00:00PEGI 18
00:34It was just kind of, you know, me and Rob, our art director, getting together and kind of talking about
00:42what would it look like, what would the technology be like, and that's kind of the way that the game
00:46evolved.
00:47When we first started working on the project, it was important to come up with a style that wasn't as
00:53clean as classic high fantasy games can be.
00:56We know the place.
00:57It just felt like a true Middle Ages-like era would be dirty, things would be worn, untended, and so
01:06things are crumbling and falling apart.
01:08We try to tell the story with the environment. The wear and tear, the grime we put on it, we
01:14try to give that sense of history.
01:15You know, you come into an area with ancient ruins of some civilization that used to live in an area,
01:21but it's about giving the world this richness and this life that is larger than the span of the game
01:26story we're telling.
01:28You know, there are different engines that people use for different things in the gaming business. In this particular case,
01:33we use the Unreal Engine.
01:35Our focus going into this project was actually try to do what Unreal does best. Third-person shooter games and
01:43games that involve cover.
01:44And if you are, you know, moving forward into landscapes and environments, the Unreal Engine does its purpose.
01:48So what that did was allow us to spend 100% of our efforts on game design and graphic fidelity.
01:55Throughout the game, whether you're underground or above ground, you'll come around the corner and get these just amazing views.
02:03We want to have a heavy element of verticality in our levels. You know, as a ranged character, sometimes being
02:10up in a post is the better area because you can get a view.
02:13As more of a melee character, you can sit there and protect that area.
02:16Use a little help here.
02:17Well, this is one of the final areas. When we first started, we talked about doing a tower and doing
02:23something big, but it's been done so many times and we thought, you know, let's do a giant pit instead.
02:27There might be a little bit of a spider problem down here.
02:30These big pieces of basalt rock, they actually were modeled out in 3D first, so it really has a very
02:37sculpted feel.
02:39I want them to feel like they're stepping on hard ground and they're climbing up solid stairs and interacting with
02:45every facet of the geometry that's on the ground.
02:48We need to be at the Fountain of Alicia by morning.
02:54It's not so typical in a console game to be able to create your own world.
03:00I can't thank you enough.
03:02You know, what happens if I could build my own dungeons? And that was the founding principles of Crucible.
03:07What we allow the players to do is, you know, jump in there, grab these unique levels that we created,
03:14put them in a map, populate them with the enemies you want and the way that you want, and create
03:20an experience for somebody else.
03:21A whole list of parameters that they can put on, whether it's timed or how many waves of enemies.
03:26We just give the user the ability to be the game maker.
03:31At first, when the idea was pitched to me, I actually thought we were crazy.
03:34Those beasts are everywhere!
03:35So this team goes in there, and they're actually making the levels awesome.
03:39What we ended up designing was actually a very cool system.
03:42When users fire it up for the first time, they're not going to be intimidated, and it's very straightforward to
03:47use.
03:48The spark for Hunted comes from a lifetime of making and playing fantasy games.
03:54We have this tremendous love for the richness to the world.
03:57Find your feather.
04:00Every rock, every bit of dirt, every tile of broken pottery, every wall, every bird.
04:07It's immersing yourself in this world and this experience, the emotional attachment to the world.
04:13It's a roller coaster.
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