00:00Il nostro corso gratuito è www.mesmerism.info
00:06Se volessero a fare Hellblade usando standard AAA metodi,
00:09con un team di 13 persone,
00:12sarebbe fortunato di avere più di un'ora di un'ora di gameplay.
00:15Quindi, durante i ultimi mesi,
00:17abbiamo stato in una fase di prototipo,
00:18dove abbiamo explorato nuovi idee,
00:21e nuovi modi di lavoro.
00:29Il nostro corso gratuito è un'ora di più di più di un'ora di più di un'ora di
00:32più di un'ora di più.
00:33Non siamo stati in un'ora di più di un'ora di più di un'ora di più di un
00:35'ora di più.
00:35Quindi, abbiamo bisogno di essere diversi.
00:37Hellblade ha dovuto essere unico,
00:39qualcosa che non potrebbe essere in una esperienza di un'ora di più di un'ora di AAA.
00:42Quindi, il nostro approccio per fare il gioco deve essere diversi.
00:50Laсти, la prima del일 gozo è un'ora di più di più alla E-doti cosa,
00:53un mio сразу giunto come né,
00:54che ha disegnato la twentiesza della moda di loro.
00:55Sperieri sono direi chebai alla gi Maine
00:57con le junti della deliberazione e immagini simprikto,
01:00darse paura待 la strada di scola原ale moltissima.
01:04Questo più verifica informare sono contenanti e facilmente quando raggiungto il frattamento.
01:07Quiamo sono stati partecipati proprio di tipo di que effectually
01:12Scaled, Deformed, Repositioned and Reused throughout the environment.
01:17Dan also created some scripts using Unreal's Blueprint System
01:21so that you could position props in any environment
01:24and they would very naturally blend in.
01:27He took a multi-layered approach to texturing
01:30where he would combine hand-drawn textures with photographs,
01:33material shaders and also model geometry.
01:37This allowed him to create and reuse textures
01:40across large areas of the environment
01:42with no loss of detail and no repeating patterns.
01:47Bringing it all together, we picked a couple of areas
01:49for him to push his technique up to his full potential
01:52to see what kind of level of quality and detail we could achieve.
02:04Thanks to the approach that Dan has taken,
02:07what seemed like a near impossible challenge,
02:09creating a AAA quality environment at a large scale with only one artist
02:14now seems feasible.
02:19The approach on enemies was to simplify the problem.
02:23Traditionally when we built a character,
02:25every character would have their own animation rig,
02:28their own accessories and textures that are unique to that character.
02:32For Hellblade, the enemies will be humanoid and part of a unified Viking clan.
02:36To work out whether these constraints would allow us to create interesting enemies,
02:40we did some brainstorming on paper.
02:43Mark explored with a human frame how much variation he could achieve in the silhouettes of the characters.
02:50Claire also sketched out some ideas in 3D to explore different accessories and different silhouettes such as hat shapes and
02:57armour etc.
02:58Taking this forward, Claire then modelled and textured a single in-game enemy character.
03:04From this one character she was able to create multiple variations within the space of a week
03:09simply by changing the shape, the accessories and the colours of the character.
03:15Our prototypes show that it's possible for one artist to create a wide variety of enemies within our constraints.
03:23With this in mind, we'll move forward and design our full set of enemies in confidence.
03:31Mel started working on a battle engine that would allow Alexander and G-Tech to start building the combat system
03:36out.
03:37We started by making a single attack look and feel bit to set the start.
03:43From there we expanded outwards into fast attacks, heavy attacks, charge attacks, blocking reactions, evades, all of the staples really.
03:54The camera view we chose allowed for the concept of directional attacks which in turn opened up directional blocking and
04:01evading.
04:02Combat is a vast multi-layered beast but at its core, at its base layer, it needs to be fast,
04:08responsive, tactical and nuanced.
04:13We're now actively testing the game internally.
04:16And once we've refined this, we'll be beta testing it with some of you out there.
04:21It's one of the exciting ways that we think you can help us in the development of Hellblade.
04:29Senua sees and experiences the world very differently from most people.
04:33It's part of what makes her unique.
04:36So we set about exploring how we could alter spatial and temporal perception for the player.
04:43For combat, we used Previz and Maya to explore some of our more outlandish or strange ideas involving perception.
04:50Some of these ideas played tricks with time.
04:55There was an idea for having alter egos.
04:58And there were various other strange ideas all based on focus and perception that we explored.
05:06And it wasn't just in combat that we were interested in this idea of altered perceptions.
05:11So in the world itself, we also explored various optical illusions based on spatial positioning, perspective, mixing the senses of
05:21time, space and geometry in various different ways.
05:24It's something that we feel could lead us somewhere special and we're actively exploring going forward.
05:34Forcing the team size to stay small, far from crippling development, has encouraged each of us to throw out old
05:41habits, to think differently and to explore new ways of working and creative problem solving.
05:46The challenges ahead remain overwhelming.
05:49And there are many unknowns.
05:51But we've been really encouraged by our approach so far.
06:02One last thing, we're looking for a talented and experienced senior character artist to join the Hellblade team.
06:07If you're interested, visit ninjatheory.com forward slash jobs.
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