![]() A lot of us were at Ubisoft Montreal and other places in very interesting positions with very interesting projects. You know, it was a hard decision to quit. When we first started three years ago, before we started playing the game again because we're all huge, huge fans of the first one. JJB: Behind the Rembrandt reference, it's all the Renaissance thing, really. What was the thinking and the intention behind the Rembrandt reference? You mentioned things to digest, and lots of things suggested in there. They really understood what we were trying to do. Cody and his gang, and all the folks at Square Enix, really made it happen, and they really got it. ![]() There's something very, very close to that in real-time in the game. You can almost have that scene in the game. The CGI was done by Visual Works, which is the CGI studio of Square Enix, which we're so grateful for, because it's really the top visuals you can get for those kinds of things. A lot of important stuff from the story is there - very quickly and sometimes just suggested, but there's a lot of stuff to be digested in the teaser. They went back to their studios and they locked themselves up for a couple weeks trying to dissect everything and seeing what the core elements were, and they came up with this amazing idea for the teaser that we loved. ![]() They're the ones who took all of our material, and there was a lot of stuff. It's an RPG, so there are a lot of side quests and other side stuff to do, but the core of the story and the conspiracies and all the overarching high-level stuff was all down, and then Cody and Goldtooth did an amazing job. When we started the main story, the main plot was really pretty much locked down. And then the game's being developed too, but things might be changing. I imagine at a certain point, you've got to lock in what this teaser is. How much do you have to think about a teaser like that? It sounds like it was a major production to get just that going, aside from actually making the game itself. With us having worked so hard in the past six months on that teaser and stuff, it was amazing. ![]() He gave us so much credibility in the way the he looked so genuinely excited and almost emotional about the whole thing. Honestly, to see Warren, the way that he was, and the stuff that he said - in those three years, it's one of the main milestones definitely for me and for a lot of us. We really started from day zero - the four of us: the game director, the producer, and one of the lead game designers. ![]() Jonathan Jacques Belletete: I've been on Deus Ex: Human Revolution for three years. Was it interesting for you guys to see Warren Spector get up there and introduce your first teaser ? As a person who drove the original Deus Ex, he seemed very gracious and very optimistic. How did they arrive at the Cyber-Renaissance aesthetic? What meaning does the team mean to impart? And how does this jibe with the original game in the series? Though nobody working on Human Revolution was involved in the original game's production at Ion Storm, it looms large in their decisions. Here, Gamasutra discusses the challenges and choices of these decisions with Jonathan Jacques Belletete, the game's art director, who also gave a GDC 2010 lecture on the game's art direction. Real-world technology has changed considerably in the years following Deus Ex, and that has implications both on the design of its sequel (what's possible on current PCs and consoles) and its world (delivering a believable visual look for a game set in the 2030s.) ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |