- 10 ore fa
Vediamo questo video documentario dedicato alla trilogia di Deponia, che parla del lavoro artistico dietro al gioco, ossia di come è stato pensato lo stile delle immagini e del lavoro che c'è dietro.
Il filmato è stato rilasciato in occasione del lancio di Goodbye Deponia, il capitolo finale della trilogia, disponibile da questa mattina su Steam.
Il filmato è stato rilasciato in occasione del lancio di Goodbye Deponia, il capitolo finale della trilogia, disponibile da questa mattina su Steam.
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00:00www.mesmerism.info
00:02www.mesmerism.info
00:14My name is Simone Kesterton, I'm art director at the Delic Entertainment
00:19and for the last couple of years now I've been working on the Deponia Trilogy
00:24and my function was art direction.
00:29That basically entitles finding the look of a game and keeping it together.
00:36Of course such a game consists of tons of people working on it.
00:42We had so many artists, I don't even know how many.
00:47Probably if we were checking the credits we'd see.
00:50And with so many people working on a game you have to keep the vision consistent.
00:55And that was my function.
00:56And on the other side I also actually worked on the game.
01:00I animated the walk of Rufus for example.
01:05And I also worked on the cutscenes.
01:08That was my main job next to art direction.
01:12How did you do that?
01:21At the beginning nothing existed from the game.
01:27We just had an idea.
01:29We had the idea in the head of our creative director Jan Müller Michaelis.
01:33Also known as Poki.
01:34And with him we had to find the world.
01:42My job was the character design.
01:46He had done basic sketches of the characters.
01:50And I took those and tried to find the look.
01:55Because he just did very rough things which looked rather wobbly.
01:59And we had to find a refined and pretty look which we wanted to represent.
02:04So we talked about the characters.
02:07He told me a lot of stuff.
02:08And so I tried to find my vision.
02:11And going back and forth we kind of found how Rufus would look in the refined thing.
02:17And what I really like about how we found the characters.
02:20Because Rufus was basically a cooperation.
02:25I showed Poki my sketches.
02:27He wanted him to be really steampunky.
02:31But he was sometimes too steampunky.
02:34And we took an old version of Rufus which he drew.
02:37His old character had this vest which usually our trash people who take away the trash wear.
02:44And we kind of put that into the steampunky Rufus.
02:48And he got a really own feeling after that.
02:52And also Rufus's face was a bit different.
02:55And Poki just came and said okay this nose.
02:58And he just drew the nose into my character.
02:59And we had the final thing.
03:01It was really fun to see.
03:04This is Rufus in the first version of Poki.
03:08This is what I had to go on.
03:10It was basically just a vision of the character.
03:14Kind of like this grumpy guy.
03:18But Poki's thoughts on it was that he was supposed to be kind of steampunk.
03:23And here we came fairly near to what Rufus was going to be.
03:29But he was a bit too large, too big, too human proportioned.
03:34So we wanted to have him cartoonier and he had too much stuff on him.
03:38But this was kind of the face.
03:40We wanted to have the hat.
03:42And I refined the face.
03:45And Poki just came and said okay but change the nose.
03:48Here you can actually see the old nose which I rubbed out.
03:53And he drew in the black nose.
03:56And that's what Rufus ended up looking like.
04:00Here are some versions of his colors.
04:03Yes, this was our colors at the beginning.
04:06This was too military.
04:08Well, not like war-like.
04:09And here we had a version where he looked even more like Guybrush 3-boot than he already does.
04:15We kind of noticed there at this point.
04:18So we changed a bit more radically with the colors.
04:20And here, yes.
04:22And then finally we added the vest.
04:26The vest which the original character also had.
04:30And this gave him a bit more unique style.
04:33That he wasn't just the steampunk character.
04:36He was really weird.
04:37And also with Goal.
04:39With her, our other main character.
04:42I sort of did Scribbles and she was a little bit more girly.
04:46And he was saying, no, okay, I just kind of have this jumpsuit thing going.
04:52And then I changed it to that.
04:54And at the end, at the beginning she had green hair.
04:56And he said, no, okay, let's take the color of the vest of Rufus and give it to the hair.
05:01And so we sort of had her, suddenly had this vivid red head, which was still very eterical.
05:12She was like, she was always supposed to be like, so something which was out of reach.
05:17Something a bit like, a little bit godly.
05:19But also, you kind of know, she has, in the first part, she's really, no, basically she's always sleeping.
05:27She had this, she was this pure character.
05:30But with the red head, hair, you kind of knew there was fire in this.
05:33And when she would wake up, bam, then Rufus did get it from her.
05:38So this is all stuff which goes into the character design.
05:41What?
05:42Where?
05:43Who was that?
05:45Me.
05:45It was me.
05:50Hello, my name is Gunnar Bergmann and I am the lead animator, or was the lead animator
05:56on Goodbye Deponia.
