It's far more difficult to get people to think like a writer, to give up conventional habits of mind and emotion. You must be able to step inside your character's skin and at the same time to remain outside the dicey circumstances you have maneuvered her into. I can't remember how many times I advised students to stop writing the sunny hours and write from where it hurts: "No one wants to read polite. It puts them to sleep."
Bill, you came to Valve from Disney. Does working in an interactive environment offer a different kind of challenge?
BF: It’s a lot harder. In films, you have it all laid out for you. Everything is in there for specific reasons, you have close-ups, you have long-shots, we use them to tell the story. In this medium, we don’t have that to fall back on.
We have to make these characters live in this space. I can’t make my life easier and animate just in close-up. You have no idea how close the player is going to be, you could be trying to create a nice, quiet, tender moment but the camera is right across the other side of the room. Controlling the camera gives you so much more power over emotions. We’re not able to do that—what we try to do is draw you across and closer in, we do it so you feel you need to get in and close to the acting.
But you can’t just concentrate on the facial, like you would want to do in a traditional animation. You’ve got to work on the body-language, too. By the same token, you can’t have them bouncing around if the player is really close to them. You choose your battles. I try and keep it pretty low-key in the more emotional moments. It’s that much more gratifying, we’re creating a character, not a movie clip.
BF: It’s a lot harder. In films, you have it all laid out for you. Everything is in there for specific reasons, you have close-ups, you have long-shots, we use them to tell the story. In this medium, we don’t have that to fall back on.
We have to make these characters live in this space. I can’t make my life easier and animate just in close-up. You have no idea how close the player is going to be, you could be trying to create a nice, quiet, tender moment but the camera is right across the other side of the room. Controlling the camera gives you so much more power over emotions. We’re not able to do that—what we try to do is draw you across and closer in, we do it so you feel you need to get in and close to the acting.
But you can’t just concentrate on the facial, like you would want to do in a traditional animation. You’ve got to work on the body-language, too. By the same token, you can’t have them bouncing around if the player is really close to them. You choose your battles. I try and keep it pretty low-key in the more emotional moments. It’s that much more gratifying, we’re creating a character, not a movie clip.
When we think about our goals and the obstacles we face, we often get trapped into only thinking about where we are starting and where we want to end up, while ignoring the many steps in-between.
Life is a process. The achievement of every goal is a process of many ups and downs – countless learning experiences – and a gradual progression toward where we want to be.
Success doesn’t happen over-night. It often takes a lot longer than we expect it to take.
If you are in it for the long haul, then you need to be very process-oriented. You have to remind yourself that you can only take small steps each day, and it is the consistency of these small steps that will eventually add up over time.
“All of these issues are solvable. Each would collapse beneath the process. We’ve just wrongly assumed that it has to happen all at once, and we give up at the thought of it. We are A-to-Z thinkers, fretting about A, obsessing over Z, yet forgetting all about B through Y.
We trap ourselves into wanting to get away from “A” and toward “Z,” but we neglect the “B-Y” that is necessary to make the full journey. Understand that everything is a process and often growth is small and gradual.
Recognize the small steps ahead of you each and everyday, while still not forgetting the bigger picture behind everything you do.
Life is a process. The achievement of every goal is a process of many ups and downs – countless learning experiences – and a gradual progression toward where we want to be.
Success doesn’t happen over-night. It often takes a lot longer than we expect it to take.
If you are in it for the long haul, then you need to be very process-oriented. You have to remind yourself that you can only take small steps each day, and it is the consistency of these small steps that will eventually add up over time.
“All of these issues are solvable. Each would collapse beneath the process. We’ve just wrongly assumed that it has to happen all at once, and we give up at the thought of it. We are A-to-Z thinkers, fretting about A, obsessing over Z, yet forgetting all about B through Y.
We trap ourselves into wanting to get away from “A” and toward “Z,” but we neglect the “B-Y” that is necessary to make the full journey. Understand that everything is a process and often growth is small and gradual.
Recognize the small steps ahead of you each and everyday, while still not forgetting the bigger picture behind everything you do.
