00:04Il mondo di un mondo in motion
00:05Quando si dicevole in motion
00:06è creare una viviera viviente
00:08che hai pensi di più che è solo un piacere di geometria
00:12Si cani sentire il luogo in gioco con le foglie
00:14ma il modo che si vedono le cose, è pieno di effetti
00:18e la effetti che aggiungi a questo viso
00:22Quindi ovviamente il mondo del mondo
00:24il mondo del mondo, il mondo del mondo
00:26con il mondo che c'è il mondo
00:29come the air as it crashes across the waves
00:32and you've got the filling of the ship when
00:33obviously you've got a leak on the ship and the water starts to rise
00:36it feels like
00:38it's sloshing about so it feels like
00:40things have got gravity in a sense and there's physics
00:42within this world. Obviously we're trying
00:43to create quite a unique
00:45bespoke experience so generating
00:48an open world game that doesn't feel
00:50procedural, feels crafted
00:52and kind of has
00:53history and life to it, takes a lot of work
00:56so we need to look
00:58at what elements make sense
01:00to put time into
01:02We knew we were going to have a pirate kind of adventure game
01:04so it wanted to be kind of this big world
01:06that you're going to be adventuring in but it also
01:08had that sense of kind of fun where it was
01:10about a crew kind of bonding together
01:12so it needed to be something that had a sense
01:14of kind of joy around it and kind of
01:16like creativity. It needed an art style
01:18that kind of tied it all together so rather than
01:21being kind of realistic
01:22textures it was going to be something that was more
01:24expressive, more suggestive rather than
01:26like an actual really tiny granular detail
01:28and by doing that we just kind of like
01:30pulled a lot of that small detail out
01:32and that just meant that we could fill
01:34this world with all this kind of
01:36interest and it just didn't get bogged
01:38down or heavy. We spend a lot of time
01:40looking at action from like mid to long
01:42distance so that kind of
01:44mid to long distance read of shapes
01:46and silhouettes was key
01:48but pulling back it's about that big block
01:51colours or big block shapes
01:52so you can see that ship on the horizon
01:54and it's got that really nice kind of form
01:56and we're doing a lot of things with the distance as well
01:58where we're removing even more detail
02:00as you get further back so the islands
02:02actually turn into kind of like one toned
02:04colour and that carried through
02:06a lot of things where we're kind of
02:08refining our shapes or removing that detail
02:10in all of those areas.
02:12So the animation style is bold
02:14and brassy as well
02:16it's quite pushed because you want
02:17all the different characters, shapes and sizes
02:19to have a different feel to them
02:21to be unique in themselves.
02:23Yes, so each one's got its own unique animation
02:26and that's for male and female
02:28so we are putting a lot of effort
02:30into getting movement within our world
02:31it was very important.
02:33All of these elements that we bring together
02:34is kind of like we always talk about
02:37like an orchestra, you bring all these individual elements together
02:40all the different instruments.
02:40and they all layer up and they create this experience.
02:44And when it all does come together
02:45it's all about making this kind of world in motion
02:47but ultimately
02:48that's kind of to make Sea of Thieves
02:50an actual living place.
02:52Yep.
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