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Tutto quello che dovete sapere su Hellblade.
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00:04Hey guys, it's Holly here for PlayStation Access.
00:07Now, sometimes they let me out the office and I get to see some really cool stuff
00:11and today is no exception.
00:13Yes, we are taking a look at Hellblade,
00:15the AAA independent title from pro developers Ninja Theory.
00:32Let's explain what Hellblade is going to be. Are we talking open world, hack and slash?
00:39So far there's been very little actually about what can we expect to explore
00:43and how can we expect to be interacting with the world.
00:46Yes, so it's basically focused on three things, art style, combat and story.
00:52They're really the three things that make up Ninja Theory's DNA,
00:56the things that we've become known for.
00:58So you can expect an art style that is unique and stands out in its own right.
01:06We want Hellblade to be a game that if you look at a single screenshot
01:09you know instantly that it's Hellblade.
01:11That's our aim.
01:12Combat that's brutal and fluid and violent.
01:20It's a deep combat system that people can spend hours and hours exploring
01:25and mastering a skill based combat system.
01:28And a deep engaging story that's told through Senua and through her personal journey.
01:37So you can expect a game that has a lot of combat gameplay,
01:42but also a lot of exploration of the world itself.
01:46It's not entirely open world, but there is far more exploration in Hellblade
01:51than there has been in our previous games.
01:54So combat now, you guys have got your fight sticks set out.
01:58So you're obviously playing a lot of things like Street Fighter.
02:00Yeah.
02:00So how has that influenced the game?
02:02Because Street Fighter is very...
02:03To really...
02:04To be good at it, you need to understand the combos
02:07and you need to really be able to execute them flawlessly.
02:11Yeah.
02:12I mean, we're taking a lot of inspiration from one-on-one fighters.
02:15We really like the idea of there being an entire moveset that is available to the player
02:21from the beginning.
02:22And we want to do a similar thing in Hellblade where everything is there for you to play with
02:27and to explore and to experiment with.
02:32Fighting games are super, super technical.
02:35Yeah.
02:35And there's a lot of complexity and there's a lot of trying to work out your opponent.
02:38and we love those aspects.
02:40So...
02:41And we want Hellblade to have that same kind of feeling.
02:44It's why we've gone for a camera that's very much over the shoulder of Senua.
02:49Yeah, it was quite cool.
02:50So when we were walking, it was sort of behind.
02:53Then it sort of popped here to sort of over the shoulder and quite angled
02:56and it really sort of flung around to right behind...
03:00To right off to her shoulder for fighting.
03:01It really brought it in and it made it feel very one-on-one.
03:04You weren't just running around an open world hitting someone.
03:07It was, no, I'm now in combat.
03:08It's very close and intimate.
03:09We want it to feel like every fight matters.
03:13Like every fight is really meaningful.
03:15Like they are in one-on-one fights and games.
03:17So it's going to be you as Senua versus one, two or three enemies.
03:23We're not talking about hordes of 10, 15 enemies at once.
03:27It's about taking on a small number of enemies.
03:29But it being really tactical and being skill-based as well.
03:36So it's about having moves that are available to you.
03:40But rather than you unlocking new moves, it's about you mastering the combat system that's there.
03:48Now let's talk about the world because looking at some of your dev diaries, you've kind of explained you've taken,
03:54I guess, some inspiration from the Nordic regions to help build this world.
03:59And you've gone for this round shape with lots of branches coming off it.
04:04Yeah.
04:04You said it's not open world, but I can't expect to go from one end of the map to the
04:09other by just walking.
04:10No.
04:10But can you still see it all?
04:13Yeah, it's a single location.
04:15And when you're in one part of the world, there'll be viewpoints where you can see the central tower, you'll
04:21be able to see other parts of the environment.
04:23So it's not an open world in that you'll be able to just access the whole thing and walk around
04:27sort of as you please.
