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00:15Every character
00:16and every creature in the game, every piece of armor,
00:18everything has been completely rebuilt
00:20from scratch. The art direction
00:21and style of Gear's character
00:24and creature work is so rich and
00:25so loved by the community
00:27that we knew that we couldn't just do whatever we wanted.
00:30We had to really stay true to that. But at the same time
00:31how could we take that and translate it
00:33into the quality that's expected
00:35from next-gen artwork in video games right now?
00:38We didn't want the pew pew pew laser
00:39stuff, right? We wanted this kind of Vietnam
00:41era kind of look where it was
00:43ballistics and stuff. You saw the mechanisms,
00:46you saw the grease and the heavy
00:48gears and things like that.
00:49At that time, the artwork for character
00:51and creature work, that was really the standard.
00:54The biggest issue was how do we
00:55transfer that over to next-gen quality.
00:58The process we kind of followed when we
01:00first got the characters was
01:01we drilled down into their DNA
01:03and found out kind of what made each character
01:06pop, what was the most
01:08important thing that the players remembered about them.
01:10For the Cogs when we were updating them,
01:11we wanted to, we didn't want to go back
01:13to the drawing board with the concepts
01:15because we knew we wanted to stay true to
01:17what the fans remembered. The first character
01:19that we wanted to tackle obviously was Marcus,
01:21since it's a character that people love.
01:23He had this predatory intelligence to his eyes
01:25and this scruffy hair, scruffy beard,
01:28but yet there was something endearing about him.
01:30Another place where we had to
01:31really be careful with that is
01:33the original Gears of War Marcus model
01:35had his kind of iconic frown
01:37built into the model.
01:39We tried to bring a little bit more believability
01:41into the faces with the higher detail
01:43and higher poly count and people
01:45being able to see everything a lot more.
01:47We just had to make sure that we pulled
01:49a few things back, but still kept
01:51that iconic look there.
01:53Copy that.
01:54Well, we sure as shit can't stay here.
01:57You're Baird.
01:59Yeah, that's right asshole.
02:00Question is, who are you?
02:01So yeah, there was definitely a lot of places
02:03where we had to be careful and learn the hard way
02:05and then go back and readjust.
02:07The Cog character where we probably
02:09did the most work on his face was Baird.
02:11His face looked pretty rough in Gears 1,
02:13but he had a lot of dents in his face
02:15and stuff like that, really battle-worn.
02:17So the first version we made
02:19was very reactionary to that,
02:21so he became kind of Hollywood pretty boy.
02:24So that's obviously not what we wanted,
02:26so then we had to go back.
02:27We wanted to kind of leverage some of the new technology
02:29to give him a more unique look
02:31and a more interesting look.
02:32Because we had these fantastic character models,
02:34we brought combat in close,
02:36and the chainsaw brought it even closer.
02:38That was the iconic weapon, right?
02:39I mean, that's the thing when people think Gears, it's that.
02:41Our approach for upgrading all the weapons
02:44and all the vehicles on Gears
02:46was really to stay true to the design.
02:48We found ways to animate
02:50and just kind of have the whole thing function
02:52much more as you'd expect in a video game.
02:56Going back to that game after so many years,
03:00you realize that Xbox 360 really couldn't
03:05visualize the assets like the helicopter
03:08because of the technical limitations.
03:10we kept on wanting to add more detail
03:13or like change the functionality to be cooler
03:16and staying away from that
03:18and being true to the franchise
03:19was actually a challenging thing.
03:20That was actually quite stressful
03:23to make sure that it was just, you know,
03:25it was just right.
03:41that's the basic problem for the game.
03:41I'm trying to put a nice push
03:41that was really neat.
03:42So I'm not going to do this right.
03:42I'm trying to do this right here.
03:42I'm trying to do a lot of work.
03:42If I can stay for the upper Elm
03:42To me, I can't do it.
03:43I can do anything wrong.
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