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00:00www.gutic.com.info
00:07GUTIC was one of the first
00:08immersive open world RPGs
00:10Our job was really
00:11to find out what elements
00:13should stay exactly as they are
00:15what elements should be expanded
00:17Throughout the whole production we found ourselves
00:19in a struggle between old and new
00:30GUTIC
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00:44GUTIC
00:53Our approach for the story was like
00:55hey, the original story is actually good
00:58but it has plot holes
01:00it has things that are
01:01unlogical and it has things that are
01:04contradicting each other
01:05So our initial thing was like
01:06we have to set out and fix these three points
01:10That was one of my first tasks
01:12get everything that we can
01:14extract from the old games over to
01:16like Unreal or other tools
01:18for designers to take a look at
01:19so they can understand
01:21how the game worked
01:22go through all the conversations
01:25like a tree size structure
01:27with all the requirements
01:29all the dependencies
01:31between topics, conditions
01:33and so on
01:34Together with the writing team
01:36we came up with solutions
01:38Sometimes we had heated discussions about this
01:40because it's getting very emotional
01:42We didn't choose the easiest
01:44and most straightforward solution
01:46but we chose a solution that fits
01:49very well in the context of the game
01:51Now we have a Chemia narrative tool
01:53as it's called
01:54a tool that can handle the complexity
01:57of the original game's dialogues
01:59a tool that can display that
02:01handle that and you can work with it
02:03and this was the base for our designers
02:05to iterate on the original dialogues
02:08daily routines, AI states
02:11the combat AI is implemented in there
02:13all the character configuration
02:16what interactions they can do
02:18what animations they should play
02:20it's all in this scripting language
02:22and you can go there
02:24and modify it as you like
02:25We even had at one point
02:26a sort of running version
02:28of the original game in Unreal
02:31The biggest challenge from a design perspective
02:33is making the world feel alive
02:36and how this works with all the systems
02:38because in the end we are creating
02:39a living world with a lot of characters
02:41but we are not just configuring the daily routines
02:44or their homes
02:45or these kind of things
02:46this is a systemic game
02:47so they react to the player actions
02:50to all the systems
02:51they are witness of your crimes
02:53how you enter trespassing
02:55a forbidden area
02:56how you launch an object
02:58and they interact with that
02:59modernizing these systems
03:01with all this world building
03:03and world setting
03:04and making everything work together
03:05is a really challenging thing for us
03:08From a technical point of view
03:10if you have an open world
03:12and you can go everywhere
03:13you need to consider that
03:15the world needs to live on
03:17while the player is not there
03:18we actually have
03:19for the full world
03:21the daily routines
03:22the living world simulation
03:24is always going
03:25and when you come close
03:27to an NPC
03:28so they spawn
03:30they will be spawned
03:31where they would be
03:32if you were just standing there waiting
03:34for example
03:35we have this
03:35we have the Templars walking
03:37from the sect camp
03:38to the old mine
03:39and in the original game
03:41you could never meet them
03:42in between the camps
03:43but now you can
03:44stand somewhere
03:45wait for the full day
03:47yeah they will arrive
03:48at some point
03:49then there was the part
03:50where we kind of like
03:51set out
03:51well the German version
03:53is iconic
03:54and so is probably
03:55the Polish version
03:57the Russian version
03:57but like
03:58the English version
03:59is actually not iconic
04:00throughout the series
04:02it kind of changed style
04:03so that's one thing
04:04he didn't manage
04:05to translate
04:05this rough language
04:08to the entire story
04:10so we set out
04:10to do a rework
04:11of the English texts
04:13and our starting point
04:15and via that
04:16we discovered even more
04:17of these plot holes
04:18and things
04:19that we need to improve
04:20and make better
04:21and then there are aspects
04:22where we added things
04:24that were just not touched on
04:26enough
04:27or in later chapters
04:28there is too much
04:31shortcuts about it
04:32or there are places
04:33in the world
04:33that are not used
04:34the most interesting part
04:36of the Gothic remake
04:37would be the cut content
04:39from the original game
04:41the places that were
04:42pretty empty
04:44in the original game
04:45and in Gothic remake
04:46we create them
04:48and put here and there
04:49new things
04:50that would enhance
04:51the experience
04:52we try to make
04:53a little bit more
04:54interesting the dungeons
04:56and also the way
04:58the player can get
05:00into the castle
