watch the first 15-30 minutes of indigo prophecy. there's a lot of really clever stuff there. i don't know if it was a designer who left the team, or if it was the only good idea david cage ever had, but a game designed like that could have been fucking awesome, even with god-awful writing.
Thanks for the heads up, I'll check it out.watch the first 15-30 minutes of indigo prophecy. there's a lot of really clever stuff there. i don't know if it was a designer who left the team, or if it was the only good idea david cage ever had, but a game designed like that could have been fucking awesome, even with god-awful writing.
Except that some people who hated Heavy Rain like UrbanRats are at least kinda looking forward to Beyond now. Seems to do a better job overall.People who liked Heavy Rain will also like this game.
People who disliked Heavy Rain will also dislike this game.
We are destined to do this dance forever.
Lorne Balfe (Inception, Assassins Creed 3) is apparently doing the score.But overall, very impressive, and really enjoy these types of moody games. Also, the music in the trailer was fantastic. If that's any indication of what to expect from the OST than i can't wait. !
The IQ is at least on par with TLOU.A lot of the environments don't look good to me because of the IQ and the character modeling is often uncanny valley. I really don't like their end result most of the time compared to say The Last of Us or Crysis. The delivery of the acting seems better than Heavy Rain though so I'm interested.
You didn't play the final game and the actors were all raving about their experience at the Q&A session yesterday. Seems like they all like the script, so why should they feel bad?It must feel terrible to have to work on a game like this and put in a bunch of effort on stuff when the script is so bad.
To be fair he was invited by Tribeca. He didn't ask for it. I certainly wouldn't complain about free advertisement.i think the worst part about the trailer is just where it premiered and how it further expands david cage's already overinflated hubris.
Lorne Balfe (Inception, Assassins Creed 3) is apparently doing the score.
It's pretty much a modern adventure. You can walk around, interact with your environment, solve puzzles using Aiden (who you fully control as well) and talk to people etc.Just watched about 15 minutes on the stream. Wow. The gameplay really is just the absolute bare minimum of interaction here, one single action QTE and two branching conversations. I'd heard people criticize these games as being barely interactive cutscenes, but I had no idea. I'm actually shocked.
That said, it seems interesting and I've never played any of this dude's games. And it's fucking gorgeous. So it's a choose your own adventure, I'll give it a shot.
I think they are actually her allies.So the villains in this, they're like that top-secret organization from Firestarter or something?
I don't know how the game went from being so awesome in that diner sequence to being QTE/garbage.Matrix
To be fair he was invited by Tribeca. He didn't ask for it. I certainly wouldn't complain about free advertisement.
The tech is downright amazing though. QD are either cheating their assess off and getting away with it, or they know stuff no one else does.
Is it me or do the graphics looks insane? Especially during the horse riding part.
What they do is not extraordinary, they make awesome looking characters and concentrate on them so that you don't notice the environments that are far less detailed (some of the textures are just gross). They made some really good compromises for the type of game beyond is though.
Tribeca invites a game every two years or so. They are not presented as movies and the series is specifically designed to highlight that they are games, that's why they are doing live plays instead of screening pre-recorded material. Of course it feels nice to be invited by a film festival, but since this panel is designed to highlight the differences between passive entertainment and active entertainment I doubt that helps him feeling closer to Hollywood and is the reason why he attended it.he could have said, 'nah, what i'm doing doesn't belong there'. of course, free advertisement is nice, but i think it was a bit more than that.
Interviewer: You have a strong link, it seems, with the idea of games as a cinematic experience. You reference movies a lot in explaining your ideas.
DC: Yeah, I think this part is generally misunderstood, because some people maybe didn't really read my interviews and think that I'm promoting cutscenes and that cinema is the absolute model. I'm not someone who's frustrated at not being a director and ended up doing video games. I'm here because I decided to be here and because I'm excited about interactivity in video games.
[...]So what I'm saying is that one of the closest media to games is cinema. We shouldn't copy it. We shouldn't imitate it. We should get inspired. We should take what is good there, because it's going to save us time, and if something is effective and works in cinema, why wouldn't you copy it?
As long as we take what is good and add something new that is absolutely unique to our media... we don't want to make cinema, we want to make interactivity. Let's borrow some code from cinema, but let's not copy it. It's challenging, too. I don't want to make cinema, and I don't promote a vision of video games being only narrative-driven or whatever.
Interviewer: Why go into games, and not film, if your primary goal is to tell stories?
DC: My primary goal is not exactly to tell stories. My primary goal is to make you feel something. And I think the most exciting thing to do it right now is to do it through interactivity.
So I'm not a frustrated movie director who cannot make movies so he makes games. That's really not how I work. I'm in this industry because this is really what I want to do. I think there are so many things to invent based on interactivity. And you can tell stories. There's nothing wrong.
