangalli: It is a form of co-operation first and it is only to support you and try to make sure that people are saying yes ’mostly early. So he's getting the best ideas and then creating artwork and starting looking for commonalities and for artwork that sticks to complement the gameplay and the story.
Robilliard: One of the things from the beginning of this concept was the idea that the player character was an artist. The variables we have made through early let us know and try to understand how we wanted the player to be an artist in the game. And then there is this technical challenge that does not require the player to have any artistic ability to do something beautiful, which has taken years of craft.
A intersection is very interesting in technology and creative to play something that is very enjoyable and enjoyable so that anyone could do something that looks like it.
Sangalli: We do a lot of work behind the scenes to make sure the brushes we give you have a very enjoyable outcome no matter how you use them. But they will give a person enough agency to create what they want.
Robilliard: The world itself is beautiful and kind in a gentle way but it needs your artwork to bring it to life. Ash's mission is to paint this town again with the power of creativity. If you want to make sure the world is still attractive and mysterious and some of you want to explore and spend time in – even before you paint it – that's the time it took.
Robilliard: Firstly, you could only paint in very specific places. And so what we understood by doing that kind of thing was that you didn't feel that you had enough ownership of the art you were putting into the game and that you don't feel connected to it and that you were not worried about it. as much as we knew you had to do this in order for this concept to work.
The story of the game is about bullying and to understand what is going through that character you have to be careful about that artwork because it is not just Ash's artwork, it is your artwork. When you were able to paint what you want and wherever you want to paint it, it was vital to do the whole concept of game work.
Robilliard: Fully. This happens regularly but I can remember the first time it happened. It was an artist from Media Molecule who played the game and made this amazing montage and used all the brushes in a way we never thought. At first, I was like ‘well weird. It's not going to work, 'and then suddenly everything was coming up and very quickly this shape happened in a way I didn't see coming together.
Robilliard: It was strange the first time I heard that question because it never happened to me. When you work on things like this you know what goes into them and there is no way it wouldn't. How much effort and heart and soul go into making games… I am the best artwork for me.
SangalliI think I think a real artwork is something that makes you feel in some way, whether it is happiness or great sadness. I think the effect is definitely by video games. And I see it not only as a vehicle to tell great stories and to involve someone in interaction but I believe that the effort and training and discipline and collaboration between an art department are almost like a great band working together for one piece of music. . … I think it all comes back to create emotional resonance with the player. I think this should be done by a large artwork.
By Sky Man
Sean Murray, founder of Hello Games and creative director of No Man's Sky
We talk about the planets. They are generated from the procedural point of view, but they appear to have aesthetic palette and common colors. Can you talk to the challenges of making each planet uniquely visual and maintain this consistency across?
Murray: Can. It is a very interesting problem. I think when we started our trip with No Man's Sky we had no idea how hard it was.
We wanted to use the hardware to generate the planets and what they see around you when they were usually made by an artist. We wanted to create this huge scale and billions of planets you could go and visit. But the problem is trying to have some kind of style and aesthetic at the image generated on the computer and try to generate something that feels very important and feels entertaining and not just that it is turbulent or repetitive.
This challenge provided us with a unique place. Grant (Duncan), who is our artistic director, drew concepts. And then I would try what sort of mathematical patterns I could create the concepts. It would always have been slightly rocky and overcrowded. So, we have to make out, that algorithms, how do those things happen? What kind of maps might these images create? Trees would have small trees and trees – as they are always foreign trees. There would be nothing exactly exactly as they are on earth.
Apart from the work of the Grant, were there any other sources of inspiration for Sky No aesthetic?
Murray: When we started the game, when there was nothing there, we got in a tiny room together. We have done this, almost what you know, a form of oppression. We covered every inch of the walls with a few printouts of images we liked. We collected hundreds of inspirational images and sat there for an hour with all these images printed, kind as a group saying 'this one I really liked'; and then everyone else would say it's not a scream We'd like to go through them and you will get almost a shared vision.
When we sat down to do it for the first time, it was a question if you close your eyes, what is science fiction for you? gray and is always raining and there are no gray and black and shiny surfaces.
That is not the kind of sci-fi I grew up with. So the aesthetic was very similar to the book covers from the 60s and 70s, the kind of things you could see on Asimov's book covers. Which is very different. Heavy colors and super imagination in terms of ship shape and terrain and in terms of what you were looking out of the sky. … And it was not without danger, maybe, but it was a little more towards the levy rather than the disco-side. And it certainly was colored and vibrant. These were the aesthetics we were drawing from more than anything else. We wanted to make a globe to go out and explore and it should be more enjoyable.
Can you remember that first moment when you saw a little full version of the game and that was your surprise?
Murray: When we sat down one day, we always talked about that feeling for the first time you landed on a planet and I knew there was no one already and the feeling behind it. I remember during the development, that we would always say, ‘if we can put people feeling that it is. It is something you have never felt before. 'That was always the kind of line of feeling. And, you know, when we are making decisions about aspects or whatever is out in the game, we would only think as we can give that feeling to people, wouldn't that be wonderful? Because we can't get that anywhere other than a video game.
I remember sitting with the late night guys one night and we were playing through building. We went ashore on a planet and we just felt that our game was evolving. Everything was a little perfect. It was raining and, you know, a group did not hear the rain sounds that had been working before. We were just there for a moment feeling like, OK, this is what we need for people. I knew that we were going to name this planet and that they would go on the live servers. The planet will be there when the game launches. And it was just a wonderful and beautiful time.