05:01it's like very hidden
05:03and you can guess
05:04that there is something
05:06different there
05:06if you go to the
05:08to the Gomez cellar
05:09and that one
05:10one aspect about the
05:11story that I can
05:12I can tease here
05:13that we
05:13we kind of added
05:15and this is like the way
05:16how you interact
05:17with the orc culture
05:18which I feel like
05:19was in the original
05:20very base level
05:21I mean you have
05:22this interaction
05:23with Urshak
05:24and Tarok
05:24it was to a level
05:25where it was like
05:26yeah okay
05:27it served a single purpose
05:29and then it's like
05:31you just kill them off
05:32but I mean the whole thing
05:34in the whole gothic lore
05:35the whole theme
05:36with the orcs
05:37is actually the reason
05:39why everything is happening
05:42it's the reason for why
05:43the colony exists
05:44it's the reason for why
05:45the barrier exists
05:46because without
05:48the ore mining
05:49which is needed
05:49for the war
05:50you would not have the need
05:51to create a barrier
05:52we felt like
05:53we need to give this
05:54more space
06:03as I mostly engage with
06:06all the content
06:08related to economy
06:10what I try to do
06:11is mine the whole game
06:13I have a model
06:14of the original game
06:15then I try to see patterns
06:16patterns that talk to me
06:18about how
06:19what was the original intent
06:20with how the economy evolved
06:22how the progression evolved
06:23and then I try to see
06:25where those patterns break
06:27because for example
06:28in the original Gothic
06:29the economical progression
06:30was quite broken
06:32for the last chapters
06:32you cannot generate
06:34value from nothing
06:35the player should not be
06:36the central bank
06:37of the economy
06:38and that also
06:40connects with the trading systems
06:41because the traders
06:42in the original game
06:43were quite passive
06:44they only regenerated
06:45the inventory
06:46and the ore
06:47between chapters
06:48but we have a passive system
06:50that does some garbage collecting
06:52so some items
06:53are spanged
06:54from the economy
06:55those items
06:56are managed
06:57as if they were being traded
06:58between the traders
06:59so those items
07:00are converted into ore
07:01so there's always liquidity
07:03in the market
07:04there's not an overabundance
07:06of materials
07:06so we always have control
07:08of how much you can craft
07:10at some point
07:11the economy will break
07:12I mean it's a closed economy
07:13it's bound to trade
07:14because the only activation
07:15is the character
07:17but if we can delay that
07:19to the sixth chapter
07:20that would be the best
07:21case scenario
07:22the exploration
07:23is a key part of the game
07:25this is a hard technical thing
07:28that we've been looking into
07:29through the whole development
07:31such as giving the players
07:33this feeling of being lost
07:35once it gets dark
07:36you're just lost
07:37I mean
07:37we have a lot of places
07:39that even if it's day
07:41you just get lost
07:43so at night
07:44everything is super dark
07:45but you still can manage
07:47your way through
07:47you can have a lot of spells
07:51or even your own torch
07:53that would help you
07:54go through all these places
07:55but definitely
07:56if you don't have a good
07:57sense of orientation
07:59you're gonna get lost
08:00it's that
08:01everyone has their own
08:02environment
08:03and their own personality
08:04because
08:04all the characters
08:06that are in each camp
08:07are in one way
08:08or another
08:09but in the end
08:09when you walk around
08:11the world
08:12you can see
08:12that all the camps
08:13are connected
08:14somehow
08:15that the characters
08:16go from one place
08:16and that the stories
08:18are interrelated
08:20so everyone
08:21is connected
08:22the main idea
08:23we have
08:23regarding hoarding
08:25is
08:26force the player
08:28to consume items
08:30be it because
08:31the combat is difficult
08:32be it because
08:33there is
08:34some dynamics
08:35that require
08:36the use
08:37of those items
08:38evidently
08:38there is a problem
08:39an inherent problem
08:40with all open world RPGs
08:42that
08:42it tends to be
08:44an overabundance of items
08:45because you don't know
08:46where the player is going to be
08:47or where the player is going to look at
08:48and you must guarantee
08:50a minimum viable amount
08:52of utility
08:53for the player
08:54to overcome the challenges
08:55so
08:56if you have
08:57a
08:58very serious player
09:00that
09:00loots everything
09:02and it's
09:02a
09:04hoarder
09:04by nature
09:05we won't be able
09:07to combat that
09:07but at least
09:08the design
09:09will try to put
09:11the player in situations
09:12that
09:13force
09:13them
09:14to use
09:15the items they have
09:24with RPGs
09:25you tend to spend a lot of time
09:26in
09:27a lot of games
09:28you actually get tired
09:29of the music
09:30at some point
09:30but in Gothic
09:31you never get tired
09:33which is also related to
09:34the system
09:35that they used
