00:11Sì, Sì, Sì, Sì, Sì, Sì, Sì.
00:31Sì, Sì, Sì, Sì.
01:00Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì,
01:05Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì,
01:10Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì,
01:11Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, Sì, S
01:29la velocità in cui gli avessi attacchi un'altra,
01:32l'importanza di 3D,
01:33anche in termini di essere a un deserto,
01:36ci sono cose che vogliono ottenere in il gioco.
01:43Abbiamo inventato tutti questi nuovi sistemi
01:45che non c'è nessuno di RTS ha mai visto
01:46in cui simulare la motione e la driving dinamica
01:49di tutti i veicoli.
01:52Abbiamo usato molta inspirazione
01:54di Drift Racing, di Gimkano,
01:58e di altri strumenti.
02:00Abbiamo usato un modo di descrivere
02:02come i veicoli che si tratta,
02:03si tratta, si tratta, si tratta,
02:05si tratta, si tratta,
02:07si tratta, questo è un veicolo,
02:10questo è un veicolo,
02:11questo è un veicolo,
02:11questo è un veicolo che potrebbe essere guidato
02:12con i veicoli in gioco.
02:14Abbiamo chiesto di capire
02:20quella fantasia di veicoli,
02:21così che potremmo i veicoli
02:24e potremmo le veicoli
02:25e potremmo di cast metal
02:27e potremmo di potremmo
02:29e potremmo di potremmo
02:29e potremmo in il mondo.
02:34Multiplayer è molto prominente
02:36in Desserts of Caracca.
02:37Abbiamo usato due gioco
02:39durante la lunch breaka,
02:40che era una cosa magica.
02:41Il nostro modello è
02:42Artefact Retrieval,
02:43e in Artefact Retrieval
02:45teams of players compete
02:47per cercare artefatti
02:49e poi extratere
02:50in questo ambiente.
02:55Quando gioco in Desserts of Caracca
02:59ho un sentimento
03:00molto grande,
03:00buona,
03:01buona,
03:01buona,
03:02buona.
03:03è un sentimento
03:04ha una qualità fluida
03:07ed elasticale
03:09che si muove
03:10e quando il gioco
03:12interaccia
03:12con il software
03:14Things move in a very similar way.
03:18We have terrain that affects the gameplay pretty deeply.
03:22Dunes can block line of fire,
03:24ships can move up onto dunes
03:26to secure a longer range or higher damage.
03:28So we want to make sure
03:30that that sense of using the terrain
03:32and using your environment applied as well.
03:35So something that I feel differentiates
03:38Deserts of Carrick from almost
03:40every other RTS out there
03:41is the fact that we don't have
03:43a tile-based map editor.
03:46What we do with our artists
03:48is we give them a blank slate
03:49and say, okay, sculpt us an experience,
03:51sculpt us a world that could exist today.
03:54An ID transponder returned the signal.
03:58The return signal originated here.
04:01That's it. That's what Jacob was talking about.
04:04I need to go investigate the source of that signal.
04:08With Deserts of Carrick,
04:09we had an opportunity with the characters
04:11of Rachel, Intel,
04:14you know, the Khad Sidhu character
04:15and others to really kind of get into
04:17the experience of being on Carrick a little bit more.
04:21So the story was something I'm very happy about.
04:31Being sort of a signature of Homeworld
04:32that we had a main female lead,
04:35we really wanted to make sure
04:37that we landed that role
04:40in a really believable way.
04:42And Haley came through
04:43and just provided something
04:45that was, you know,
04:47way beyond what we expected.
04:52Rachel Seget is the chief science officer
04:55of the expedition.
04:56So she's young and brilliant
04:58and she has sort of two motivators,
05:03if you will.
05:04So the first is, of course,
05:05the science of the mission,
05:07the discovery of the artifacts
05:08and the wrecks in the desert.
05:09And secondly, she's looking for her lost brother
05:11who went out into the desert years before
05:13and vanished and was never heard from again.
05:35We really raised the bar musically
05:37by bringing in the live string arrangements
05:40and also the recordings in India.
05:43Because you have this, you know,
05:44very authentic world music sound.
05:49This element of combining eastern sounds
05:53with western strings
05:54through the lens of science fiction
05:57and synthesizers was a really neat blend.
06:03We have all these amazing designers
06:05and level artists.
06:06That freed me up to move on
06:08to doing the new version of the animatics.
06:11And what we did this time
06:12was we moved them into color.
06:14We started moving them up into 3D.
06:16We started incorporating video footage,
06:18camera motions and stuff like that.
06:20You still feel very artistic and raw.
06:25So animatics here are what we call
06:27animated art, basically.
06:29It's all about style.
06:31And just keeping it pure, you know.
06:33And to do that, basically,
06:34you could do a nice, beautiful painting
06:37and then try to make a scene to emulate that.
06:39But for us, the painting is the scene.
06:41There's nothing lost in the translation.
06:43You just move the elements of the painting
06:44and that's basically what an animatic is.
06:47Some of these shots have hand-painted layers,
06:51live-action frames blended in just a little bit
06:53with 3D elements composited in.
06:55It's a whole gambo of craziness going on in some of those.
07:02Well, I think fans will appreciate the flavor,
07:05the look, the feel and the mood of the game.
07:08They'll be surprised and hopefully delighted
07:11by us taking that into a new domain
07:15and bringing the game down to the surface of the planet
07:18and setting it in a desert as opposed to open space.
07:21I think they'll find, like I said, the look, the feel,
07:25the mood very familiar.
07:27But we're exploring a more intimate territory,
07:29a more human-scale story that's set on a planet this time.
07:33So, a nice mix of old and new.
07:40It's the feeling that we're able to recapture
07:43from the original two games
07:44and bring it into this ground-based version of it.
07:48We love this project, we love this franchise.
07:50This game has emotion, it's got intellectual struggle.
07:55You get to map out and build out the things you need
07:59to surpass the challenges ahead.
08:02And the whole way along, it's great-looking trucks
08:06in a sci-fi setting ripping through the desert.
08:19Those gleaming cameras are just so interesting and hypnotic.
08:25If I was being attacked by a beast with eyes like that,
08:28I'd be like one of those deer.
08:30This huge squid with its enormous yellow gleaming eye,
08:35I'd be completely frozen.
08:39So, I'll go ahead and press number one.
08:39The two of these времена,
08:40I've got a very safe space in the world.
08:40I love this family,
08:40I can see one of these people that have been in the world
08:40I love this family.
08:40And I love this family.
08:41And I'm going to be loving my family.
08:41As I look at this family,
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