Can you talk to VR about the experience?
MurrayThere are a lot of people saying to me, since, I had an idea for your game so when I was a child. I think you're growing up as a child in the 80s, you couldn't help with that kind of thing when you dreamed of the future. Everyone was playing a game with no limits in it, universe is all there. And in that scene, everyone uses something like virtual reality.
But you know, we are adults and we run a business and company. So, we like, well, we can't do that yet. 'There are other things we need to do. And this idea was hanging around. Then we saw that we got this point when we felt that, as you know, we were eating our vegetables in terms of finding a game and updating it for a few years. And we like, ‘this is our dessert. '
Taking this VR headset forward when things were working first and working properly, I had that moment. I could play the game and be like another person who never saw the game before. I felt fresh eyes and this is a valuable feeling. Imagine you spent five years of your life writing a book. You would only give anything that could read that book with your critical mind as if you had never seen it before and never got that chance.
Has the VR type changed how players explore or interact with the world?
Murray: People playing in VR play for many long sessions. And that is rare. The general thinking now around the world is that people only get short formulation in VR. That does not seem true to us. … What we always mean as a studio is when a ship is flying overhead like playing non-VR, you ignore that. In VR, each individual, the one time that ship will track their heads from start to finish. This type of hypnotized appears to it no matter how many times it happens. I think this is a real sign that they are a little more immersed.
Do you think a video game is an artwork?
Murray: So I'm a little strange about this.
I think, as a developer, I don't think it is me. Or at least I don't think I have enough value to say that it is one way or another. Do I think I poured myself into something like No Man's Sky? Certainly. Yes, huge amount of emotions and passions and though yours.
Does it affect people's lives? Does it change their understanding of things? Or do you have an emotional response? Do they discover some of the feelings we put in? I think this is true. I don't think there is any other medium in which you can deliver something like that, where you can interact with something and have a unique experience that has come about because of many passion and emotions put in by others. experience.
For the person suffering or enjoying that, I don't even know how important it is technically. I'm not sure what extra kind of criterion is super valuable that needs to be brought to that conversation.
You can imagine if you were writing a book or you were in a bond and someone would tell you, 'you think you're doing art?' that. He doesn't want to do something. At least for me.
Kareem Ettouney, Artistic Director and co-founder of Media Molecule
How do you develop an integrated vision for something based on user generated content?
Ettouney: Initially we made content generated by the user in LittleBigPlanet. That was our first child. LittleBigPlanet's artistic direction was very realistic, but he wanted to be a kind of art and craft of DIY aesthetics, making the player nostalgic for low-budget children's school plays. This was a disarmament direction. People in the community had the advantage of using very different visual styles outside of that. So the first lesson we have learned is that people find ways to break it out whatever you do.
The first thing I had as an artist and artistic director was how to make a 3D package generated by the user on time when tools emerged.
Most of the tools we see relate to the result. If, for example, you look at any animation or any game that is very realistic to a very stylized – most of the time if you look at the artist or animator doing the action, look at it. You're using a sophisticated user interface and it's full of graphs and buttons and you don't really know what's going on. While you look at a painting painting or a sculptor sculptor or a guitarist playing guitars or a carving artist on the street, the action is a product to make the piece. You can watch it and immediately be aware of what's going on. Thus, there was a gap in the design and tools of a user interface with this type of competitiveness.
Dreams user interface offers more towards taking artistic freedoms and risks. If you want to make something cartoon, love it. Just because you're not using a pencil, you can't pull like Michelangelo.
What are some of the challenges of accessing these tools while still diverting the way to maximize creative potential?
Ettouney: This was a very long journey.
I was very interested to follow the features of tools and machines that have minimal buttons and features in front of you, although while they are technically sensible, there are a million elements underneath the hood. As a result of this philosophy, you have tools that are expressive to the advanced user and are attractive to the beginner. Sometimes people assume that beginners need tools to guarantee success.
I believe in piano style tools – my children get very long for the piano because you press a button and make a sound. I like to have more than the children's toys when you press a button and play a full sample of your song.
Do you think a video game is an artwork?
Ettouney: Fully. Without hesitation.
The same questions are added to each new medium. When oil painting was created, it was questioned as the media had been fresco in the past. When they started using lenses and prisms and objects to translate images in the 17th century, it was examined. People will always use whatever method and techniques they can to recycle tradition. We only get new media to turn them over and over and to do this, we assemble things in slightly different ways. It is certain that games are at the heart of this generation or the heart of this generation in this era as it combines all media – animation, vision, music, sound, storytelling, film making and interactive design. So completely, not only art are games at the moment but it is the art of this era.
Can you imagine anything else that is still not technically feasible that would add Dream or other games like the next step?
Ettouney: I think everyone in software is trying to improve the user's expression. The art form of animation is only less than a century old and has made so much progress – from exploitation to timelines to stop motion and track green screen offers. I think there is much more to be done in communicating users in all media.
This hypothetical: If you had all the time in the world to sit down and do any game using Dreams, what would it be like?
Ettouney: What a beautiful question. My background is pre-production and scenic design, so I inspire Dreams to move a little. So, rather than making a great aesthetic space, I don't find it difficult to sequence some cameras through that space and then it is not difficult to make choreographic events when my camera is at some point. One of the things I don't get delayed is trips into false collages of spaces that begin to create something worthwhile. It could start with a theme and a story and a little bit of meaning.
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