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| 0s | our approach with the 2.5 really helps |
|---|---|
| 4s | us capitalize I think on capturing those |
| 7s | unique epic moments in a very fluid |
| 9s | gestural and also efficient manner also |
| 13s | we're able to basically make a lot of |
| 16s | them at scale which is really cool |
| 18s | [Music] |
| 19s | [Applause] |
| 24s | welcome to forge in a turn on the show |
| 26s | where we talk about all things new world |
| 28s | uh I am joined today by Lula Stuart and |
| 33s | sojin |
| 35s | and we're going to talk about uh the 2.5 |
| 37s | D Illustrated cinematics of new world |
| 39s | that we've added to the game to help out |
| 42s | to help flesh out some of the the big |
| 44s | story moments and and tell some of the |
| 45s | backstory of the world |
| 47s | and yeah just wanted to open it up with |
| 50s | particularly from from you guys on the |
| 51s | art side like you know we spent a while |
| 54s | developing the look of these cinematics |
| 56s | like what would you say if you will I |
| 60s | guess guide us through the process of |
| 61s | sort of developing the way we do these |
| 63s | visually |
| 67s | operation process but it was mainly |
| 69s | Steward working on how trying to figure |
| 73s | out the initial style what it's going to |
| 75s | be like so she has spent a lot of time |
| 78s | but I bet it was no easy task yeah it |
| 82s | was a lot of work |
| 84s | the first one the Tempest heart I |
| 87s | believe there was a wrecking or |
| 88s | Reckoning yeah |
| 90s | um yeah we um obviously it starts with |
| 92s | the script |
| 94s | um that's super important the script |
| 96s | really defines the the location the |
| 99s | setting it also defines major key |
| 102s | figures and the situation they find |
| 106s | themselves in it also defines things |
| 108s | like |
| 109s | what's the environment backdrop what's |
| 111s | the props who are the other auxiliary uh |
| 114s | secondary characters |
| 116s | um also it also it specs out time of day |
| 120s | it specs out potential camera moves and |
| 123s | so we take all that information as |
| 125s | artists and we basically |
| 128s | um |
| 128s | start at like the rough storyboard level |
| 132s | and a lot of it is basically penciling |
| 134s | in rough ideas for the shot the |
| 136s | composition and that's where a lot of |
| 138s | the iteration I believe happens and the |
| 140s | collaboration between the artists and |
| 142s | the writers occurs it's very Dynamic |
| 145s | fluid and very open I think so yeah yeah |
| 149s | but we've also you know as uh even from |
| 151s | the start we talked about how Dynamic do |
| 153s | we want these to be and we've kind of |
| 154s | settled on a level of dynamicism if you |
| 157s | will I don't know if that's a word it is |
| 159s | thank you |
| 161s | um the uh |
| 163s | you you know how how have we settled on |
| 166s | that and what would you say is what |
| 168s | we're thinking about is why we do it the |
| 170s | way we do it instead of having these be |
| 171s | like super emotion comicky we've done |
| 174s | something I think that's a little bit |
| 175s | more um leans more in the illustration |
| 177s | yeah we want to have a chance to |
| 181s | um show off illustrations |
| 183s | um like it has really solid composition |
| 186s | and we talk about that a lot and even |
| 189s | the poses carefully selected so we want |
| 193s | to show |
| 194s | um this beautiful scene a little longer |
| 197s | by we don't really like adding too much |
| 201s | emotions either because sometimes it can |
| 204s | look really silly so yeah we're also |
| 208s | relying on the animation component we're |
| 211s | relying on the masking effect from one |
| 214s | scene to another and there's a lot of |
| 216s | flare and character and grit in in the |
| 218s | emotion of it so that also carries a |
| 221s | part of the performance aspect I think |
| 223s | yeah that's cool yeah it's great and |
| 226s | okay so Lula so you've written a few of |
| 227s | these now |
| 229s | um walk us through the process of when |
| 231s | you first get the sort of the concept |
| 233s | for like hey this is the story we want |
| 235s | to tell and then where you go from there |
| 237s | for me it's breaking out what are the |
| 239s | emotions of the scene is going to be and |
| 241s | also figuring out like how many scenes |
| 244s | we're gonna have like I think we settled |
| 245s | on seven I don't know if we've ever |
| 247s | strayed from that and so effectively |
| 249s | what are the seven interesting chunks |
