- 1 giorno fa
Primo videodiario di sviluppo di Dreams, titolo esclusivo per PlayStation 4 di Media Molecule.
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00:15Noi, noi, noi, noi
00:32Ha lo unischemo
00:32Can you hear me?
00:33What do you reckon?
00:38Yay, ok, hello, how ya going?
00:40Ok, so this is Alex
00:42This is our first ever Twitch stream
00:43so it's probably gonna go horribly wrong
00:45Sorry about any technical problems
00:47and I thought for this one
00:49in the future we hope to do this regularly
00:51and maybe we'll meet different people on the team
00:53and show you bits of the game
00:55but today we're just gonna do a quick whizz round the office
00:57maybe show you some
01:00cool stuff
01:02we're going to go behind the scenes
01:03on some of the E3 and also on myengine
01:05talk from SIGGRAPH
01:07and Umbra Ignite which you can see on YouTube
01:10so
01:11go and check that out after this and we're going to be
01:13archiving the stream on YouTube as well
01:14assuming that all goes well
01:16so I think the first thing to do is to
01:19show you the Media Molecular Office
01:20and push the doorbell I guess
01:22let me go
01:25ding dong let's in
01:27right let's see if we can squeeze this camera
01:29through the door
01:32right
01:33this is so not going to fit
01:34come on
01:36yeah look at that
01:37it's the pink walkway of doom
01:40so this is our office
01:43we've got a little meeting room in there
01:45that's actually where we do our life drawing class
01:47which is pretty cool so there's lots of pictures of naked people
01:50I won't show that to you today
01:53and we've got lots of lovely
01:55the BAFTAs and awards and bits and bobs that remind us of all the games we've made
02:01thank you for supporting our games
02:04because that's what leads to
02:06there's someone's lovely bum
02:09that's Paul our audio guy
02:10hello Paul
02:12this is our little engine-y area
02:14and Nathan and Amy
02:16and sort of coders working on the networking side and graphics side
02:21and who have we got next
02:24wow down the pink brick road
02:26so this is Dave
02:29say hello to Dave
02:30Dave was one of the original founders and the other technical director
02:34he does gameplay more than me
02:35you've got Peter there
02:36a bit of a designer
02:38Anton
02:40doing
02:40yeah
02:41the man behind the move
02:43we've got Bogdan
02:45who's our
02:45another audio programmer
02:47making the music tools
02:48so he's going to have more to share
02:49in Paris
02:51I hope
02:52over here
02:53we've got
02:54John Beach
02:56ex-LBP community star
02:58what was your handle on PSN?
03:00John E.E.
03:02John E.E.
03:03you've got Phil
03:03we've got Steve Bigguns over here
03:06if you know Steve Bigguns
03:08we're going to go and
03:09I'll come back to these guys
03:11you've got your designers over here
03:12you've got Liam
03:13our gameplay programmer on the right
03:15hello Liam
03:16we'll be coming into this area in a minute
03:18so
03:19back in a mow
03:22some concept art
03:24let's just hover on the concept art
03:26this was actually
03:27the concept art
03:28that John and Karim especially were painting
03:31and it looked
03:32if you watch my talk
03:34there was a moment when I realised the game looked nothing like this
03:37and it really ought to
03:38so
03:41a nice moment was that the images on the top left
03:43with a painting
03:44and then the one immediately below
03:46with a sort of
03:46I don't know
03:47acropolis sort of
03:48statues
03:49was actually a first screenshot from the game
03:50that began to look like the concept art
03:52so that was a nice moment
03:54so a sort of inspiration wall
03:55and behind this bank of monitors
03:57we've sort of got our lovely producers
03:59studio director Siobhan
04:01say hello Siobhan
04:04hello
04:04go on wave
04:07can you wave?
