That’s called “tilt-shifting”! Look up tilt-shift photography to see the real world miniaturized.
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Yeah, it just never occurred to me that you could recreate the effect with in game photo modes. The even the subject gets some blurring over gives them this effect of looking like a low quality pewter figurine, which is a nice touch.
It looks like shit because it recorded in HDR, but I finally had One Of Those Moments.
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Among the maxims on Lord Naoshige’s wall there was this one: “Matters of great concern should be treated lightly.” Master Ittei commented, “Matters of small concern should be treated seriously.”
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I’m surprised this got posted; this is what Sucker Punch was working on when I interviewed with them. The pitch was: “…alchemy?”
And I can tell you…this is years of full-scale art production
seriously this is so much money
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It’s daunting that it got this far before cancellation but I can see why it was scuppered. Nothing super distinct jumps out from the demo and it gives me Order 1886/launch IP vibes
“So, anyway, that’s how I became The Ghost of Tsushima.”
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The english audio should of been called American Import Mode and changed the name of the game to Samurai Killer and had a completely different hacked together plot and missing scenes and 1970s bright red blood sprays
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It’s real dorky, but if you see any of the sign posts (usually next to shrines) that have a very real and authentic little painting of a guy bowing on them, go ahead and do that.
There’s one not far from the first hot springs town near a cliff, where if you bow next to the statue under the cliff a whole shitload of frogs spawn out of nowhere and start hopping around. There’s one on a beach on the opposite coast that does crabs, and I’ve seen some that do butterflies and dragonflies. Nothing special, but a neat “ah hey you paid attention” touch!
I remember skimming through that video the other day and it was shocking just how complete of a demo it was. There were some rough aspects but it looked almost ready for a big E3 conference style showcase. While I’m sure there’s aspects of this they could pull into their future project tt’s amazing how companies have the resources to trash so much work and still be able to stay afloat.
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I think this happened because they lurched into production after Infamous closed shop, in order to keep their art and engineering teams busy, but they weren’t ready to go with a game. Eventually the game was rejected and they ended up laying off much of the team because they couldn’t afford the burn-rate while they were in pre-production on something new.
Games sit midway between steady engineering shops and bursty film production and the massive cannon of resources directed towards the end of production of these massive games needs a better answer than ‘maybe if we make enough money we can keep you on board even though we don’t need you for two or three years’.
And that’s where DLC usually comes in, right? Giving the team work at a smaller scale so there’s resources to get started on new projects as well? But if we’re talking about a massive surge in resources solely towards the tail end of a project I guess a lot of them would still end up being laid off even with DLC.
I am not versed in Hagakure at all so I think I have to just give up trying to find something tangentially related in quotes I find in excerpts on the internet. I’ll just post random bits and bobs I encounter and find on the internet.
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Animation priority hiccups
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Pathfinding
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That’s the ideal, but it’s hard to line those up correctly so the next game is out of preproduction in time and the DLC doesn’t suck up all the resources of people who are supposed to be doing next-game things.
The madness is that single-player DLC gets played by something like 10% of the audience but it’s the foundation of the upsell for gold editions and the like, and they get something like 30% of the audience to buy those. Meaning, DLC is really paying off debt
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I should probably post some pictures because the visual direction is the game’s main appeal and really carries a lot of the game. I think the visual movement of the environment is a big part of that but the built in PS4 video compression doesn’t handle it well and it always ends up looking a bit muddy and desaturated in the clips I post. Just imagine all the trees and grass and constantly wiggling and there are also particles of some sort on screen, whether it’s falling leaves, “pollen” blowing in the wind, or fireflies lighting up and down.
The game uses vibrant colors and makes sure there is always dramatic lighting, so the game has this visual intensity to it. Every area is designed around giving you a view that offers a large vista or funneling you into the dramatic view of the sun/moon. You cannot find a scene that looks “normal”. I tried playing the game once on a 4k HDR tv and I was amazed at what a different HDR can make on top of that. The color range and brightness of the screen ratchets up the intensity of the colors and a lot of smaller details stand out that I didn’t pay any attention to on my regular monitor, such as fire embers or the back-lighting of leaves against the sun and moon. It makes a huge difference.
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The more I read about this game, tbh, the more I want to play it. It sounds like it has pretty superb hangoutitude.
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