РЕЗОЛЮЦИЯ:
Мы призываем этот конгресс, а через него ученых всего мира и мировую общественность подписаться под следующей резолюцией:
«В связи с тем, что в будущей мировой войне будет непременно использовано ядерное оружие и поскольку это оружие угрожает существованию рода человеческого, мы настаиваем, чтобы правительства всех стран поняли и публично заявили, что споры между государствами не могут быть разрешены в результате развязывания мировой войны. Мы требуем, чтобы они находили мирные средства разрешения всех спорных вопросов».
Мы призываем этот конгресс, а через него ученых всего мира и мировую общественность подписаться под следующей резолюцией:
«В связи с тем, что в будущей мировой войне будет непременно использовано ядерное оружие и поскольку это оружие угрожает существованию рода человеческого, мы настаиваем, чтобы правительства всех стран поняли и публично заявили, что споры между государствами не могут быть разрешены в результате развязывания мировой войны. Мы требуем, чтобы они находили мирные средства разрешения всех спорных вопросов».
Spider-man 2:
Every time Doc Ock uses his robotic tentacles to do something he, as a human, isn't strong enough to do, at least one tentacle is clamped to the ground or a wall. If not, spider manages to knock him down.
Every time Doc Ock uses his robotic tentacles to do something he, as a human, isn't strong enough to do, at least one tentacle is clamped to the ground or a wall. If not, spider manages to knock him down.
Один человек, искавший легкого заработка, решил отправиться в страну одноглазых, поймать одноглазого человека и показывать того за деньги, рассчитывая, что каждый зритель будет платить ему по медной монете. Он нашел нашел страну одноноглазых, но сам стал зрелищем для одноглазых, поймавших его и показывавших за деньги двуглазое (японская сказка)
When approaching any obstacle, it’s often useful to be able to remove yourself from the situation and imagine it happening from a third person perspective.
Picture someone else in your situation and look at as if you were just a “fly on the wall.” How should that person act in this hypothetical situation? What advice would you give that person?
“Objectivity means removing ‘you’ – the subjective part – from the equation. Just think, what happens when we give others advice? Their problems are crystal clear to us, the solutions obvious. Sometimes that’s present when we deal with our own obstacles is always missing when we hear other people’s problems: the baggage. With other people we can be objective.
This new perspective can often yield insights that are hard to find if we can only see our problems through our own eyes.
Picture someone else in your situation and look at as if you were just a “fly on the wall.” How should that person act in this hypothetical situation? What advice would you give that person?
“Objectivity means removing ‘you’ – the subjective part – from the equation. Just think, what happens when we give others advice? Their problems are crystal clear to us, the solutions obvious. Sometimes that’s present when we deal with our own obstacles is always missing when we hear other people’s problems: the baggage. With other people we can be objective.
This new perspective can often yield insights that are hard to find if we can only see our problems through our own eyes.
Не загружайте людей математикой. Вместо конкретных дат и времени, используйте простые фразы типа: "20 лет спустя" или "за 2 часа до взрыва».
«Снятый с производства продукт не портит репутацию команды»
Настоящая цель пре-продакшна — не защитить вашу игру от провала, а наоборот — сделать всё возможное, чтобы её убить. Как команда, вы должны выявить все риски и устранить самые высокие из них. Нужно смириться с тем, что вы можете убить игру на ранней стадии. Сделав это, вы сэкономите деньги, время и нервы всех задействованных членов команды. Прототип, который провалился — это ваша победа.
Настоящая цель пре-продакшна — не защитить вашу игру от провала, а наоборот — сделать всё возможное, чтобы её убить. Как команда, вы должны выявить все риски и устранить самые высокие из них. Нужно смириться с тем, что вы можете убить игру на ранней стадии. Сделав это, вы сэкономите деньги, время и нервы всех задействованных членов команды. Прототип, который провалился — это ваша победа.
темных очках, которые можно назвать ленноновскими, а можно лепсовскими — в зависимости от того, какой у вас сегодня дискурс
Things I learned from Hyper Light Drifter: hide your character's arms
One day while driving along Highway 50 in Nevada, photographer David Gardner spotted a giant cottonwood tree draped with what seemed to be hundreds of pairs of shoes. It was a strange sight to find in the middle of nowhere, so naturally he got out and started taking pictures, all the while wondering why anyone would feel compelled to do something like this.
“The only thing I could come up with was that it must have something to do with communication,” he says. “People were using these shoes to create this kind of conversation with each other. They didn’t know what they were talking about, but they were communicating.”