04:08Hi
04:08wave
04:08there we go
04:09sorry I couldn't hear you
04:10there's a long lag
04:11there's a long lag
04:13ok that's lovely Siobhan
04:14and
04:16got our HR
04:18and
04:20studio managers
04:21and all sorts of things
04:23Gem
04:23and Sara
04:24so many people
04:26I'm not going to do the full tour
04:31ok
04:34so many people to see
04:35I think we should just go back to Kareem
04:37IT are over in the corner
04:38but they never get a look in
04:39bye IT
04:40we're not going to go over to your area
04:42tough shit
04:43excuse my French
04:46right
04:46let's go back to the cool area
04:53it's like Steadicam
04:55it's awesome
04:56right I'm going to meet Kareem I think
04:59and now he's got his headphones on
05:01he's ignoring
05:01so this is Mark and Kareem
05:03Mark is
05:03Kareem are the founders of the company
05:06we've also got Paolo there
05:07let's just give Paolo some love
05:08hello Paolo
05:09there you go
05:10so Mark in the yellow t-shirt
05:13erm
05:13is
05:15creative director
05:15I think
05:16and Kareem is
05:18art director
05:18hello
05:19and who shall we molest on the stream a little bit
05:21let's go and talk to
05:22let's go and talk to Kareem
05:23come to me
05:24come to me
05:26alright Kareem
05:27hi
05:28er so
05:29I thought
05:30let me just make the camera go down a bit
05:32so we can see you a bit better
05:33good glory is my lovely t-shirt
05:36let's get this camera
05:38that's no good
05:39let's try that
05:40cool
05:41that's a bit better
05:42cool
05:43erm
05:44so Kareem
05:45tell us about dreams
05:46dreams man
05:48that is the
05:50our
05:51our
05:51our baby
05:52we
05:53we've been working on for a while now
05:55and one of the
05:56the premises of it was attitude
05:58how can we have
06:00er
06:00an experience
06:01that
06:02er
06:03feels like dreams
06:04is
06:05is
06:06is fun
06:06and we take
06:07media molecules creative gaming
06:10to the next level
06:12and er
06:13one of the things that
06:15I'm going to sort of touch on is the
06:17is the art
06:18side and how does that translate to art
06:21when we were starting to think about our
06:24er
06:24er
06:25artistic experience and artistic engines
06:28er
06:29er
06:29we wanted to find a way that makes
06:32this
06:32the
06:33the design process
06:35er
06:36quite intuitive
06:37where you
06:38er
06:39arrive at ideas
06:40as you're playing
06:41with the
06:42with the tools
06:43rather than
06:44execution
06:45oriented
06:46er
06:47er
06:48experience
06:49we
06:49a lot of
06:50a lot of digital
06:51suites
06:52produce wonderful results
06:54but
06:55actually
06:56looking at the people
06:57doing it
06:58is not that wonderful
06:59it's not that attractive
07:01it's not like watching
07:02Jimi Hendrix on the guitar
07:03we wanted
07:04to make
07:05our tools
07:06attractive to watch
07:07as well
07:08so
07:08that that all began
07:10by
07:11er
07:12er
07:12looking at concept art
07:14and and and how
07:15you
07:16you you
07:17you surprise yourself
07:18and this sheet i i did like few years ago
07:21i actually did
07:22thirty
07:23color
07:24er
07:25studies
07:26that are
07:27quite abstract
07:28you know just a bunch of colors
07:30that
07:31you you mess
07:32mess around with
07:33and i just
07:34keep on messing
07:35and then
07:35i change page
07:37and i go to another one
07:38and i change the orientation
07:39and i play
07:40because i didn't even
07:41even
07:42i've actually got some here
07:42so i'm just going to put them up on the stream
07:44so you can keep talking
07:45but i'm just going to
07:45bring some up while you talk
07:47while you're going
07:48the exciting thing about
07:49that approach
07:50is that i
07:51even in concept art
07:52i
07:53wanted to surprise myself
07:54and not just draw the compositions that
07:57i know how to draw and choose the
08:00color schemes that i know
08:01and choose the motifs that i know
08:03i wanted to do a piece that by the end of it
08:06i'm one of the target audience too
08:08that gets surprised
08:10and
08:10the translating that to digital tools
08:14is pretty
08:16and
08:17that's
08:17and
08:19and
08:19and
08:19and
08:20and
08:20and
08:20and
08:21and
08:21and
08:21and
08:22one of our wonderful artists
08:23and alex will go through
08:25some of the details of how we
08:27realized that lovely idea
08:29yeah
08:29has anyone on the stream got any
08:31questions for kareem
08:32i haven't been
08:32i haven't been looking
08:33let me just have a little look on the chat
08:35so many questions
08:36so many questions
08:36thanks guys
08:37people are asking if you're the new tea lady
08:38i am the new tea lady
08:39look i've got i've got um
08:41i've got my tea
08:42and i don't give it to anyone
08:43so i'm actually quite rubbish as a tea lady
08:45everyone's loving the whack on the tablet
08:47cool
08:47yeah
08:48i mean actually
08:50to go on with what kareem was saying
08:51i think
08:52a big part of it was we were looking at different creative tools
