- 9 ore fa
Un lungo video in alta definizione di Golden Axe: Beast Rider, action game di Sega e Scret Level per PS3 e 360.
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00:00Rated M for Mature
00:22We have an awesome production designer, his name is Sylvia Abasher
00:26And he is just phenomenal, and you've seen his work before on previous games Outworld has done
00:30And he has done a lot of work in visualizing Golden Axe
00:33But he's only one guy, and we've built a concept art team over the past year and a half that
00:38we've been working
00:38And one of the directions for, I guess, the ad style of the game
00:41Was to have a sort of photorealistic feeling to the background
00:44But have characters that are more slightly comical style, like pop
00:48And with those two sort of conflicts, with the imagery style
00:51We have a unique sort of look to the game, I think
00:53From the screen behind me, there's a 2D representation of a tower for the City of the Dead
00:58We have a look at that, and we see how many polygons we've got
01:01How much memory budget we've got
01:02We send it to the modeler, and the modeler models it for the game
01:04We send it to the textureer, he texted the game
01:06We drop it in the game, see if it's the right scale, the right resolution
01:10And then also, if it's a destructible object
01:12We'll make sure all the pieces are in place for that
01:14And we take that to the designer to make sure it breaks down with Havoc
01:17I'm actually a really big fan of off-the-shelf technology
01:19We're using Havoc right now, we're using FMOD
01:22These are great off-the-shelf tech solutions
01:24But the reality is, to really nail Golden Axe the way we wanted to do it
01:27With the big vistas, and the big sweeping terrain
01:29And we just knew we were going to have to build something a little more purposed
01:32We have a really sophisticated and powerful lighting system for our game
01:35Which is able to allow for a lot of different moods
01:38And we can almost interpret exactly some of the work that the concept artists do
01:42Into the 3D realm
01:43In the same way that in a movie, lighting can create a mood
01:48Can make somebody feel a certain way
01:50Dramatic lighting can make things more dramatic
01:52We have the same thing in video games
01:54We can make these things look better and better
01:55We can make it look more and more like a movie
01:58In the first level, which is cold
01:59We want to try and create steam and make you feel like you're there
02:02And that's what we're trying to do in the desert as well
02:05We'll try and get shimmers, make them sweat more when they're working harder
02:08All those sort of details that just the opportunity of these new consoles can give you
02:13How do you connect the character to the environment?
02:15Yeah, sure, the walk on it and the little footprints, that's kind of normal
02:19But what we do is with our decos is in the foreground
02:21The grass actually moves the way you move through it
02:24So you're in a big beast and the grass moves apart as you work your way through it
02:28You do a spell and you see the grass break out as well
02:31So you get that grounded connection to the environment
02:33And you feel like you're more part of it
02:35Then on top of that, there's all our VFX
02:37A lot of times, VFX needs to be subtle
02:40Some dust coming from the ground
02:42But you really don't pay attention
02:44But if it's not there, it looks weird
02:46It's a combination of math, physics, and visuals
02:49Now there's not a lot of artists out there that understand physics
02:53And there's not a lot of physics people out there that understand art
02:56But if you can get some people that understand both of them
03:00And you can put that together
03:01That's where you're going to make a really good-looking game
03:03Teams are big nowadays, you know, 60, 80 people
03:06So the handoff, you know, just for a piece of content
03:09The handoff, 12, 15 people touch this one thing
03:12It isn't necessarily a single owner
03:13That is difficult to do
03:15I think almost everybody on this team
03:17Is pretty familiar with this type of game
03:19So they all have good ideas
03:20A good example maybe is our magic system
03:24We were tossing around all kinds of different ideas
03:26Of how we wanted to let the user pick
03:27But when we cast level 1 or level 2 or level 3
03:29And I think it was actually Alexis
03:31Who was like a very, very technical artist
03:33I had the idea of maybe if you press the button twice
03:36During the animation, you'll cast level 2
03:38And we all thought, hmm, that's cool
03:43We really want to give the power to the designers
03:45To iterate quickly
03:46And we chose the Lua scripting line
03:47Which is pretty popular right now
03:49But we actually built our entire own development environment
03:51Which we call Corkscrew
03:52And the best part is
03:54It takes like seconds to iterate
03:55So when you watch guys working on the game
03:57They're just in this creative flow
03:59That, you know, you know how you feel like that way
04:01When you're playing a game
04:01I mean, they're literally in that creative flow
04:03They don't get interrupted
04:04They're just in that stream of consciousness
04:06When you're programming
04:06There's always a lot of variables
04:08And we're trying to expose those variables to the designers
04:11So they can really tweak the experience
04:14A lot of times they come up with something
04:15That we're like, I don't know how they did that
04:17They'll figure out how to like
04:19Twist some wires in a way we didn't expect
04:21And then it'll either break
04:22Or it won't break
04:23And then we'll just be like
04:24Wow, that's fun, I don't know how they did that
04:26With a game like this
04:27You want to challenge the player
04:28And you want to push them to their limit
04:29But you don't actually want to push them past their limit
04:32You don't want to make a game that's unbeatable
04:33And that's a lot of what goes into the design
04:36Especially for AI
04:36Is understanding the player
04:38And understanding different skill levels that players have
04:40And tuning the aggressiveness
04:41And the skill of the enemies to match that
04:43What we primarily started with
04:45Was just putting Tyrus in a flat green box
