00:02www.mesmerism.info
00:30www.mesmerism.info
01:00www.mesmerism.info
01:00www.mesmerism.info
01:02www.mesmerism.info
01:04www.mesmerism.info
01:04www.mesmerism.info
01:06www.mesmerism.info
01:07www.mesmerism.info
01:08www.mesmerism.info
01:08www.mesmerism.info
01:09www.mesmerism.info
01:10Quando ti turno avanti, ti fanno frame la foto, ti fanno fare la foto con te stesso.
01:13Quindi ti participa in più di più, ti puoi mettere in un mondo.
01:16I would say che sometimes è molto frustrante.
01:19Se il gioco il gioco e si torna il livello, o si torna l'altro, o si torna l'altra
01:23invece di l'altra,
01:24può totalmente andare a questa cosa che ti considera una delle cose che hai mai fatto, e totalmente missa.
01:29Ma in fine, se il gioco il gioco, si vuole stare attraverso il gioco,
01:32può, e è quello che rende l'arte per loro, che si torna a partecipare.
01:38You know, when people talk about great games, graphics comes up all the time, right?
01:41That's the first thing you see.
01:43So you look at a world, and it's partially technical.
01:45It's partially, how did they do all that to complex world that looks so realistic.
01:49But it's partially art as well.
01:51We won the best graphics for Gears of War, the first one.
01:54We also won best technology.
01:56And I went up and accepted the award both times at the Game Developers Conference and said,
01:59we're so great technically because of our artists making us look good.
02:03And our artists look so good was my next speech,
02:05because technically we're so strong, right?
02:07It has to come together to make great graphics.
02:09When you look at a video game and see a certain amount of graphical fidelity,
02:13it's important to separate that from what actual artistry is.
02:16We could render the real world perfectly in certain ways if we chose to,
02:20but when we do a game such as Gears, we decide to stylize the universe
02:24and we choose to make kind of this pseudo-European environment
02:28that's been, you know, been blown up and a lot of wars have occurred in
02:31with, you know, very bulky men and very scary monsters
02:33because that's our artistic design and those are our sensibilities
02:36kind of coming through into the game.
02:40One of the scenes that personally resonates with me as far as a vista in Gears 2
02:44is the sequence at the beginning of Sinkhole
02:45when Marcus and Dom kind of come out and they see this section of city that's been sunk
02:50and Marcus says to Dom, there it is, the beginning of the end.
02:54Early on in Intervention, I think when you step out, there's a kind of a cinematic,
02:58you go through Landown, which is kind of a snowy area,
03:01and then you get to, you go underground, you hit the grind lift,
03:05and you get to go violently through the earth, and your grind lift lands.
03:10And I think when they step out of that pod and you get to see for the first time
03:14the underground with all the molds and the spores and the lighting
03:17and the bats flying through and there's bugs on the ground
03:20and there's all kinds of stuff hanging down and slime and moss,
03:23and I think that's a pretty visually impressive scene.
03:29There are a number of influences that personally kind of affected my output
03:32creatively working on the product of Gears.
03:35First and foremost, a trip to London like five or six years ago that I had
03:39in which just kind of experiencing the mix of the old and the new,
03:43the architecture that's been around, the sense of history, the sense of place,
03:46it was tremendously influential.
03:48As well as musically, I was listening to a lot of the Requiem for a Dream soundtrack
03:52back in the day when working on the first game,
03:54and those kind of sad chords by the Kronos Quartet
03:58and that same hook that's reused in a lot of techno and rap beats
04:02is something that resonates all the time when working at a computer.
04:05Personally, it's Frank Frazetta, H.R. Giger, you know, stuff like that.
04:09Growing up, these artists have influenced my tastes.
04:14I'm particularly like kind of the World War I and World War II German military tech.
04:21There's something about the German military stuff.
04:24It's purpose-built and it's over-constructed,
04:27and when you look at it, you know it's meant to blow stuff up.
04:31I kind of take that idea and put it into everything I do for Gears,
04:34you know, that everything's built with a purpose,
04:37and that's generally to blow stuff up.
04:44King has given, even the smallest detail,
04:46has given the same amount of love as, you know,
04:49the giant towers or the huge creatures that you see walking across the screen.
04:53Right down to how we designed the architecture in the world,
04:57it's all based on this beautiful European architecture,
05:01some of the French influence and stuff like that.
05:03Some of the things like the grime and the little bits of paper and trash
05:09that are laying around the level is one of the smaller touches
05:13that I think adds a lot of detail to the world and the universe.
05:17We've got modelers that model doorknobs and little pieces like that,
05:21and some guys are doing rooftops and walls,
05:24and some guys are doing characters,
05:25and then it all comes together miraculously.
05:29I mean, it just works. It works really well.
05:31And I think when you look at the world,
05:33you look at the characters and everything that comes out of it,
05:35you truly feel like you've been transported
05:37to what is essentially another world, another place, another time.
05:40And that, in my opinion, is an art form in itself.
05:46Hang in there, Rook. We'll be there soon.
05:48Let's go find Carmine.
06:05Have a full article.
06:07O'clock in the morning,
06:08Have a full article.
Commenti