| 251s | that we can show the player of someone's |
| 254s | backstory or something that you know is |
| 257s | more predictive of what's going to |
| 258s | happen so surgeon when you were |
| 260s | mentioning about not wanting to have |
| 263s | scenes with too much movement I suppose |
| 265s | the way that I look at it is what is the |
| 267s | more like Dynamic Pablo we can show the |
| 270s | player what is the staging of a |
| 272s | character |
| 273s | some of that can be referential to |
| 275s | things that we already have in the game |
| 277s | or that you know behind the scenes I |
| 279s | know we're gonna have in the game so I |
| 280s | can sort of set up some nice callbacks |
| 282s | for later no spoilers and so after I |
| 286s | figure out what those scenes are then |
| 287s | it's really breaking down what are the |
| 289s | pithy things of dialogue that the |
| 291s | character who's narrating is going to be |
| 293s | actually saying usually it's two lines |
| 295s | per slide sometimes we stretch that |
| 297s | because pacing wise it works |
| 300s | and then and this is the way I kind of |
| 303s | like doing it since I know that Art's |
| 304s | gonna be working on it the effects sfx |
| 308s | is like what are some extra special |
| 311s | emotions that each person is going to be |
| 313s | doing in their department and putting |
| 314s | things together so it's not just hey |
| 317s | this is the story because me as a |
| 318s | narrative designer a writer I think it's |
| 320s | cool |
| 321s | is how does the how does this set the |
| 323s | other departments up for putting their |
| 325s | expertise into it and then that's the |
| 327s | long process of going back and forth |
| 329s | collaborating getting feedback from you |
| 332s | ignoring the feedback from you that I'm |
| 334s | allowed to they're usually addressing it |
| 337s | because it's good and then passing it on |
| 338s | to Art and then just going back and |
| 339s | forth until we nailed that and start |
| 341s | polishing it yeah the um you know to me |
| 345s | as I was thinking about it like I think |
| 346s | we've gotten better over time too about |
| 349s | you know |
| 351s | almost every shot has some kind of a |
| 353s | character in it usually a known |
| 355s | character name character an important |
| 356s | character and we're always kind of |
| 357s | giving you the emotion behind the |
| 359s | characters you just said and then we're |
| 360s | also the environment as kind of a hero |
| 362s | in all these shots in and of itself and |
| 364s | like we're showcasing these special |
| 365s | scenes and places in the world |
| 368s | um I'm trying to think I know you did a |
| 369s | few for the first one |
| 371s | um did were any did any of those stick |
| 373s | out for you |
| 374s | in terms of the environment yeah |
| 377s | um I mean or the one shot for sure yeah |
| 380s | the great thing about what we're doing |
| 381s | with the 2.5 is the fact that we don't |
| 384s | have to rely on like high quality 3D CGI |
| 387s | which is really expensive to do or the |
| 390s | in-game cutscenes which also require |
| 393s | existing assets but with the 2.5 we can |
| 396s | really broaden the world further we |
| 399s | could literally capture an epic battle |
| 402s | scene because literally it's a painted |
| 404s | picture of an army with tons of arrows |
| 406s | or whatnot and so the our approach with |
| 410s | the 2.5 really helps us capitalize I |
| 414s | think on capturing those unique epic |
| 416s | moments in a very fluid gestural and |
| 420s | also efficient manner also we're able to |
| 423s | basically make a lot of them at scale |
| 426s | which is really cool I know we also |
| 429s | think about where we're going to play |
| 430s | these in the quests you've been |
| 433s | wrestling with that recently yeah how |
| 434s | would you say that how do you think |
| 436s | about that like Okay so |
| 441s | I'm trying to keep this focused on |
| 443s | cinematics not just Quest as a whole but |
| 445s | I guess the best thing to say is sort of |
| 447s | like what are the moments of punctuation |
| 448s | that we either wouldn't be showing in |
| 452s | game or would it make sense to do it |
| 453s | like one of the nice things about the |
| 454s | cinematics is that it doesn't |
| 456s | necessarily have to be something that is |
| 458s | going on at the time and typically it's |
| 460s | not like it's a backstory that someone |
| 462s | is giving of something that happened |
| 463s | decades or centuries ago or something of |
