And I changed the sky shaders to allow for a blend of pre-painted and dynamic skies. It at least gives me the option to quickly tweak environment settings later.
Reading "Immediate Response" (available from Amazon) the author comments and includes a colour plate of Afghan sunsets being a rich display of copper and gold which I tried to convey artistically. Being a visual person I've never liked photo-realism in games since I live in the real world and know what it looks like preferring to feel or express through colour. Why does a game that takes on a real appearance become more interesting if it looks like a mundane photo? Maybe because it's not yet technically average yet. When it is (which will be soon I think) there will be no place to go except backwards.
Singer songwriter and artist David Byrne said everything on stage is bigger (hence the ludicrous 'big suit' for their 'Stop Making Sense' concert directed by Jonathan Demme video here ).
Below is a real photo that is both exceptional and mundane. People coming back from these places of the world will talk about the colour and big sky.
Rather than photorealism, I attempt to express the same feelings through exaggeration. Finding the right balance will come in time.
The campaign will hopefully express the same level of authenticity through a blend of statistical study and exaggeration. If it all shakes out as well as it's going we'll achieve the goal of a big feeling game in a small space which through accident or design was what Janes Longbow 2 delivered.
Moving on
New cockpit model today improved self shadowing and canopy doors. Can only be appreciated in video form so I'll spare the screen-shots. Although I really like the slightly OTT reflections at night when it conveys a sense of confinement as external references are cut off.
 |
| Leaning out of the canopy to look, spotlight shows the ground texture bump-mapping quite well |
No comments:
Post a Comment