Robilliard: The world itself is beautiful and a kind of melancholic way but it needs your artwork to bring it to life. But they will give a person enough agency to create what they would really like. Sangalli: We do a lot of work behind the scenes to make sure that the brushes that we give you will yield a really pleasing outcome no matter how you use them. There’s a really interesting intersection of technology and creative to make something that’s really fun and enjoyable to play with so that absolutely anybody could make something that looks good.Īsh discovers a magical paintbrush charged with ‘Living Paint’ capable of creating paintings that can purify Denska with the help of the genies he paints on the town's polluted walls. And then there’s this technical challenge of not requiring the player to have any artistic ability in order to make something beautiful, which has taken years to craft. The iterations that we went through early on let us explore and try and understand how we wanted it to feel for the player to be an artist in the game. Robilliard: One of the things that was there from the very beginning of this concept was the idea that the player-character was going to be an artist. How do you empower the player to be creative in ‘Concrete Genie’? So it’s getting the best ideas and then creating artwork and then starting to look for commonalities and for artwork stylistically that complements the gameplay and the story. Sangalli: It’s sort of a collaboration in the beginning with you just being there to support and try to make sure that there’s people saying ‘yes’ mostly at that early. Art Director Jeff Sangalli and Creative Director Dominic Robilliard of Pixelopus Can you speak the challenges of taking a group of artists with different backgrounds and aesthetics and what it’s like to bring that all together into one cohesive vision?
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