[...]I don't like game mechanics as such. I don't think that's the only way to create interactivity. There are other ways. Changing something in your environment, talking to someone, feeling something, making a meaningful decision -- this is interactivity, too. And it's just as meaningful and interesting. So, again, there are different ways of doing things. We just try to explore different directions.
Interviewer: But you do have a focus on a cinematic style of storytelling.
DC: Yeah.
Interviewer: Why is that?
DC: Because it's the most efficient way, I found. There are other people in the industry triggering emotions not using storytelling, and I'm really impressed with what they do, and how they do it. Somebody like [Ico creator Fumito] Ueda-san, for example, doesn't use story the way I do it. He uses a sense of poetry in a totally different approach. Or the guys doing Limbo. There are many different people doing different things. Or Flower, for example. They created emotions maybe not using storytelling, and that's fine.
But I like storytelling since I was a kid, and I always liked stories. I thought this is a very universal thing. You can tell a story that means something to a Japanese guy, or an American woman, or a German. No matter where you come from or how old you are, you can understand a story and feel something. That's my thing. It's something I believe in.
Interviewer: Would you ever like to make a movie or TV series? To work on something less interactive?
DC: I think its a very different job. It looks very similar because we have actors and we have a script but I think its very different. And no Im not a frustrated filmmaker, Im happy to be here, Im doing this for 16 years, I chose to be here. And I still have so much to discover and learn in this medium that Im not impassioned to go and learn something else, no.
Interviewer: How much does music come into play in Heavy Rain?
DC: It's a huge part of the experience and I was really lucky with music in my previous games. I had David Bowie on Omikron, I had Angelo Badalamenti who was a David Lynch composer on Indigo Prophecy, and both of them were fantastic collaborations and they bring so much to the final result with very emotional and sensitive music. And being myself a former musician, we understand the importance of music.
Interviewer: Have you always been a screenwriter?
DC: No, I was a musician.
Interviewer: What did you play?
DC: Piano. And I was a composer and arranger of music, I worked on commercials, for record companies, I worked on advertising, TV series, movies, and I started making music for videogames. I worked with Sega, with Virgin Interactive and for different companies.
Interviewer: Is that what brought you to writing for videogames?
DC: No, I always wrote. I was writing novels as a hobby, making music for a living, and playing games almost full-time, so I found a way to put everything together.
What they do is not extraordinary, they make awesome looking characters and concentrate on them so that you don't notice the environments that are far less detailed (some of the textures are just gross). They made some really good compromises for the type of game beyond is though.
Tribeca invites a game every two years or so. They are not presented as movies and the series is specifically designed to highlight that they are games, that's why they are doing live plays instead of screening pre-recorded material. Of course it feels nice to be invited by a film festival, but since this panel is designed to highlight the differences between passive entertainment and active entertainment I doubt that helps him feeling closer to Hollywood and is the reason why he attended it.
Here are 4 different interviews he gave over several years. When I read stuff like that, I'm pretty sure he just genuinely likes games and is not interested in making movies ever.
him being an artist trying to be a designer is where a lot of his problems crop up though. i still don't think he has a firm grasp of video games, even after all these years. granted, i never played omikron, but it seems like he just has a very basic framework and lets the cinematic elements become the star. it's the laziest way to evoke an emotion from someone in this medium.
As long as it works for some and he continues to have success it's fine IMO. I doubt he will change anything in the market, so whatever he does is not really a threat. And from an artistic point of view I don't really care what someone makes in this medium. I think everything should be allowed. I don't have to buy it and can be happy for people that find serious enjoyment in them.him being an artist trying to be a designer is where a lot of his problems crop up though. i still don't think he has a firm grasp of video games, even after all these years. granted, i never played omikron, but it seems like he just has a very basic framework and lets the cinematic elements become the star. it's the laziest way to evoke an emotion from someone in this medium.
What they do is not extraordinary, they make awesome looking characters and concentrate on them so that you don't notice the environments that are far less detailed (some of the textures are just gross). They made some really good compromises for the type of game beyond is though.
It really depends on the environment I think. In this off screen picture the detail on the wall texture is pretty good IMO:Well, I wouldn't say that is quite true. Environments have taken a big step up from HR it looks to me. Textures also look very nice for the most part, up with most of the bigger games this gen, there are some rough patches, but I don't think any game has got away from that on consoles.
LOL. What is this BS? A designer is an artist. It's one of the many possible profession fall under the heading of being an artist. People don't usually go around saying "Oh, he's an artist" without actually specifying the specialization of the art. Be it designing, performing, musical, pantomime, etc.
And your problem is defining video games too rigidly in the old "press X to do a particular movement" set of rule whereas games has always had many different permutations. There are games with no narrative, games where button pressing is all that matters, games where you just look for clues in the background provided for you, games where 90% of the time is spent just shooting enemies, and so on and so forth.