| 465s | that nature so it's kind of necessary to |
| 468s | have them in this kind of perform but |
| 471s | placing it in the quest |
| 473s | I mean gosh I've done it at the |
| 475s | beginning of one area because it was a |
| 479s | good way to welcome the player into that |
| 482s | storyline that was going to unfold but |
| 485s | then for another one it shored up some |
| 487s | of the middle that was maybe petering |
| 488s | out Pace wise and then another time like |
| 491s | just like as a climactic ending which is |
| 493s | to say they're kind of variable in how |
| 496s | you can use them to maximum effect and |
| 498s | you don't have to say that like at the |
| 500s | beginning of a quest is when you would |
| 501s | start it that's kind of good because |
| 502s | then it has the hook for the player |
| 504s | visually and emotionally but it can also |
| 506s | be a good copper sometimes too like we |
| 508s | see with the Tempest Reckoning yeah and |
| 511s | that brings me to you know favorite ones |
| 514s | you know everybody has maybe their |
| 515s | favorite image their favorite video for |
| 517s | me like I really like I mean I love |
| 519s | tempus Reckoning I love tempus Rising |
| 521s | because those are kind of our bookends |
| 523s | for the main story but then one of my |
| 525s | other favorites is Morgan's truth |
| 526s | because there's this great like |
| 528s | narratively there's this great thing |
| 530s | where the players heard in fact through |
| 531s | 2D cinematics different stories about |
| 534s | more gain and what went down between her |
| 536s | and artorius and Merton and then when |
| 538s | you get to Morgan she like lays the |
| 539s | truth on you and people have called her |
| 542s | this scary way and they've called you |
| 543s | know they've said terrible things about |
| 545s | arturius and she she kind of uh you know |
| 550s | answers a lot of those questions I guess |
| 551s | you should refutes a lot of the claims |
| 553s | that have been made against her and she |
| 555s | comes off looking like a total badass |
| 556s | like the the art particularly made her |
| 558s | look awesome |
| 559s | um so that's it for me but I'm curious |
| 561s | from you guys what each of your |
| 562s | favorites was |
| 563s | well there's a lot of um |
| 567s | really good ones but the ones my one of |
| 572s | my favorite is still in production so I |
| 575s | can really talk about it but |
| 579s | um I have to say uh Tempest Reckoning |
| 582s | because |
| 583s | it's mostly point of art artist point of |
| 588s | view but um it has really strong image |
| 592s | of |
| 593s | Tempest and how she felt the corruption |
| 597s | and um it also that was the first |
| 601s | cinematic we ever done that set the tone |
| 604s | of our future cinematics and style |
| 610s | yeah I think I'm partial to The Tempest |
| 612s | Reckoning as well that was uh a fun |
| 616s | process for sure process of discovery |
| 618s | finding the art style |
| 620s | figuring out the pipeline was one thing |
| 622s | working with vendors seeing that rough |
| 625s | animatic for the first time come to life |
| 628s | was amazing so I think that'll always |
| 630s | have a special place for me more |
| 633s | recently probably the season two blood |
| 636s | of the sand seeing the giant worm come |
| 638s | out of the ground was |
| 640s | very iconic and how can you forget that |
| 643s | one right so yeah that's really yeah |
| 644s | that's a really good one yeah |
| 646s | um Tempest Reckoning as well no I'm just |
| 648s | kidding |
| 649s | uh I'm always on team ediana so the |
| 652s | huntress that fires off in Brimstone |
| 654s | sounds uh just because she's my favorite |
| 656s | character but it's actually kind of |
| 658s | interesting because there's so much |
| 660s | Exposition you get from that kind of |
| 662s | explaining the past of eternum and I |
| 665s | don't know what most writers uh |
| 667s | relationship is to Exposition I'm always |
| 669s | a little bit leery because it feels like |
| 670s | you're putting out a little bit too much |
| 672s | it's too expository obviously that's its |
| 674s | nature but I feel like that has a good |
| 676s | balance between her informing the player |
| 678s | about things that have happened in a way |
| 681s | that's pithy but then you get her |
| 683s | emotional side of things as well cool |
| 685s | the uh we'd be remiss not to talk about |
| 687s | the sound a little bit even though I |
| 689s | don't hear like so a lot of energy goes |
| 691s | into adding the sound effects here and |