08:55because obviously these days
08:56you guys have got amazing tools available to you
08:58from little big planet all the way to like you know
09:00unreal and unity
09:02and
09:03modding tools
09:04and apps on the iphone and ipad
09:06and all those sort of things
09:08um
09:08even things like sound shapes
09:09there's all these creative gaming things
09:11which is a wonderful place to be
09:13but um
09:13we wondered
09:14can we create
09:17excuse me
09:17can we focus on um
09:18sort of
09:20we call it
09:21performance
09:22can we focus on making
09:23the
09:24the making fun
09:25so like
09:25almost like
09:26you don't really feel like you're just creating
09:28you feel like you're just having fun
09:29and that's
09:30when people are having fun
09:31it's always more fun to watch them
09:32so that was sort of the
09:34that's where i think you were coming from
09:35yeah
09:36entirely
09:36because
09:38the
09:38the
09:40when
09:40when we
09:41take the
09:42the making process and you make it intuitive and exciting and fun
09:47like
09:48a lot of people gather around the caricature artist in the street and watch them
09:52or a lot of people watch
09:54uh
09:55dancers or watch painters
09:57but it's very unlikely that we watch
09:59uh
10:00even
10:01animators who produce the most exciting thing in the whole digital world
10:07is when you see a character come to live animation
10:09but it's not very exciting to look at someone moving curves
10:13and
10:13very unhuman
10:15like no not a lot of people will even know what they're looking at
10:18so one of our big big ideas was to try to make
10:23the act of looking at someone using dream and entertainment in its own right
10:30uh...
10:31cool
10:31that
10:31so we'll see more and more of that now
10:35in fact
10:35let's do what you said
10:37and i'm going to let
10:37John
10:38take us through
10:40one of the scenes from E3
10:41so thanks Corrine
10:42cool
10:42also Mark
10:43i'm going to put you on the spot
10:45when we do a Q&A a bit later
10:46do you fancy doing any Q's and A's
10:49go on if anyone's got any questions on the stream for Mark
10:52he's sort of a creative director and gameplay person
10:55so queue him up for later
10:56for now i'm going to go and talk to John
10:58Mark you're up later
10:59right
11:00Mr Eckersley
11:01hello
11:02X and Y
11:03on twitter
11:05how you doing
11:05right
11:06yeah i've got some
11:07i'll zoom out a bit so you can see
11:08get closer to your telly mate
11:09there we go
11:10there we go
11:12so John is an amazing artist
11:14and this is his PS4 running live
11:17Dreams
11:17yeah there we go
11:18it's actually the E3 build
11:20so it's not even
11:20the latest thing
11:22but we don't want to spoil
11:22How many months is that now?
11:25E3 was June wasn't it?
11:26do you want to talk through the concept work first?
11:29yeah let's talk through the concept work
11:30I've got one of these on here
11:31so i can bring it up
11:32you've already gone over to the concept art wall
11:37something that we really wanted to get into Dreams
11:39is when you sit down and you paint something
11:43you don't paint the individual leaves
11:45you always paint the impression of a tree
11:48and we were really excited at trying to create that concept art
11:54but actually in a game
11:55where it's more about blocking out the big details
11:58more about thinking of it like a painting
12:01so this painting idea, this concept art
12:06i don't know if you've got it on there
12:07i have but i'll let your face too
12:10i'll bring it up again
12:11talk me through it and i'll bring it up on the stream
12:13and i've also got
12:13the concept?
12:14yeah
12:15so this was the concept i did
12:16it must be six months ago
12:20and it was trying to give the impression of
12:23what would a dreamy space look like
12:25that still has context of being a real location
12:28what does that look like
12:30and then hopefully that'll inform how we build the environment
12:33so like i was saying about
12:36i'm not painting the individual leaves
12:38or even the backgrounds
12:40i'm giving the viewer the chance to put his own impression
12:44or her own impression on what they're viewing
12:47so that was kind of really exciting
12:49working with you and working with Karim
12:50and working out
13:20when we applied that
13:24The other important thing to point out as well is the...
13:30Oh, the sound broken for a second. Oh, is it back?
13:34Yeah, the sound was broken on that image, sorry.
13:36Sorry everyone for the brief sound outage, but it should be back now.
13:39Yeah, I think the sound's back.
13:41What I was saying, you missed me. That's the worst bit, you missed me.
13:45The idea of the piano player scene was that it was very...
13:50How do you put it? Loose, we call it.
13:54And the cool thing was that John was able to build this scene out of quite big bits.
14:00Let's see how close I can get to your PS4. I'm going to put this down actually.