04:50With a few enemies
04:51We realized that if we can't make that fun
04:55Then the game isn't going to be fun
04:57That's pretty much the approach we took
04:59In terms of evolving her gameplay
05:02We wanted a player to just be able to pick up the controller
05:05Be able to play immediately and feel satisfied
05:08But we also want to reward the hardcore guys
05:12With these specialized moves
05:14So as you learn and progress and advance with the game
05:17That you feel like you're constantly growing
05:19And that you get these new abilities that you can do
05:22So we have a very unique melee combat system
05:25All hack and slush games use that traditional block system
05:28So we literally took block and we threw it out
05:30Forget it, we don't want to do that
05:32We want to do something a little bit more in-depth
05:33So we came with a new unique parry and evade system
05:36You parry, there's a small window of block
05:39You evade, there's a small window
05:40And she'll actually roll down from behind them
05:42For example, some of our cinematic brutal kills with Tyrus
05:45If you are able to execute a parry or evade
05:48At just the right time
05:49You get this really cool kill
05:51When you hit a particular arm or head or even torso
05:54It knows that collision point is where it should come off
05:58We even have ragdoll within the desk
06:01So each death animation is going to be unique
06:03Because it has to be real-time and interactive
06:06So the limbs, when they get hacked off
06:08The blood will spray, they'll hit the ground and they'll fumble
06:11It's really gross and there's lots of body parts and everything
06:14But at the same time it's just a little bit comical
06:16It's a little bit cartoony
06:17I think we've made it so that more people can enjoy dismemberment than ever before
06:21One of the core statements we've had
06:23Is savage your enemies with beast, blade and magic
06:27And at any time
06:28You've got all that at your disposal
06:30If you like the melee combat system
06:32And you don't really feel comfortable on the beast
06:33You don't have to ride them every time in the game
06:36At the vice versa you can ride them as much as you want
06:38And you get a different experience
06:39We're able to use this thing that Havoc's got called Havoc Behavior
06:42Which is this cool animation thing that they've got going
06:45And we've got our animators able to do these crazy bite moves
06:49That cut guys in half
06:50We're also able to get those beasts in there
06:52And the humans and the beasts interacting very closely
06:54Whether you're riding or whether you're fighting guys
06:56Beast to beast or beast to ground
06:58And get that just super crazy visceral stuff going on
07:02We do have armored beasts as well
07:04Those are captured beasts held by the enemies
07:06So you know obviously they're not the beasts in the natural state where Tyrus finds them
07:10So they go ahead and put on a bunch of armor in them just like the knights
07:15So they're tougher bigger beasts out there because of the armor
07:17Each one you kind of look and you're like
07:19Okay that has some aspects of a lion or a tiger or an elephant
07:24Or hey it has horns like a ram
07:26Gentle Giant was fantastic to work with
07:28They're really good with our high end character models
07:30They did high res versions and low res versions for in-game and for cinematics
07:34It was really wonderful working with them
07:36You know the sculpting aspect of it was obviously the most fun the most rewarding
07:40And that would go by after probably about a week
07:43We'd spend a week developing the character
07:45And we have an internal forum where we could post images
07:47And the art team at secret level could look at it and give feedback on a day-to-day basis
07:53So that helps speed that process along
07:55We did beasts and we did characters
07:57Offhand I think about 30 characters
08:01Tyrus has been through a number of different variations and reinventions over the course of the development
08:05Part of that was the number of people that were looking at her and making sure that we reinvented her
08:09the correct way
08:10We did actually case studies
08:11We asked consumers themselves which of the three characters
08:13And really Tyrus is more like a mix of both
08:16Like she's the all-round character a good way to kick off the franchise
08:19Yeah so for characters you know we just had to do the character line-up from the arcade game
08:22And try to figure out you know how often these characters used
08:26What do people remember? Which ones?
08:28You know some people would say
08:28Oh those skeleton dudes
08:29Are those guys with big clubs
08:31Especially the twins
08:32The twins are the sons of Death Adder
08:34But whereas Death Adder is sort of the you know the mastermind behind everything
08:38These guys aren't really the brightest of the bunch
08:40Well the twin was a really fun project to work on
08:44Some of the features that we wanted to go to was a lot of layers of the geometry
08:48Lots of cool stuff to look at
08:51Make him look like barbaric
08:52The Queen of the Dead is an interesting one
08:54She is sort of the mistress of the city of the dead
08:56She's sort of the master spellcaster and summoner
08:58So her attacks she'll be mostly casting magic at you
09:01At Death Adder he had to be mean and hard
09:03We had to bring him into the 21st century
09:05In the previous game he was good he was cartoony
09:07But this time we've got that humanoid version
09:09And then we've got the circular version
09:11Which is completely goes ballistic on you
09:14I've been around through several different console iterations
09:17And it's really cool to see the degree of realism we can start to achieve now
09:21And it's been a lot of fun sort of ramping up this studio to be able to tackle that
09:25It's easy to come up with ideas for a game
09:27That's the easiest part
09:28The hardest part is making them all come together
09:30That they work sensibly together to make a product
09:32I feel honoured and privileged to be able to work with such an incredible group
09:38Basically we work in unison
09:41And if you didn't things wouldn't get done
09:42The games wouldn't get made
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