“The only thing I could come up with was that it must have something to do with communication,” he says. “People were using these shoes to create this kind of conversation with each other. They didn’t know what they were talking about, but they were communicating.”
Сравнение – это попытка быть другим, а не собой. Это нереальное напряжение, которое убивает творческий процесс.
Самый простой способ отличить травоядного зверя от хищника: у хищников глаза расположены на передней части морды, чтобы следить за жертвой во время погони. У травоядных – по обе стороны головы, чтобы вовремя заметить врага.
Выложили новую Аркану. В ней добавили кентавров в качестве игровой расы, а также переделали минотавров. У коняшек сказано, что на них можно кататься, но не сказано, что другие кентавры не могут этого делать.
- Idea
- Research
- Reference
- Floor plan
- Game play elements
- Geometry and Modeling
- Texturing
- Lighting
- FX, Sound and Final Touches
- Release Beta for testing
The schedule eliminates a lot of unnecessary behavior what is known as analysis by paralysis.
In my case it would include the search for perfect tutorial.
Watch enough videos, find the perfect textures, and find the perfect model to place in my scene. All without actually opening up the editor and just going along and doing these things.
Smithsonian Earth is a great resource. I’ve had the book for over 4 years now and I still look through it every time I have a shortage of ideas on what environment or terrain to do.
Restrictions and limitations are a good thing. If there were no limitations then nothing would get done. If I
didn’t set any deadlines, I might have procrastinated and found a way to work on something else.
- Research
- Reference
- Floor plan
- Game play elements
- Geometry and Modeling
- Texturing
- Lighting
- FX, Sound and Final Touches
- Release Beta for testing
The schedule eliminates a lot of unnecessary behavior what is known as analysis by paralysis.
In my case it would include the search for perfect tutorial.
Watch enough videos, find the perfect textures, and find the perfect model to place in my scene. All without actually opening up the editor and just going along and doing these things.
Smithsonian Earth is a great resource. I’ve had the book for over 4 years now and I still look through it every time I have a shortage of ideas on what environment or terrain to do.
Restrictions and limitations are a good thing. If there were no limitations then nothing would get done. If I
didn’t set any deadlines, I might have procrastinated and found a way to work on something else.
Despite the cost, Bithell says he cut corners with Volume. For example, the main character wears a mask. Right there you don't have to worry about facial animations or lip-syncing. The environments are abstract meaning the team can use fewer textures, and have an ex-PS1 artist design most of the levels. He calls this the "Kevin Smith approach."
"All he had to do for Clerks was throw in a single line to explain why the shutter was down, and he could film at night savings about a million on what a proper set would cost. Every choice we've made has been made to make the game we want to, and cut around the expensive stuff.
"All he had to do for Clerks was throw in a single line to explain why the shutter was down, and he could film at night savings about a million on what a proper set would cost. Every choice we've made has been made to make the game we want to, and cut around the expensive stuff.
Мой нынешний психотерапевт доктор В. утверждает, что признание в своей тревожности, напротив, снизит ощущение стыда и поможет не замыкаться в своих страданиях. Когда я сомневаюсь, стоит ли заявлять на весь мир о своих психических проблемах, доктор В. отвечает: «Вспомните, сколько лет вы держали свою тревожность в тайне. И как, помогло?»
Резонно. Кроме того, существует масса литературы, убедительно доказывающей (вопреки предостережениям Уилфреда Нортфилда и моей матери), что подавление и сокрытие тревоги ее только увеличивает.
Собственно, ответ на то, почему я не держу в тайне свою болезнь. Мне это помогает с анализом моих чувств, помогает справиться со стыдом и ненавистью к самой себе, да и я просто не люблю тайны. Годы интроверсии закончились, я стала очень открытым и искренним человеком, так что мне больше нечего стесняться.
Резонно. Кроме того, существует масса литературы, убедительно доказывающей (вопреки предостережениям Уилфреда Нортфилда и моей матери), что подавление и сокрытие тревоги ее только увеличивает.
Собственно, ответ на то, почему я не держу в тайне свою болезнь. Мне это помогает с анализом моих чувств, помогает справиться со стыдом и ненавистью к самой себе, да и я просто не люблю тайны. Годы интроверсии закончились, я стала очень открытым и искренним человеком, так что мне больше нечего стесняться.