14:03So I can get the telly nice and big on the feed.
14:08The other point that I really wanted to make was it's also really important
14:12when we've been working on this art style to also get the essence of that person.
14:21So everyone's style, you can really get your style into the game.
14:24You can tell, you know, the level that I made, the level that you've made.
14:27And that's really important that the art can cope with that.
14:31Yeah.
14:31And I think we've definitely got...
14:33You can tell when someone...
14:34You can tell when Francis has made a level and when I've made a level.
14:37Go and fly around a bit because this level's so beautiful.
14:39Like, guys, people won't have actually seen this as a look.
14:42So, yeah, he's actually showing you one chunk of the level.
14:45And that's a really simple sculpt because of the way the engine works.
14:49Each of these pieces that he's moving is actually a very simple shape
14:52and then you apply these kind of brushstrokes to it.
14:55And I'll show you that in a minute in the engine.
14:58And so it's very quick to piece together.
14:59And another cool thing is that each of these pieces could have been made by anyone.
15:02They don't have to be made by you.
15:04It's also with this...
15:05So, again, this is kind of going back to my point with going back to...
15:09Harking back to the concept.
15:10I haven't made all of these individually modelled trees with tree trunks.
15:15They're just simple, simple brushstrokes that anyone could lay down.
15:19And you immediately think, ah, it's a forest.
15:21And you think there's some moonlight.
15:23And it's just the colour I've picked and the shape and the stroke and the direction.
15:27It's really, really simple.
15:29Yeah, that immediately gives the impression of a really...
15:31Yeah, yeah.
15:32Grab those trees again.
15:34See if you can move them.
15:35See how they're in a sort of...
15:37Oh, that's one block.
15:39And he just was basically...
15:41Can you get the light ones?
15:42They're too hard to pick.
15:43Yeah, they are.
15:43But you can fly around and see how simple a scene is.
15:48You've got a block of...
15:49That block of grass is probably literally just a simple flat shape.
15:52And tight stuff as well.
15:53So the other important thing when you're painting or you're illustrating,
15:56you want to use edges.
15:59Tight and loose.
16:00So this is really sharp.
16:02And this will draw your focus.
16:03If the whole screen was as sharp as this image,
16:06you wouldn't really know where to look.
16:08So again, using this painterly splatty engine is a really great way of leading focus of your attention where you
16:14want it.
16:15And this is a cool example of the collaboration.
16:17Because when we were building this scene in E3, it's assembled out of pieces.
16:21So the bird was separate.
16:22I think the character and the piano are actually a separate dream.
16:25So you can actually grab them.
16:26You can.
16:26If you grab the whole piano, I think.
16:29And that allows people to collaborate.
16:31So basically, you know, different people can put together different elements of your scene.
16:34Yeah.
16:34So if you're into sculpting, you can do one thing.
16:37But if someone's doing good at animation or gameplay,
16:39then you can effectively piece together a dream out of other smaller dreams.
16:43I think that's cool.
16:45And yeah, beautiful little flowers here.
16:46Yeah.
16:47And again, they don't need to be individually kind of modeled.
16:50and easily scale them up.
16:52Scale them, scale them down.
16:53Awesome.
16:54Thank you very much, John.
16:55Yeah, don't care.
16:56Cheers, John.
16:57Bye.
17:00Right.
17:02Well, I'm going to show a little bit of the engine, if I may.
17:05We don't want to keep this little Liam's French flag beautiful.
17:11We're going to wander over to my desk.
17:14Because obviously my desk is the messiest and coolest desk there is.
17:19Just to show you very quickly something.
17:21If you're watching the YouTube video that we just put on our YouTube channel,
17:24The SIGGRAPH Talk,
17:25I can just show you a little bit of behind the scenes of...
17:28Oh, it's Nathan.
17:29Hello, Nathan.
17:31Bump, bump.
17:32This is Anton and Simon who did most of the engine work.
17:36So really, Anton and Simon, you are the heroes of the engine.
17:38And I'll just take all the credit.
17:40So they didn't want to go on the stream today because they're idiots.
17:43So I'm going to...
17:45Oh, Mark Darmie in the background who did Tearaway.
17:47Okay, people who love Tearaway, there's one man who made the whole engine.
17:52Here we go.
17:53Where is Adami?
17:54That man there built all of the Tearaway engine.
17:59Obviously it was a huge team effort to make the whole game.
18:01But really, Mark, a bit of a hero when it comes to the engine.
18:03So there you go.
18:04He's now on Dreams, of course.
