- #SHADOW OF THE COLOSSUS 2 THE LAST GUARDIAN GAMEPLAY MOVIE#
- #SHADOW OF THE COLOSSUS 2 THE LAST GUARDIAN GAMEPLAY FULL#
I don't give detailed points, so people are kinda angry when they come back to me and ask 'why can't you explain more?'." "When I'm asked for direction, I say 'yeah, something like this'. "We talked about that don't quite tell you everything - my direction is the same," he said. "We talked about that don't quite tell you everything - my direction is the same" The acclaimed designer takes a similar approach to studio management, laughing off Polfeldt's playful suggestion that he might be a "crazy dictator, running around telling people what to do".
#SHADOW OF THE COLOSSUS 2 THE LAST GUARDIAN GAMEPLAY MOVIE#
That type of movie doesn't leave a long-lasting impression." Fumito Ueda has said he may return to a more open-world structure after spending so long on linear title The Last Guardian In some movies the story is so complete, there isn't any ending you can guess because it's already done.
Ueda said: "That's good to hear because I intentionally do that. It makes me think about them in a different way." In your games there are a lot of question marks, so they live with me longer. Polfeldt replied: "It certainly works well for me. In the future, someone may discover there's another way to do narrative and tell stories through gaming, but at this moment I think this is a great way to tell stories." "That lets the receivers make their own story from their imagination, and I think this is also a good style of expression for video games - at this moment. "In Japan, there is a poet expression called a haiku you don't explain some things in detail and let the receivers understand or use their imagination with what is presented. "For me, it's not important to tell the details of the story," he answered. Was Ueda "intentionally mysterious" or did he actually want people to understand the way he viewed the story? Polfeldt commented that he views the vague method of storytelling in Ueda's games as something akin to poetry, but wondered if that was the developer's intention. The ending would change during the creation and development phase, due to the technical limitations and resource management.
That was the ending image I had at the beginning of the production. So at the end of the game, does she remember the boy? But that was not the actual ending. "For Ico, I knew the boy and girl knew each other but at some point she had lost her memories. "I had just a rough idea," Ueda admitted. "The ending of Ico would change during the creation and development phase, due to technical limitations. Polfeldt asked if Ueda knows what the story will be when he has that image in mind. With Ico, he said it was the idea of a boy leading a tall girl by the hand, while for The Last Guardian it was a vision of Trico sitting on a high, narrow ledge with a young boy hanging on below him. Many of Ueda's projects start out with just a mental image. They understood the idea and then suggested I work on that Sony." "Sony asked what I was doing in my own time, so I started to talk about Ico.
#SHADOW OF THE COLOSSUS 2 THE LAST GUARDIAN GAMEPLAY FULL#
"I applied for that, but I had one condition: that I couldn't work full time, because I needed time for myself," he said. Fortunately, Sony Computer Entertainment was hiring for a CG artist. While he was able to work on Ico for a time, he was compelled to find employment again as his savings started to run out. But I wasn't sure whether it would be a movie or a game." And I had an image of a tall girl pulled by a boy just holding her hand. "At the time I quit from the company I was working at, I already had the idea for Ico," he told attendees. Frustrated with his employers, he left to pursue this project on his own. After dabbling in animation with his Amiga, he became a CG artist at Japanese developer WARP, where the idea for his first major hit began to form. Opening with anecdotes from his studies into fine art, Ueda came to realise that it wasn't art he enjoyed by entertainment. Ueda was the focus of this morning's opening session at Nordic Game Conference, structured as a fireside chat with David Polfeldt, the managing director of Tom Clancy's The Division studio Massive Entertainment. Fumito Ueda explained why he is "intentionally mysterious" with the narrative in his games, and hinted that his next project might return to a more open world.
0 kommentar(er)