09:36back in the day
09:36there wasn't kind of like
09:38a master track
09:39that they would just
09:40play back
09:40it were kind of like
09:42layers
09:42that depending on
09:43what happens in the game world
09:45it would play different cues
09:47so it kind of like
09:48always felt different
09:49so my main priority
09:51when making music
09:52is I want to be
09:53a messenger of emotions
09:55I want to understand
09:56as the composer
09:57I want to understand
09:58the emotional message
10:00that is in every single scene
10:02in the game
10:02and I want to be able to
10:04kind of push the emotional impact
10:07on the player
10:07it adds a certain depth
10:09to the game
10:10because you can actually feel
10:11what's going on
10:12and it doesn't just work
10:13as like background music
10:14but also as its own
10:16aspect to the emotional
10:18landscapes
10:18you can imagine it
10:20as painting pictures
10:21so I imagine a situation
10:23for example
10:24where there's a sense of
10:26determination
10:26and adventure
10:27then I try to come up
10:29with an image
10:30that represents that
10:31sometimes I do abstract drawing
10:33sometimes I pick something
10:35from the internet
10:36and then I look at
10:37all those individual
10:38visual elements
10:39and try to come up
10:41with music ideas
10:42for those
10:42so for example
10:43if I have a strong
10:44key image
10:45in the center
10:46of my abstract painting
10:49for example
10:49I try to get an idea
10:52of what instrument
10:52could represent
10:53that specific part
10:55of the picture
10:55and then
10:56I just play around
10:58with it
10:58I experiment with
10:59different melodic ideas
11:00with different harmonies
11:02and through lots of iteration
11:04and tinkering around
11:05and my software
11:06I come to the final result
11:08I'm most excited actually
11:09to get the new
11:11or the extended abilities
11:13in the hands of the players
11:15so we've spent a lot of time
11:17analyzing
11:17like what sort of abilities
11:19actually don't fulfill
11:21the true vision
11:22of what it could make sense
11:23in the world of Gothic
11:24we tease some of it
11:26a little bit
11:27in the gameplay reveal
11:29with the climbing
11:30we'll add another dimension
11:32and it's similar actually
11:33to the climbing in Zelda
11:35but it's obviously
11:36kind of like limited
11:36to certain areas
11:38of the game
11:39and then another thing
11:40like we tease
11:41like first of all
11:42we try to kind of like
11:43make some interesting
11:45underwater path
11:46and locations
11:47so there's a lot
11:48to explore there
11:49but also diving
11:50is a proper
11:51like skill
11:52that you need to
11:53learn and get better on
11:55you can also
11:56like interact with
11:57objects underwater
11:58which is pretty cool
11:59so you can pick up loot
12:00you can interact with stuff
12:01so that's
12:02that's all stuff
12:03that I feel
12:04like
12:05I'm proud
12:06that we did it
12:07like that we don't just
12:08like copy the original
12:10most of the materials
12:11will be used for different
12:12crafting stations
12:13so
12:14alchemy
12:15cooking
12:16whatever
12:17the idea is that
12:18those recipes will evolve
12:19with the player
12:20so if the player invest points
12:21in that
12:21those recipes will become
12:23useful
12:24across the
12:25gameplay
12:26and also there is
12:27an important thing
12:27that even if
12:30you don't have
12:31immediate utility
12:32for that recipe
12:34at that moment
12:35the act of crafting
12:37has an inherent value
12:39in reducing the
12:41abundance of materials
12:42in your inventory
12:43and gaining a bit
12:44of ore
12:45from the process
12:46so you spend time
12:47in
12:49and you gain a lot
12:50of utility
12:50in ore
12:52and there are things
12:52I'm sure there are things
12:54that are controversial
12:54that people are like well
12:56you're contradicting what
12:58the original set out
13:00we tried to limit
13:01these things
13:01and we wanted to be extra
13:04sure that like
13:04our solution is actually
13:06better
13:06we cannot please everybody
13:08we hope that
13:09the players look at it
13:10give it a try
13:11to understand our
13:13motivation
13:13and I'm happy to
13:15talk through about this
13:16after the game is out
13:18and give detailed reason
13:20for why we did
13:21the way we did
13:21obviously I don't want
13:22to spoil things
13:23our approach of coping
13:26with this struggle
13:27between old and new
13:29was being practical
13:31and finding a certain
13:32baseline
13:33that is always within
13:35the gothic vision
13:36and especially
13:37close to the original
13:38we can't wait
13:39to hear what you think
13:41about this
13:42I mean for us
13:43we are not done with it
13:44I mean
13:44like getting started
13:48but
13:48we are not done with it
13:48we're not done with it
14:03we can't wait
14:10or we're not done with it
14:15and let's go
14:15to the ground
14:16here
14:16and you have to
14:16Grazie a tutti
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