05:59And together with Simone, my job was to check all the animations, have an eye on the animation
06:09lists, the scripter and game designer wrote.
06:14My job was having the overview over these lists and over the end products and animations
06:24for the game.
06:27Rufus seems like a brutal thug to me.
06:32Rufus?
06:33Brutal?
06:35Never.
06:40What's important for a good animation is a good description from the game designers,
06:49or the scripters, who made all the setting in the screens.
06:55And so we have the context to solve a problem with the animation, to get it right.
07:03Right in the screen, let the figures do the right things.
07:09Or let BG animations, so non-figure animations, do the right things in the screens.
07:17That's very important, that's the basic for a good animation, to start a good animation.
07:24And of course the skills of the animator, very important.
07:33So the difficulty between, or the difference between animations in film or TV or in games,
07:45and that's what's often criticized, is that there is obviously less animation than in a film
07:55or in a TV series maybe.
07:57This is all about the time you have for a game, it's about the data space you have in a
08:07game.
08:08They have 24 pictures per second.
08:13We do around about 12 then.
08:17So that's why often animations are not so fluidly, or can't be so fluidly when it's hand-drawn stuff.
08:26We hold the flag for old school 2D animation, and in this case we have to make some cuts for
08:36this term.
08:37So if we do big animations, non-PC or non-console could play, of course it's too much data space.
08:49We do it all in Photoshop, or 2D stuff.
08:54And when animators come to our projects with a background in movie animation or TV animation,
09:04the first time they are shocked, what do you do it with Photoshop?
09:07And we say, yeah, but we don't have this big 100 frames animations.
09:18We have this, with the last versions of Photoshop you have all the animation stuff,
09:23windows and tools you need in the program.
09:27And the basics are the same, like in other professional movie animation programs.
09:34So we can do it as well.
09:38And we do it frame by frame, so it's possible to do this with Photoshop.
09:44And if a figure will do a basic move, like take something or do an idle.
09:51So in this case we do between 8 and 12 frames.
09:57And we draw it frame by frame and we can let's play it in Photoshop and then check it,
10:03like the old times, flipping the pages and correct them.
10:08and then in the classical Photoshop layer style we can color it and make the clean outlines.
10:18And in the end we merge it all together and render it out for the scripters.
10:24And they put it into the game.
10:27So that's basically how we did it.
10:36The backgrounds in Deponia, they were done.
10:41Our background artist was Michael Benrath.
10:46He did the backgrounds for the first part and the second part.
10:49And a large part of the third part.
10:52But at the end he never could do all the backgrounds.
10:57Because that would have been just too much effort.
11:00So we had to find other people also to do the backgrounds.
11:08And they had to imitate his style.
11:11So this is the background style we were trying to achieve with other people's world workmen.
11:18This for instance, the next example is by Irina Zinner.
11:22But we'll start off with Poki's scribble.
11:26This is what we get when we start off a background background.
11:29where Poki thinks about the game.
11:32And he already draws the backgrounds as if he needs them for the game to work.
11:38And this is what we get.
11:40And then the background artist has to correct the perspective and find the right style for it.
11:49From the sketch we then get the line art.
11:52Which is just a lot of work.
11:56But you can still see it's fairly similar to what it started off being.
12:00Just a bit more and more detail.
12:02And then we add color.
12:04And this is the final background.
12:12In Devonia we have the normal gameplay.
12:15There we have all animations and everything.
12:17But then sometimes to tell more of the story we need cutscenes.
12:22And these had to be worked on.
12:26We had to work on from a different angle than the in-game stuff.
12:30Because basically if we would have done it like the in-games we would have had to do Disney-like
12:38animation basically.
12:39Because we would have just had complete animation scenes.
12:44Which would have been far more than we could have done.
12:47So we sort of found a method which allowed us to tell the story without having to do so much
12:56as Disney does.
12:57And we basically, the method we used was, first we had a storyboard.
13:05Which our creative director did.
13:07And from that I took these and found keyposes.
13:12And these were just cut apart.
13:15And then animated like puppets basically in After Effects.
13:21That was done by Rino Pelli.
13:25Yeah, and in some scenes we just took some part which we needed to animate frame by frame.
13:32And the other stuff was like just tweened and moved in After Effects by just by the joints.
13:39And that just, that sounds simple but it isn't that simple.
13:43But it's still easier than animating it completely.
13:55And that's how basically games work.
14:00You have a lot of people which need to work, which work on one, two to one goal, complete effort.
14:07And that's what I like about games.
14:09Because you sort of, nobody can really say, oh yes, I did this completely.
14:14No, it's always so many people which at the end find, create something very special.
14:21And nobody would have been able to do it alone.
14:23Maybe.
14:24Maybe.
14:27You missed.
14:29You missed!
14:31big instances. Yeah...
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