04:29You will be in an area as if it were a level, but you can move around the world fairly
04:35freely between different places to explore different parts of the environment, to find out different parts of the story and
04:41to fight different enemies.
04:42Now we've already seen a little bit of the central sort of tower, which is this beautiful kind of stone
04:47carved, very Nordic Viking ship.
04:51Is this kind of like the central hub where you always kind of come back to here and be able
04:54to interact with people?
04:55That's the idea at the moment is that that's really where...
04:58The idea at the moment?
04:59Yeah.
05:00Anything could change?
05:01Yeah, I mean, we're in development, you know, and a lot of things change.
05:07So at the moment, the idea is that that central citadel is where you will end up in the game
05:14and you'll work your way around different parts of the world, different environments on your journey into getting into the
05:20middle.
05:22So it's a central point and it's a point where you can kind of find your bearing.
05:27So you might be in the Viking ship graveyard, but you'll be able to see that in the distance.
05:34You know, that's always going to be present in the player's mind that they can see the essential area that
05:37they need to try and get to.
05:38So obviously we've seen some of the kind of landscapes already and they're looking incredible.
05:45You are a 13 person team.
05:47Yeah.
05:48So how do you make that?
05:50Like how does something that can take some people, you know, 100 person team.
05:55Yeah.
05:56And you've probably got one person doing environmental.
05:59Yeah.
05:59So what have you guys done then to be able to create those worlds with just one person?
06:05Well, it's really a kit part system.
06:07So rather than trying to make every single asset in an environment as a bespoke asset, we're being clever in
06:16the way that we're creating assets that we can use in lots of different ways.
06:19So Dan, our principal environment artist, is creating a rock, for example, but we can use that rock in many
06:29different places.
06:30We can turn it.
06:31We can sink it in the ground.
06:33We can have them on top of each other and they will look like different rocks.
06:37It will look like different parts of the environment.
06:39So if you take a kit part of assets like that, you can quite quickly make up an environment in
06:44a world that looks fantastic.
06:45It doesn't look like it's made up of kit parts, but it's actually made up of a small number of
06:49assets.
06:50So that's the approach.
06:53But the reality is that that's combined with someone like Dan, who is incredibly talented.
06:57Yeah.
06:58And he's worth several environment artists.
07:01And our team is built up of people that are multi-talented, multi-skilled, incredibly flexible.
07:07And so far, that's a big part of why Hellblade is possible is because of the quality of the team
07:13members.
07:14It looks absolutely beautiful.
07:16Now, Senua is looking incredible.
07:18Now, we were in the boardroom earlier on having a chat and you've kind of got your own mocap set
07:23up.
07:24Yeah.
07:24Now, this is mocap is something that is now expected of very, very high quality games.
07:28But I mean, it must cost, I mean, it just must cost so much money.
07:32But you guys have managed to bring this in-house and you're now a studio with your own mocap.
07:36Yeah.
07:37I mean, a big part of Hellblade is questioning the way that we've always done development.
07:42And everyone's always done development.
07:43And trying to find different solutions to achieve the same level of quality.
07:47So, normally we would take our mocap out of the studio.
07:53We would go elsewhere, LA maybe or New Zealand, and all of the cost and expense that comes with that.
07:58But with Hellblade, we've said, well, we still want to utilise performance capture, something we think is really important.
08:04But how do we do that within our independent budget?
08:07Yeah.
08:07And the answer is to do it in-house.
08:09Do it yourselves.
08:10So, we've taken our boardroom.
08:11We've created our own mocap studio.
08:15We're working with Vicon, who have provided us the cameras for it.
08:20We've got our own lighting set up.
08:25And we've run a test shoot.
08:26And feedback from the team is that the quality of data we've got from that is as good as we
08:31would have got anywhere else.
08:33So, it just goes to prove that for an absolute fraction of the cost, we've managed to achieve the same
08:39level of quality.
08:40And that encapsulates really a lot of what the Hellblade project is about.
