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00:16A lot of people had to sort of change the way they work.
00:18It's actually made for a much tighter team.
00:21Art and design sort of being as one.
00:24Opposed to design going away,
00:26doing their thing, art going away
00:27and doing their thing, and then sort of clashing in the middle.
00:30It's a real organic process.
00:32I don't think you can really sit down and
00:34go, yeah, we're going to do this, we'll do that,
00:35and we'll do that, because it's not just about sites,
00:37it's combining those two.
00:38You hear a lot of developers now talk about an iterative design process,
00:41which just means you come up with an idea,
00:43you try and work it up a little bit,
00:45maybe you implement it, then you see it on screen
00:47and then you look at it and go, this bit works,
00:49this bit doesn't, let's do more of the stuff that does work.
00:52We want to come up with
00:54environments that would
00:55offer up the best opportunities for destruction.
00:58We chose our environment so that
00:59they could support a lot of
01:01great power plane moments.
01:03Sometimes it's the big set piece moments where you think
01:05these are going to be the great things that people remember,
01:07we've got to make sure that we fit stuff around them.
01:09In the airport track, we've got a cargo plane
01:11that crashed lands, and we've got
01:12radar dishes and control towers, there's some real
01:16iconic moments there that when people see them
01:17they go, we're talking about it, and that's exactly
01:19the kind of thing we want to do.
01:20and also at the same time trying to think
01:22about what will make good racing tracks
01:24because we've also got to have that element
01:26nailed as well.
01:28Because we're spending so much budget
01:30on the effects, we've got a couple of really
01:32really cool techniques that we're using.
01:35A lot of games tend to bake
01:36all our lighting into the textures for the smoke
01:38and things like that, but we've actually,
01:40all our particles have actually been dynamically lit.
01:42In addition to that, we've got volumetric smoke
01:44in the game, players' car and their
01:45AI cars can actually move out of the way, which is a really
01:48really cool looking effect, but it's also really good
01:50for gameplay perspectives, because you can fill a whole
01:51warehouse or tunnel with smoke.
01:54The player can't see where they're going, but if the AI cars
01:56are in front of them, they can pass it out of the way
01:58and suddenly you've got a whole new dynamic going on.
02:00The AI in the game needs to be more
02:02sophisticated than a usual AI system.
02:05There's a lot of technology in there to try and make them
02:08behave realistically under these conditions,
02:11but also don't want them to race perfectly.
02:14They do sometimes make mistakes,
02:16they do sometimes clump up and group together,
02:19and they do sometimes just go flat out for the fastest lap.
02:22We wanted to make our cars look contemporary.
02:25We didn't want them to look too outrageous.
02:26If you did see them on the street, you might turn your
02:28head and go, wow, that's it, that's an amazing looking car.
02:31We thought, well, with the environment
02:32blowing up left, right and centre,
02:34I really wanted to have cars that looked like
02:36they could fit in with that kind of destruction,
02:38that could take that kind of rough environment.
02:42We made some conscious decision to remove the HUD
02:44from the corners of the screen,
02:45just so we could maximise all the effects
02:47that are happening on the screen.
02:49I think traditional racing games tend to have
02:51something in every corner,
02:52but we wanted to try and simplify that
02:54and minimise it so the player gets to see
02:56all the effects that are going on the screen,
02:58all the smoke, all the VFX, everything like that.
03:00A racing game is a rhythmic thing
03:02rather than a spectacular thing.
03:04You can try and take that rhythmic,
03:06combine it with the spectacular,
03:08and choose something special.
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