The only emotions a game creator can do without a narrative is ones that are mostly related to your winning or losing the game (anger/frustration, triumph). But it's mostly hollow, player-sided emotion. It's not an emotion where you get to emphatise with a character. In order to do that, a sliver of narrative must be attached to the gameplay.
As long as it works for some and he continues to have success it's fine IMO. I doubt he will change anything in the market, so whatever he does is not really a threat. And from an artistic point of view I don't really care what someone makes in this medium. I think everything should be allowed. I don't have to buy it and can be happy for people that find serious enjoyment in them.
a designer is a designer, and an artist is an artist. if you go into a design project with the mindset of an artist, chances are high you'll try making an art piece with very basic, uninteresting design.
say there are two types of shopping bags for a magic store: the first one is a bag with clear wire, so it looks like the bag is hovering next to the person holding it. the second one is just a normal shopping bag, but with a drawing of something magic-y from rob liefeld. the one that communicates the idea the best and most creatively would be the one that had more thought put into the design versus the one that had more thought put into the art.
i just care about good design. if something is very story-intensive, but it's designed that way and is meant to serve a purpose, then i can greatly appreciate that. virtue's last reward and 999 are pretty good examples of things like that.
where was i suddenly against a narrative in games? i just normally don't like setting down the controller and having the game talk at me. journey is one of the most recent games i've played that wowed me with its narrative. there are some great design choices in there to make a unique, memorable, and touching experience without so much as a word of dialogue.
i'm okay if david cage and qd stay quarantined from the rest of the industry. i worry when they start influencing other developers like telltale. the walking dead was a dreadful game, and worse yet, it won a lot of awards.
so you're fine as long as your games are gamey and make you feel like you're gaming a game?
a designer is a designer, and an artist is an artist. if you go into a design project with the mindset of an artist, chances are high you'll try making an art piece with very basic, uninteresting design.
what in the world?
i'm okay if david cage and qd stay quarantined from the rest of the industry. i worry when they start influencing other developers like telltale. the walking dead was a dreadful game, and worse yet, it won a lot of awards.
Same thing happened with Heavy Rain when it got closer to launch. I loved HR, but Beyond looks 100x better and is my most wanted 2013 game now.OK, I've watched the trailer and the Tribeca footage and the GameSpot gameplay analysis. Holy shit, what happened tonight. Loved HR, then thought the Beyond stuff they showed at last E3 was rubbish, and now here I am absolutely LOVING everything I'm seeing about Beyond (except the tearing, blech). Wow, just wow.
Awards don't really influence publishers, only sales. TWD did well there, but not better than Heavy Rain. And TWD is available on all platforms I can think off, while Heavy Rain only exists on Playstation.i'm okay if david cage and qd stay quarantined from the rest of the industry. i worry when they start influencing other developers like telltale. the walking dead was a dreadful game, and worse yet, it won a lot of awards.
Eh, I'm interested in the game for sure but the trailer was 'alright'. Nothing fandabydozyshitinmymouth good.
What does Jodie say at the 2:20 mark?
'I give up.'
Awards don't really influence publishers, only sales. TWD did well there, but not better than Heavy Rain. And TWD is available on all platforms I can think off, while Heavy Rain only exists on Playstation.
So far Heavy Rain didn't really change anything.
If one day a David Cage game does sell so much for some reason and actually changes something, then you will have to live with it I guess. It is just a reality of the market.
I hate what CoD did to the FPS sector, but I can't really hate CoD, since people buy them. They spoke and decided. Maybe we should complain about the people buying games instead of the developers making them, but that is also a fruitless endeavour.
I know your fear, but there is really nothing you can do unfortunately.
a designer is a designer, and an artist is an artist. if you go into a design project with the mindset of an artist, chances are high you'll try making an art piece with very basic, uninteresting design.
say there are two types of shopping bags for a magic store: the first one is a bag with clear wire, so it looks like the bag is hovering next to the person holding it. the second one is just a normal shopping bag, but with a drawing of something magic-y from rob liefeld. the one that communicates the idea the best and most creatively would be the one that had more thought put into the design versus the one that had more thought put into the art.
i'm okay if david cage and qd stay quarantined from the rest of the industry. i worry when they start influencing other developers like telltale. the walking dead was a dreadful game, and worse yet, it won a lot of awards.
i guess it's kinda like the split between community and the big bang theory. the big bang theory is a show about nerds, while community is a show for nerds. no one was able to save community or give it the recognition it deserved, but every little bit of support probably helped that show stay on air since season 2, when any other network would have had it canceled.
one person can't make a huge difference, but every little bit helps.
That is a really interesting theoryThe Gamespot video has some pretty convincing story speculationI wouldn't be surprised if it were all stuff to mislead us though!there is another entity like Aiden(sp?) that may or may not be connected to a second person that has somehow been released and so the DPA take Jodie in and train her in order to challenge it. Fits in with her line about being used too.