00:00Time is an ocean in a storm.
00:04You may wonder who I am and why I say this.
00:08Sit down, and I will tell you a tale like none that you have ever heard.
00:20The Prince of Christian was really born as a 40-pixel high silhouette.
00:26He was running and jumping and dodging traps.
00:28Before I knew what his name was, or what his story was.
00:32In the Montreal studio with the four team and I, we began to work on a very first mock-up
00:37of what he thought the game would be.
00:40And when actually Jordan was here, and when he was watching what you had,
00:46the whole team, seven board members and I, were watching him, himself watching the mock-up.
00:54And he was so flabbergasted.
00:55I saw the enthusiasm and excitement and the new ideas that they had.
01:00I was convinced that they were really going to do something good.
01:03And I also knew that this was a project that I wanted to be heard of.
01:09It's the story of a prince who tried to save the day after
01:11hanging himself from chaos into a huge palace.
01:14His elf is an adventurer by a young, mysterious princess and magical dagger.
01:20But, the only visitor is after them.
01:24I wasn't a point.
01:30Most people remember two points about the original in his prosciite games.
01:34The prince, as a human character.
01:37And the fighting game.
01:38So we started the game based on that.
01:40We implemented dynamically in the game to enhance immersion for the player, to provide
01:44some transition to nullification of the game, so the player really feels in the palace when
01:49he plays.
01:50We exaggerated the proportion of the tower on the rooms to create a more immersive and
01:55spooky universe.
01:56The prince can interact with almost everything, so we had to just define the model design
02:01practically.
02:03We came up with something new, very sensuous, very immersive for the player, not too dark,
02:09not too cartoony either, something that feels realistic but still is, I think the word
02:16is plausible.
02:18This type of level design and interactions with the environment allows us to internet
02:22cinematography techniques for the camera.
02:25We have the free camera, the high camera, the first person view and the all-new camera.
02:39The Sansa Plan is the main evil entity in the game that transformed the human into some
02:43creature.
02:44For this creature we wanted to have an organic and evil feeling mixing with spirit voices,
02:49and avoid living dead type sounds.
02:51We worked with Daintracks, who created most of our sound effects.
02:55All the rest was done here in the room.
03:00The music style had to fit the Persian look without being Persian music.
03:04We selected a mix between rock and Middle Eastern rhythm and melody with an instant flare.
03:10We worked with composer Stuart Chatwood, who is also part of the band Tea Party.
03:15He used different instruments like an Indian tablet ensemble, some vocalists and some string
03:20to create the diverse music we can find in the game.
03:43We played a lot around with the idea of Persian ninja acrobatics stuff.
03:48Basically we came up with a character,
03:50we were drafted with a full range of movesets.
04:01In animating we used different principles,
04:05but the two most important were strong posing,
04:09to take clearly what the character is doing,
04:12and also follow-through,
04:14which is the way the animation ends,
04:16and the way we stagger the end of the movement
04:19to the different parts of the body.
04:21First, we start off by working the design of the character,
04:25and doing a paper sketch.
04:27Once we got a good design,
04:29we move on to 3D, creating the skeleton.
04:32On top of that, we layer the polygon mesh and texture.
04:36Once we got satisfying result,
04:38we let it edge to see if it passed the test of time.
04:43The prince has more than 750 animations.
04:47He doesn't have 750 moves,
04:48but here we're talking about all this little transitions animation,
04:51that makes the prince switching from an behavior to another very smoothly.
04:55Basically, he has the most, the biggest range of movesets in any action adventure video.
05:03I am not here.
05:10No!
05:12Don't!
05:16No!
05:19No!
05:20No!
05:22No!
05:25No!
05:26No!
05:28No!
05:29No!
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