18:06Ha!
18:06So we can get his amazingness into our dreams as well.
18:10Right, I'm going to show you a little bit of behind the scenes.
18:12What it's like when you're an engine programmer.
18:14And I'll only do this for two minutes.
18:16So if you're not into engine programming, you can chat amongst yourselves.
18:20Have a cup of tea.
18:22Let's see if I can get my telly in.
18:25Unshot a little bit.
18:26Yeah, that's pretty good.
18:27That's not pretty good.
18:28Right.
18:29So, grab my DualShock.
18:32Now, this is a little test bed where basically it's not the engine proper.
18:35It's not the game proper.
18:36It's just the engine.
18:37And it's quite common if you're a game developer to have a sort of, if you like, a little test
18:43bed where you can test things out.
18:44So this is one of my favorite sculpts.
18:46It's called Crystal's Dad, I think he was originally called.
18:50And this test bed allows us to test things like lighting, the way the engine looks, the
18:55way the engine shows models.
18:57And we have these magical debug things, which you will never ever see as a game maker.
19:01So you will only sit here on Twitch.
19:03And it basically allows us to do things like, you know how John was talking about tight and
19:07loose?
19:07Well, this tool, I can quickly test what the artist will see or what you guys will see
19:12when I make the character tighter or looser.
19:15So that's the very, very loose end and then the very sort of tighter end.
19:19And you can play with the brushing.
19:20And again, you'll never see these debug tools.
19:22This is a sort of Twitch exclusive.
19:24The idea being that you will get beautiful, you know, DualShock PlayStation user interface
19:30version of these.
19:31But when you're developing the game, it's very helpful to be able to just quickly dive in
19:35and get to the roots of the thing.
19:37Let's see what I'm going to do.
19:38I could make a hairy, hairy dad.
19:41That's pretty cool.
19:42Make it out of little hairs.
19:43Maybe make them a bit longer.
19:45And already I've got a look, right, from just changing a few things.
19:48And in the game, that's as simple as like clicking on a few things with your DualShock.
19:53And to show the awesome power of the engine, we have thousands and thousands of these things
19:57running at a nice frame rate.
19:58And every single one is made out of those hairs that I just set up.
20:02So really, it's a very scalable LOD thing.
20:06And we're quite proud of that because you can build quite complicated scenes out of all sorts
20:12of different painterly looks, tight and loose, as we call it.
20:15So I think that's enough engine geeking out.
20:18Oh no, I promised someone on Twitter that I'd show them a physics mesh.
20:21So someone asked about how we do physics.
20:25And if I push the right button, this is just one dad's head.
20:30And go close to.
20:32And I can actually show you, I can slice through him.
20:35I can actually show you how he was made, how he was sculpted.
20:37So if I bring down this thing, this actually visualises the so-called distance field.
20:41So the engine programmers on the stream are probably going, oh, that's very cool.
20:45And I can also scrub back and forward through the edit history.
20:49So this is re-watching how he was sculpted.
20:53And then if I push this button, you actually get to see what he looks like to the physics engine.
20:57And what's pretty cool about this is that our physics meshes are made out of the distance field.
21:02They're a little bit lower than the ones we show you on the screen.
21:04But they're still incredibly detailed, which means that the physics, you know,
21:08if you wanted to have gameplay objects walking over the surface of his head,
21:11or you wanted things rolling down across him,
21:14they're going to be able to pick up all of these subtle nuances that were in your sculpt.
21:18So I hope.
21:19I think Simon just smiled and looked scared.
21:22But we're hoping to be able to do that.
21:25Certainly this is the physics measure that is in our test bed.
21:27And it looks very nice and high res.
21:28So well done, Simon.
21:31Game Dev Viking is the one that asked you.
21:33Oh, there you go.
21:34Game Dev Viking.
21:36There you go.
21:37Right, I think that's a good point to wander off into Q&A
21:40because I don't want to keep going too long.
21:42We've been chatting for a while.
21:45And as I say, this is only our first stream.
21:51I'd love to hear your feedback.
21:53Let us know what you think and what you'd like to see more of.
21:56We probably won't bother with the rolling trolley cam next time.
21:59We'll just set up in front of someone's desk and maybe chat to them.
22:02But I thought it'd be fun to start here.
22:05Should we do Q&A with Mark as well?
22:06What sort of questions have you been coming in, Jenny?
22:11Get my little face back on the screen, as you all love seeing my face.
22:14Somebody asked, does the PS4 have the power to support your vision?
22:17Yeah, it does.