08:43Finding different ways to achieve the same level, if not a better level of quality than we have before.
08:50I mean, we've been looking at Senua, and even from the face, we were sort of seeing different maps as
08:56of when you smile,
08:57which parts of the skin would be stretched, which ones would become compressed,
09:00and talking about how that might affect flakes of makeup and paint.
09:05And all this was achieved in a meeting room that you guys have converted.
09:10Yeah, I mean, there's a lot of work and a lot of focus that we're going to into the small
09:14details of things like facial animation.
09:16And that's because we want our characters to be super believable.
09:20And it's things that might seem minor, like the movement of skin underneath the eye, or wrinkles on the bridge
09:29of your nose,
09:30that ordinarily you wouldn't think is important.
09:33But it's those kind of details that make a character feel alive and feel believable.
09:37And that's our aim, is we want a character that you believe is as real as possible,
09:44because that makes her journey and her story that much more encapsulating for you as a player.
09:50So, with Senua, because she's going through a journey to Hell, is this physical?
09:55Is it something's happened? Or is this more of a mental journey for her?
09:58And will we be seeing the world, like we did with DMC with Limbo, will the world change and rip
10:02apart and change around her?
10:04Or will it be a progression through?
10:07You can expect the world to be quite dynamic and to have a lot of movement in it and to
10:12feel alive.
10:13You know, something we did on DMC, we want to do again, is almost treat our environment like a character.
10:18Yeah, it was beautiful. You just feel that switch, everything about the feeling in the game would move.
10:22And then all of a sudden the world's twisted and torn and you just knew you had left reality, I
10:27think is the right word.
10:28Yeah, so we want to do a simpler thing. We want to take that feeling of movement and danger and
10:34of it being alive to the next level.
10:36And something that we want to do in our environments as well is integrate this idea of optical illusions.
10:41So you can mould pieces of the environment just from a different perspective, taking things from a different perspective, you
10:50can find secrets, you can find different parts of the stories by solving these optical illusions in the world.
10:56From a story perspective, where is she going? Where is this hell? What is it? That's something that we're keeping
11:03under wraps.
11:03Fair enough. It doesn't give all the secrets away at once. So the enemies, we know the combat is going
11:08to be heavy, you want it to feel fluid and very in depth.
11:11But what kind of enemies are we fighting here and will there be a wide range and how on earth
11:15are you guys going to create a ton of enemies when there is probably one or two people doing these
11:23kind of character models?
11:25It's a similar thing to the environment really. It's about being clever in the approach. So it's about taking a
11:35base character rig and making from that as much as we possibly can, making distinct enemy variants from a few
11:43models.
11:44So yes, we are going to have a lot of enemies and there's going to be a lot of different
11:47enemies in the game, but it's about being clever in the approach to that and questioning how we go about
11:52creating these enemies without each one taking four or five months.
11:57We think we can achieve it. The enemies themselves, Senna was fighting an army of undead Vikings, so you can
12:07expect big hulking Viking guys.
12:11All those axes. Yeah.
12:15Right, final question. DMC had a rather incredible soundtrack and instead of licensing music and getting someone to write your
12:23own, you sort of went out and sought out existing musicians.
12:26Are we going to be seeing anyone for Hellblade? Is there any musicians I should be looking up on Spotify
12:30now?
12:31Yeah.
12:32You going to tell me?
12:33No.
12:34So yeah, we're working with someone externally. As a studio we always like to work with really talented people.
12:40We think people that are really invested in the project can add an extra layer of creativity or quality to
12:46what we're doing.
12:47And for music again, it's the same. We want to work with someone that's awesome, that's really cool, can fit
12:53in with the project really nicely.
12:54And we found someone and we'll be talking about that soon.
12:57Thank you so much for watching guys. Now if you want to see more videos about Ninja Theory and more
13:02videos about awesome PlayStation games,
13:04don't forget to hit the subscribe button.
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