It was a phenomenal achievement, I think, but I imagine expensive in a deeply personal level on top of the money." "It was like the unbroken perspective of Half-Life 2 but with all the branching and stuff from all your titles. "I do think what you guys tackled with Cyberpunk was so phenomenally aggressive and I'm terrified at what that must have done to all of you," Laidlaw said, bringing it back to Sasko's comments. And you had to budget those, so we would very consciously be looking at our scenes and going 'well how many golds can we afford?'" You get someone to do slow zooms, rotates, and Dutch angles and everything. We would call those 'bronze' conversations, but a 'gold' conversation would be, we'd put some art on it. That became a tool that we could use to put a symbol to a conversation. "We would drag a stage into a level and that essentially had lights and cameras and a set of animations and stuff. Laidlaw witnessed the rise of cinematic RPGs firsthand at BioWare, and said that while working on games like Jade Empire and Star Wars: Knights of the Old Republic, they had simple tools for quickly creating most conversations. So you are kind of keeping pace with Naughty Dog or Cyberpunk," he said. "As soon as you're delivering something that starts to be cinematic, you then are essentially inviting comparison to the most cinematic things. Disco Elysium, he pointed to as a contrast, was able to add narrative branches incredibly cheaply, thanks to the text-heavy, top-down presentation.įormer Dragon Age creative director Mike Laidlaw said the primary challenge, to him, is controlling player expectations. CD Projekt's designers felt strongly that the "no-cuts" first-person perspective was important for the game, but Pawel said they need to find a solution for "scalability of narrative: you want your story to be long, but also be broad, so we try to provide all the branches and choices and consequences." Doing that with their current tools requires an enormous budget.
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