The Creator of the Second Dimension - Chapter 199
Chapter 198 .Cinematic Narrative
Turning on the computer, Qin Shanshan quickly found the relevant information source.
At this time, the fans are discussing in full swing.
[Seat]: I originally thought Hatsune Games would be a blood source motherboard, but I didn’t expect it to be a new IP, and looking at this promotion, it was a bit ambitious to design the entire apocalyptic city.
[Qin Miaomiao’s Tengu]: I don’t think it will work. What Hatsune Game has done so far, a page game, an unfinished audio game, his experience in the host field is blank, even if he can have genius creativity and production Console games can’t be done just thinking about it, I have reservations.
[Master of human body stroke]: I still keep a fart, who can’t draw cakes, Hatsune Games started from scratch as a host 3A, let’s not say whether it can be completed smoothly, even if it can be completed, it is estimated that it will be three or four years later Now, maybe I can play the **** masterpiece “The Last Survivor” of SN5 or White Box 2.
[All in the dream]: Wake up, this game has been said to be exclusive to SN4. I think Suo Ren will definitely provide some technical support. It is almost two years, but it depends on the scale of the specific game.
[The dog is fishing]: I think the art style of this game is good. Besides, whoever in the group is a hatsune fan at the beginning, and not all of them look down on the final fragrance. I think you are picking different things here. When it’s on sale, it’s not necessary to buy, so why bother.
Compared with the previous “Hatsune Miku: The Idol Master”, “The Last Survivor” obviously has a larger amount of engineering and more discussions.
Qin Shanshan pulled her feet subconsciously. Although the beautiful girl looked a little indecent when she pulled her feet, no one looked at him in her room.
[Qin]: This “Last Survivor”, the background introduction is very big, the art style is okay, but now there is no broadcast film, the discussion is too early, it is better to continue to play the game happily.
[Qin Miao Miao’s Tengu]: Ah, it’s Qin Miao Miao, I’m dead.
[All in my dream]: Ah, it’s Qin Miaomiao, I’m dead.
[Dog fishes only]: Ah, it’s Qin Miaomiao, I’m dead.
[Seat soil]: You are all dead, so Qin Miaomiao is now my wife.
Qin Shanshan typed her reply cleanly, then opened the live video on the Internet, and then opened her own live room to broadcast.
E3 officially has a live broadcast source, but there is no commentary. TV stations need to turn on the TV to watch. Some anchors choose to broadcast. Their audiences also prefer this format. Qin Shanshan’s live broadcast room was in the morning at the **** software conference. There are tens of thousands of people watching at the same time, and the barrage is flying into the sky.
In the afternoon, it was Suo Ren Hu Yu’s press conference, and she naturally wanted to broadcast it.
When many viewers were excited about the explosive news brought by E3, Xu Rui was having a meeting with Holofei and several core game producers in the meeting room of Hatsune Games Office.
“Boss, I don’t quite understand what you mean, do you mean we want to do a seamless performance of CG and game scenes?”
The main program Wang Sen asked, he was a programmer who joined Hatsune Game at the early stage of the development of “Bloodborne: Curse”. He had previously served as the developer of two console RPGs and had rich experience.
“Yes, because this game is in the third person, we can try to integrate the scripted performance and player operations to form a movie-like look and feel, which is why I chose to use the third person method.”
Xu Rui replied that on the projection screen behind him are some of the initial concept design of the game, including the initial storyboard. To be honest, it is the first time that Wang Sen has seen a designer use this form of storyboard. To present games, generally speaking, such design methods are more common in animation and movies.
But thinking that his boss himself had an animation background, Wang Sen was relieved.
And at the very beginning, Xu Rui told everyone that “The Last Survivor” will be a movie-like game, and it’s not surprising that it uses movie-like production techniques.
Wang Sen put his gaze on the photocopy in his hand. In addition to the content in the slides, there is also a storyboard.
He flipped through it, and the beginning of the game was a scene of a father and daughter sitting on a sofa.
The characters in these storyboards are more exquisite, but there are not too many requirements for the action specification. Obviously it is the initial design. It can be seen that the relationship between the father and daughter is very good. Just a few shots, from the father and the daughter to He coaxed his daughter to bed, and his subsequent actions created a warm and harmonious atmosphere.
But Wang Sen knows that this is an end-of-the-day game, and it can’t be like playing a house.
Soon, with a commotion, my father found that the whole city was in chaos. He didn’t even know the source of the chaos. He drove away from the house with his friends. The storyboard portrayed the chaotic city and burning houses from the perspective of a little girl.
In this plot, the storyboard marked this as a reminder of player manipulation.
When Wang Sen first saw it, he found it strange, because this episode of the little girl waking up from her sleep, walking at home, and then being taken to the car has absolutely no fighting elements, and the little girl controlled by the player has nothing to do. Just look around.
But later, after carefully experiencing the cinematic game concept mentioned by Xu Rui, Wang Sen suddenly felt that this seemingly useless design strengthened the player’s sense of substitution.
Imagine that a player who plays a game for the first time, controlling a little girl who has no power to restrain the chicken, encounters a change in the confusion, and the atmosphere of the end of the world is all at once set off, especially in the back seat of the car, facing outside. When looking around, if it is a fixed lens, it is like watching a performance, but the player can control it by himself, and the attack on the car will also be reflected in the movement of the lens, which is very immersive.
The RPG that Wang Sen has dealt with before is a very traditional type. This type of game has a feature that the performance and the game are separated. Simply put, when the plot is performed, it will broadcast or script-controlled animation, and the game is complete. The game, apart from some dialogue, there will be no additional performances.
The advantage of this is that the production team can control the process of the game and save a lot of resources, and even speculation. The most typical is the black box mode. The indoor scenes of many RPG games are not indoors at all, but One is all dark and there are only three open scenes. In a fixed script performance, this kind of scene not only saves art resources, but also reduces the burden of the program.
But if the players are allowed to play in this, and activities in the plot performance, there will be many ridiculous BUGs.
There is also a shortcoming of the broadcast performance, which is fixed. The production team often does not design two sets of performance animations for the different results of some battles, such as certain defeats, but the player may win by various means, or due to difficulty Due to factors such as level and level, the very difficult battle is crushed. After defeating the boss, the performance that jumps out turns out to be a difficult victory or a big defeat for the player, and the sense of separation between the performance and the game is difficult to erase.
But now, Xu Rui’s idea is to blur the line between performance and operation to a point where it’s almost impossible to feel it. In this way, the player’s sense of substitution will be extremely high, and the impact of any of his actions will be feedback. There will be no sense of fragmentation in the entire game experience, just like a movie.
This is the cinematic game narrative!