00:00Peggy 18
00:24Quando ero 15, credo, mi sono sicko.
00:28All'I got was PlayStation Bear.
00:30That was like another world I can be, you know, that actually saved my life.
00:34I was in this room with like five other kids there.
00:38Actually one of them, you know, couldn't, you know, speak.
00:40But, you know, you didn't need any words there, you know.
00:43We played together and get excited.
00:45Sometimes you don't need words, you know, to communicate, to be friends.
00:48The Quiet Man is, you know, communication between the words.
00:50And I knew it for a long time ago.
00:57The Quiet Man is an incredibly ambitious cinematic experience
01:02that is attempting to weave a movie and a game
01:05into one experience that seems seamless to the player.
01:09It's about a badass guy that's gone through some trauma.
01:15He's had a hard life, so he's trying to deal with it.
01:18He's trying to piece things together.
01:19And he happens to be an amazing fighter.
01:24Tonally, you have all the trappings of a good, you know,
01:29noir crime kind of thriller.
01:30Very cinematic experience with dialogue that you can't hear
01:34done through the perspective of our protagonist, Dane, who is deaf.
01:38It's a game done with a big company like, you know, Square Enix.
01:42And yet it's an independent vibe.
01:44I mean, it's really an indie game.
01:46It's only, like, three hours, you know, and it is designed to be,
01:50you know, completed in one sitting.
01:52It's like watching a movie.
01:53Yo! Wrong address, Don!
01:56No honor, no chow!
02:03When Kensei originally pitched a soundless video game,
02:07which was the very first sort of iteration,
02:10this was just such a thrilling concept to go,
02:12how can we really pull this off?
02:13Can you really do that?
02:14And it's obviously evolved to include more sound design,
02:18but the basic heart of it is still there.
02:22So, I mean, I'm a part of the role of playing the sound of the game,
02:28so I'm a part of the role of playing the sound of the sound of the game.
02:34How can I play the sound of the sound of the game?
02:39And how can I play the sound of the sound of the sound of the game?
02:41That's the one of the most honest feeling of the sound of the sound.
02:44Dane's inability to hear, first of all,
02:47forces the player into a completely different state of mind.
02:50We're so used to, if anything, sensory overload.
02:53Surround sound, and I'm listening for our people sneaking up behind me,
02:56all the things that I'm used to doing in a game.
02:58That's gone.
02:59There's still sound design to the game, though,
03:01which is used in a very, very clever way.
03:03When somebody's speaking to Dane, there's these melodies,
03:07these, like, ethereal sounds that come through to let you know he's understanding what's happening.
03:13This simple idea, putting myself in the place of a character,
03:17who I have very little understanding of a world without hearing,
03:22because my world is all about hearing.
03:24That really drew me into the project.
03:26And in my normal kind of production space,
03:28I'm used to, like, layering on tons of sounds and kind of...
03:32In many ways, it's a way to kind of cover up that you're not quite happy with something,
03:37so more layers, more layers, more layers.
03:38So actually having this, again, a kind of limitation in the scope of sound,
03:43I really enjoyed working in that space.
03:47I think the game approaches the players with a unique challenge,
03:52and it kind of forces you abruptly to know what it feels like to be a person who cannot hear.
03:59There are things that he knows that, as a player, you don't know.
04:03There's a level of excitement trying to go into this universe
04:06and not understand what people are saying, but trying to puzzle it together yourself.
04:11I think it's also important to keep in mind that the deaf community and hard of hearing people,
04:18you can't just clump one person and just stereotype everybody as like that.
04:23It's really important to keep in mind that Dane is a character who cannot hear,
04:26but uses lip reading, some ASL, and some gang signs to communicate with those who are closest to him.
04:33Just because he's a person who's lost his hearing doesn't make him a saint, you know.
04:37He has issues and conflict that he has to deal with himself and looking for hope, as we all are.
04:53The most challenging aspect for me on this project was the fusion of reality and CG.
04:58Why do we feel like we need to stick to the CGI thing? That was my question.
05:05If the goal is the high quality, photorealistic CGI, why don't we just shoot it then? What's the difference?
05:21We ended up shooting our live-action footage in Sofia, Bulgaria. There's this great studio there. It made it look
05:29like it's real New York.
05:33I think one of the biggest challenges with the effects on this game was the level of fidelity
05:39that it had to match up with live-action, the lighting, the amount of detail.
05:44Part of the process was 3D scanning, so we had digital handheld scanners that we would use to scan props.
05:51It also involved a lot of scanning characters from all the different facial expressions and doing VO voice
05:59recording and performance capture just to bring those digital doubles to life in the game world.
06:12Dane has a lot of anger issues that really come out certainly during combat.
06:16We wanted to have the character have a great combo system, but make it accessible.
06:21We wanted it to have a lot of moves, but not necessarily require a lot of memorization.
06:27I did a lot of research because I really love action films like Ong Bak and The Raid.
06:32Watch those like fighting scenes, that way I can get the best composition, beat, punch, kick.
06:39So not only did we have a combo system, but we had a system for finishing the enemies.
06:43We had a system for using the environment on our enemies.
06:47We had a system for grabbing our enemies, throwing our enemies,
06:49and putting them against the wall, and kind of doing what we call a beatdown.
06:52All of the ways that you can dispatch a character in this game,
06:56there's no way that you can see all of it in one sitting.
07:00You couldn't see it in two, three, or four.
07:02You couldn't see it in two, three, or four.
07:11Working with Koeike-san was an amazing experience.
07:14He's obviously a very well-rounded martial artist, and it shows greatly in all the choreography
07:20that we worked together to put into the game.
07:24So first, I wanted to play in the game.
07:31I wanted to sing for a special performance in the game.
07:38I wanted to be a special performance of Koeike-san.
07:47And I wanted to play a character.
07:49I wanted to play a character with a character,
07:54e che voglio fare un'altra cosa,
07:55e che voglio fare un'altra cosa,
07:57e che voglio fare un'altra cosa.
08:04E ho messo il motione di captazione.
08:07E ho messo il motione di captazione.
08:16Non ci sono più interessanti.
08:19Alcune persone sono molto bene,
08:21ma non ci sono più interessanti.
08:23non è quello che siamo interessati.
08:24Questa è un'unico piacere,
08:26e le persone che vogliono questa piacere
08:28e che vogliono essere challenged
08:29in un'immersione esperienza,
08:31i credi che vogliono trovare questa piacere.
08:34Per me, The Quiet Man aims
08:36a fare più di ciò che potrebbe essere
08:39The Quiet Man,
08:41è una piacere, un piacere,
08:44un piacere, un piacere
08:45un piacere, un piacere,
08:47un piacere che mi ha cambiato.
08:48I credo che un video game
08:50mi ha cambiato,
08:51e se un video game
08:54può cambiare la mente,
08:56significa che un video game
08:58può cambiare il mondo.
08:59E così credo che un video game
09:01può essere più più di più
09:04più divertente.
09:18E così credo che un video game
09:19E così credo che un video game
Commenti