![]() ![]() There’s more of a mood that I take out of it rather than the specific stories. The feeling of nature and humanity and industrial machinery and stuff – there’s just something about it. There’s no big ecological message to it, there’s just a nice contrast. Going on a journey across these landscapes is kind of bittersweet it’s kind of like, “What are we to the world?” in a way. If you trip them, they wake up, and they kill you. And what that gives you is an opportunity to make amazingly beautiful landscapes, full of colour – like Miyazaki movies – with a lot of nature in there, but then there’s the threat of all these old machines left from wars long-forgotten that are still deadly. ![]() But how do you make post-apocalyptic colourful? We watched a programme called Life After People, which imagined “What would the world be like if people disappeared today?” And it’s amazing how fast nature reclaims our cities, and it’s amazing how quickly the things that we think are permanent in civilization just crumble and go away. That’s why Heavenly Sword was so colourful, and that’s what Enslaved is colourful. How did that come about?I guess a lot of it’s from our influences – things we like. So we’ve kind of listened to a lot of the criticisms of Heavenly Sword and I believe we’ve improved in every aspect, in terms of game length, in terms of the variety of gameplay, and we’ve really worked well with people like Andy Serkis, Nitin Sawhney, Alex Garland, and everyone’s in it for one reason, and that’s to make it an emotive experience that matters to you when you play it.Enslaved has a very striking visual style. How did you approach Enslaved, initially? From the beginning of the project, what we wanted to do was look at everything we did on Heavenly Sword, look at the things we did really well – like the facial technology the things worked really well – and the things that didn’t work well, or that we wanted to build upon.
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