00:05Welcome Two Way Forward
00:06Come on in and we'll take a look at DuckTales
00:33The first step in creating the backgrounds was to really study the NES levels.
00:38We had the NES maps, you know, blocked out.
00:41We had the entire map from both a level design perspective and sort of an art layout perspective.
00:46We looked at the levels to try to interpret, you know, what the feeling was.
00:50For something like Transylvania, when you look at the actual original layout,
00:54it feels like it's broken into a few different areas.
00:57You know, there's kind of a dungeon, underground, very brick area where it had the spikes.
01:02There's the entryway, kind of a foyer.
01:06Then, you know, there's like doors and sort of, you know, some wood and some like paper,
01:10wallpaper kind of falling off.
01:11And then, you know, the grand ballroom with the red drapes.
01:15And so we really sort of broke down those sections
01:18and tried to break levels into two to three individual parts or pieces and unique tile sets.
01:27So on some levels, it is all just a big long, either a series of rapid trails or a big
01:32loops in on itself.
01:33And if you'd only know that you could start here and just wander in, you could get to the boss
01:38right away.
01:39And it seemed like, well, what we ought to do is make sure the players see a lot of the
01:44key or most memorable parts of the level.
01:47Like, Transylvania would be kind of a shame if you never went and did the mine card.
01:50So we had this mechanism introduced early on to split up the nephews and have you go and find each
01:55one and put a little kind of a mini boss there.
02:00I personally like the kind of cheesy Haunted Mansion feel of things anyway.
02:05So I fell in love with Transylvania immediately, from the mummy to the skeleton duck.
02:11I always liked the Transylvania level in the original game.
02:14That, I'd say, was my favorite because I liked the music and I always liked the bad guys.
02:18I loved the skeleton duck and the mummy duck.
02:20So I kind of gravitate towards that in the new game, too.
02:27When we were first developing concepts and the look of the environments, we were having a hard time with our
02:33internal concept artists really trying to nail the Disney style.
02:36You know, we have incredibly talented people, but there's a certain look.
02:41And so we did an internet search and we were looking up DuckTales backgrounds and different concept art.
02:45And then I came across a blog with sketches from the original show, like thumbnails and actual layout drawings from
02:53the original show.
02:54It all came from one place. It came from this one guy, Mike Carraza.
02:57And I thought, well, you know, let's just contact him.
02:59See, maybe he has a stockpile of layout art that we can, you know, rifle through and take some photos
03:04and scans.
03:05And he just wanted to work with us.
03:07And so we actually contracted him to work on the game.
03:11And the funny thing about Mike Carraza is he worked on the original DuckTales show.
03:14And now he's a Disney Imagineer.
03:19For the backgrounds, it was literally like taking, you know, images right from the show and getting to convert them
03:26into these 3D environments.
03:28So it was absolutely a blast getting to sort of cut them up and place them together to create, you
03:35know, the depth that you see in the game.
03:36And we would take the individual layers of that mountainscape and just sort of subtly take out, you know, the
03:45contours of that mountain, make the forms that are closer to the camera actually come out towards you with really
03:52basic geometry.
03:53But the effect was actually, you know, really powerful.
03:56We have an employee who worked at Disney Television as a background painter for 10 years.
04:02And so after Mike Carraza would do the layouts, we would get it to our background painter and he would
04:08paint the backgrounds to just look like the show.
04:11And he would, he had DuckTales open in the background.
04:14We're watching the original episodes like while he's working on our DuckTales painting.
04:19So we started rather than just with a concept, we started with what would be a finished background painting for
04:26the show with every detail meticulously like painted.
04:30It's funny, it ended up being very similar to the way, you know, old cell animation was done with multiple
04:35layers for the backgrounds to start scrolling.
04:39So like all the paintings are as high quality as you would do for something that would be completely flat
04:44and traditional like some of the past 2D HD games we had done.
04:47But, you know, starting with these giant, giant paintings we had very large textures.
04:52So, you know, we're really pushing the limits of some of these consoles and how much texture memory they have
04:58with, you know, all the textures and all the frames of animation and the particle effects.
05:02And, you know, and the result is amazing with this game running at 1080p and 60 frames a second.
05:09It's just spectacular.
05:17That's exactly what we're working on.
05:17So, this is what we're doing now.
05:17Now, we're going to see if you're seeing this game running out of here, we're going to go to other
05:18guys and we're going to do these influences.
05:18And next time, let's see if we were to see that.
05:18So, you can see, we're looking at all of these two things in front of a lot of the world.
05:18So, you know, at the top of the world, that this is going to be very different.
05:18Grazie a tutti
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