22:18Absolutely.
22:19I mean, I think that we have to work quite hard to make it all fit.
22:24But that's the fun thing.
22:26And I think, actually, ever since Media Molecule was founded,
22:29we actually have got a lot of value out of being so focused just on PlayStation.
22:33So, for example, LittleBigPlanet was designed around PS3 and the limitations.
22:37Tearaway was designed around the Vita.
22:39Tearaway unfolded around the PS4.
22:41And the same with Dreams.
22:42I think it's like we know what our target platform is.
22:45So we can basically try and squeeze as much as we can out of that one platform.
22:49And that's been very helpful for us.
22:51Because as you've seen today, that's the whole dev studio you saw at the beginning of the stream.
22:55It's not a very big team.
22:58So we have to pick our battles.
23:00And being able to just do this on one platform makes it a bit easier.
23:05Still very hard.
23:07And the engine guys next to me are all giggling and going,
23:09I think they sort of have, oh dear, expressions on their faces.
23:13But, you know, that's life.
23:14We'll do it.
23:16Next question?
23:17Should we go into a quiet room so I don't disturb anyone?
23:20Yeah?
23:21You don't disturb anyone?
23:22Okay.
23:25I'll stay.
23:28What's life?
23:30Maybe someone could fly around the test space.
23:34Ah, okay.
23:36Hang on, I'm just going to fly around a pretty scene while I chat to you.
23:39Maybe someone else could do that, I don't know.
23:42I'll get a prettier shot at least.
23:44There we go, there's Hairy Dad.
23:46Let's leave him there.
23:47What are we going to see at Paris Games Week?
23:50Lots of cool stuff.
23:55We hope we're working very hard on this at the moment,
23:57which is why I was wondering about sneaking off into a room so I don't disturb people.
24:01But we'd love to show more of, I'm going to be cautious in my words because I don't want to
24:08spoil the surprise,
24:09but we're going to try and show more of the things you've been asking about, let me put it that
24:14way.
24:14So we're going to try and answer as many of the questions that we've had since E3 and I think
24:19we'll do it in a way that hopefully will be quite surprising,
24:21which is why I don't want to give away the secret.
24:24But yeah, it's going to be cool.
24:25What is the Dreams Engine called?
24:27What is the Dreams Engine called?
24:28Don't know.
24:29We need to name it.
24:30Come on, Twitch community.
24:31Oh, we'll name it.
24:31Yeah, you have to come up with a name.
24:32We call it the Splat Engine as opposed to the Brick Engine.
24:35But someone asked me on Twitter actually, have I changed my opinion of Splats now?
24:40Because if you watch the Umbra talk, I mentioned that I hated Splats with a passion and I didn't really
24:46want to do a Splats Engine.
24:48And the answer is it's perfect for Dreams.
24:50We were talking earlier about how when you're doing sculpting, if you do the tight end, it's a bit less
24:55forgiving.
24:55You have to have good sculpts, whether that's getting them from the community and searching for them or whether it
25:00does not get to be a good sculptor.
25:02Whereas the Splats Engine makes it much more forgiving.
25:05It's like the sort of modern version of pixel art.
25:08You can kind of read more into the pixels.
25:11So, yeah, that.
25:13What is Rex and the rest of the Tearaway team doing?
25:15What is Rex and the rest of the Tearaway team doing?
25:18Mostly Dreams, I believe.
25:20But I wish you'd get an official answer from one of you guys.
25:23So I'm going to turn the camera and put you on the spot.
25:27Community Manager, Jenny.
25:29Is it on me?
25:30Yes, your little, there you are.
25:33I know.
25:35They're all dreaming.
25:36Yeah, they're all dreaming.
25:37Yeah, well, dreaming and some of them are holidaying.
25:39Yeah, resting a little bit.
25:41Taking a big break.
25:42But I think this is the end of this dream.
25:45Yeah, well, I mean, for now, I think our focus is dreams.
25:48I think the thing with a small team is you focus, right?
25:50And so time to focus on dreams and make sure it's as good as possible.
25:54Who knows what the future will hold to Tearaway?
25:56But for now, it's a dreams focus.
25:59Yeah, that's all we've got time for, I'm afraid, guys.
26:03But we'll be doing this next week.
26:05Okay, let's go and say bye to them.
26:08Hang on, I've got an amazing laptop cam close-up.
26:11I think if we're going to be doing this tomorrow at the eben show and want to see what we've
26:16done.
26:18Thank you.
26:19Thank you.
26:19Grazie a tutti.
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