| 693s | then giving these a musical score and |
| 695s | like and then of course we sit down and |
| 697s | we go through rounds and rounds of |
| 699s | iteration on these things like that's |
| 701s | quite a process we have a lot of back |
| 703s | and forth yeah between writers and |
| 706s | artists it's just a it's a really a good |
| 710s | partnership as well because I feel like |
| 712s | we're all passionate about telling |
| 714s | stories and we want to make sure we can |
| 717s | communicate that with cinematics |
| 720s | successfully so we have one goal and a |
| 723s | lot of times working with writers and |
| 725s | different teams but it's really fun to |
| 728s | work on because you bounce off of ideas |
| 730s | each other and |
| 732s | um |
| 733s | a lot of times there are a lot of us are |
| 737s | really open-minded and listened and so |
| 740s | it's kind of fun to work on |
| 743s | yeah I would totally agree that the um |
| 745s | it's also fun as writers and artists |
| 747s | we're so often have to deal with the |
| 749s | constraints of game design or technology |
| 752s | and this is the one for him where we |
| 754s | just get to do what we want to do |
| 756s | without anybody else and and I think we |
| 758s | do get very uh you know specific in |
| 760s | terms of what we want but it's and it's |
| 762s | interesting to see the different points |
| 764s | of view as you're saying I remember when |
| 765s | I was looking at some music we had on a |
| 768s | passive one that cannot be talked about |
| 769s | yet and the entire thing was like super |
| 772s | good but there was a moment at the end |
| 774s | whereas like the emotion wasn't exactly |
| 776s | what we wanted it was like super |
| 777s | triumphant which was cool but the |
| 780s | character was expressing something in |
| 781s | the vo that was more |
| 783s | feeling a little bit threatened and |
| 785s | worried and so as much as I like that |
| 787s | the quality of pass of that music it |
| 789s | wasn't exactly hitting what the story |
| 791s | needed then and so my feedback for that |
| 793s | is is there a way we can sort of like |
| 795s | bring it down a little bit and sort of |
| 797s | like maintain the consistency that we |
| 799s | have throughout but at least have that |
| 800s | moment where it's almost a bit of a |
| 802s | downbeat rather than like huge |
| 804s | triumphant moment which we could reserve |
| 806s | like totally for another cinematic when |
| 807s | it would work but better from the |
| 809s | narrative point of view yeah well is |
| 812s | that still in the process of getting |
| 813s | addressed that note uh I didn't check |
| 816s | but everyone's very diligent so probably |
| 818s | if not I know where you said that's the |
| 820s | thing yeah the thing is I usually just |
| 821s | throw my feedback out and I never really |
| 823s | see if it gets followed up behind later |
| 825s | I'll come back to a bit wait a minute |
| 828s | um but uh but there's a lot of you know |
| 829s | there's a lot of these we've made a lot |
| 831s | of them and there's a lot of um energy |
| 833s | and time that goes into them but it's |
| 834s | been a lot of fun it's getting better |
| 836s | and better and more fluid I feel and |
| 838s | more expressive yeah so yeah and I I |
| 841s | would really love it you know I would |
| 842s | love to use you know where we go going |
| 844s | forward I hope we do more of these |
| 846s | whatever that may be all right I think |
| 848s | we'll wrap it there and that brings us |
| 851s | to the community question which is uh |
| 853s | What uh if you've seen a few of these |
| 855s | 2.5 D Illustrated cinematics that tell |
| 858s | part of the lore part of a character |
| 860s | story |
| 861s | um what's a subject that you would like |
| 863s | us to cover in one if there's like a |
| 865s | specific zone or a part of the history |
| 867s | or a character who you feel like really |
| 869s | deserves one of these profiles call it |
| 871s | out you never know we might be able to |
| 873s | get it in |
| 875s | and of course please hit like And |
| 878s | subscribe because that's the most |
| 879s | important thing I say in this entire |
| 881s | video I think that's everything and uh |
| 884s | thank you for joining us today |
| 888s | but now I can turn my White Rabbit head |
| 891s | into a red rabbit head or a blue rabbit |
| 893s | head any skin you have except for |
| 895s | weapons can be dyed any color you want |
| 897s | which I think is really exciting |
| 899s | [Music] |
| 900s | [Applause] |
| 906s | [Music] |
| 910s | [Applause] |