The Creator of the Second Dimension

Turning on the computer, Qin Shanshan quickly found the relevant source of information.

At this time, the fan group was discussing in full swing.

[Sai Tu]: I originally thought that Hatsune Games would make a Bloodborne motherboard, but I didn't expect it to be a new IP. Moreover, looking at the promotional introduction, it is a bit ambitious to design an entire city in the end of the world.

[Qin Miaomiao’s Tengu]: I don’t think so. What has Hatsune Games done so far? A page game, an unfinished audio game. His experience in the console field is blank. Console games are not something that can be done just by thinking about it, I have reservations.

[Human Body Stroke Master]: Still keep a fart, who can draw cakes? Hatsune Games started from scratch to build a host 3A, let alone whether it can be completed smoothly, even if it can be completed, it will probably be three or four years later Yes, maybe I can play SN5 or White Box 2's escort masterpiece "The Last Survivor".

[Everything is in the dream]: Wake up, this game has already been said to be exclusive to SN4, I think Suo Ren will definitely provide some technical support, about two years, it still depends on the scale of the specific game.

[Dog Cai Mo Yu]: I think the art style of this game is good. Besides, whoever in the group is a Hatsune fan from the beginning, and they all look down on the real fragrance in the end. I think you are here to pick and choose, When it's on sale, you don't have to buy it, why bother.

Compared with the previous "Hatsune Miku: The Idol Master", "The Last Survivor" obviously has a larger project volume and more discussions.

Qin Shanshan subconsciously picked her feet. Although it seemed indecent for a beautiful girl to pick her feet, who cares, no one was watching in her room.

[Qin]: This "The Last Survivor", the background introduction is very big, and the art style is not bad, but now there is not even a broadcast, it is too early to discuss, it is better to continue to play games happily.

[Qin Miaomiao's Tengu]: Ah, it's Qin Miaomiao, I'm dead.

[Everything in the dream]: Ah, it's Qin Miaomiao, I'm dead.

[Dogs touch fish]: Ah, it's Qin Miaomiao, I'm dead.

[Saitu]: You are all dead, so Qin Miaomiao is now my wife.

【Qin】: guna!

Qin Shanshan typed a reply neatly, opened the live video broadcast on the Internet, and then opened her own live broadcast room to broadcast.

E3 officially has a live broadcast source, but there is no commentary, and the TV station needs to turn on the TV to watch. Some anchors choose to broadcast, and their audiences prefer this format. Qin Shanshan’s live broadcast room was in the hardcore software conference in the morning. There were tens of thousands of people watching at the same time, and the barrage flew into the sky.

In the afternoon, it was Suo Ren Huyu's press conference, so she naturally wanted to broadcast it.

While many viewers were excited about the explosive news brought by E3, in the conference room of Hatsune Game Office Building, Xu Rui was having a meeting with Holofer and several core game production staff.

"Boss, I don't quite understand what you mean, do you mean that we want to do a seamless performance of CG and game scenes?"

Asked by the main program Wang Sen, he is a programmer who joined Hatsune Games at the early stage of the development of "Bloodborne: Curse".

"Yes, since this game is a third-person perspective, we can try to integrate scripted performances and player operations to form a movie-like look and feel, which is why I chose to use a third-person perspective."

Xu Rui replied that on the projection screen behind him were some initial conceptual designs of the game, including the first storyboard screen. To be honest, this is the first time Wang Sen has seen a designer use the form of storyboards. To present the game, generally speaking, this design method is more common in animation and movies.

However, Wang Sen was relieved when he thought that his boss himself was an animation maker.

And at the very beginning, Xu Rui told everyone that "The Last of Us" will be a game with a movie quality, so it's not surprising that it adopts a movie-like production method.

Wang Sen put his eyes on the copy in his hand. In addition to the content in the slides, there are also storyboards.

He flipped through the pages. At the very beginning of the game, there was a picture of a father and daughter sitting on the sofa.

The characters in these storyboard drafts are more delicate, but they don’t have too many requirements for action designation. It is obviously an early design. It can be seen that the relationship between the father and daughter is very good. In just a few shots, from the father and daughter fighting, to After coaxing her daughter to bed, her subsequent actions created a warm and harmonious atmosphere.

But Wang Sen knows that this is an end-time game, and it cannot be played like a house.

Soon, with a commotion, the father found that the whole city was in chaos. He didn't even know the source of the chaos, and drove away from home with his friends. The storyboard portrayed the chaotic city and burning houses from the perspective of a little girl.

In this episode, the storyboard marked this as a reminder for the player to manipulate.

When Wang Sen watched it for the first time, he found it very strange, because the story of the little girl waking up from her sleep, walking at home, and then being taken to the car has no fighting elements at all, and the little girl controlled by the player has nothing to do. Just look around.

But later, after carefully appreciating the cinematic game concept that Xu Rui mentioned, Wang Sen suddenly felt that this seemingly useless design strengthened the player's sense of substitution.

Just imagine, a player who is playing the game for the first time, controls a little girl who has no power to restrain the chicken, and encounters an accident in the confusion, and the whole atmosphere of the end of the world is suddenly highlighted, especially in the back seat of the car, looking outside When looking around, if it is a fixed camera, it is like watching a performance, but the player can control it by himself, and the attack encountered by the car will also be reflected in the movement of the camera, which is very immersive.

The RPG that Wang Sen worked on before is a very traditional type. This type of game has a characteristic, that is, the performance and the game are separated. The game, apart from some dialogue, will not have additional performances.

The advantage of this is that the production team can control the progress of the game, save a lot of resources, and even be opportunistic. The most typical is the black box mode. In fact, the indoor scenes of many RPG games are not indoors at all, but are surrounded by darkness. It is almost a piece of open scene with only three sides. In a fixed script performance, this kind of scene not only saves art resources, but also reduces the program burden.

But if players are allowed to be in it and act during the plot performance, there will be many ironic bugs.

There is also a shortcoming of broadcast performances that are fixed. The production team often does not design two sets of performance animations for different results of some battles, such as certain defeat battles, but players may win through various means, or due to difficulty Due to the level and other reasons, the very difficult battles are crushed, so that after defeating the boss, the performance that pops 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 dividing line between performance and operation so that it can hardly be felt. In this way, the player's sense of substitution will be extremely high, and the impact of any of his actions will have feedback. There will be no sense of fragmentation in the entire game experience, just like a movie.

This is cinematic game narrative!