Tag: game art

Deathloop’s Clever Reuse of Assets

Deathloop stood out among other game’s in 2021 for it’s unique time loop based gameplay and 1960’s aesthetic. However, not all parts of this game are as unique as they appear. Most notably the creators of Deathloop, Arkane Studios, reused several assets from their previous games. For example, several pieces of furniture from the Dishonored franchise are used in Deathloop’s levels. At first glance this wouldn’t seem like a good idea, as Dishonored takes place in the 19th century and Deathloop takes place in the 1960s. Despite this, Arkane Studios were able to utilize Dishonored’s assets in a way that didn’t make it obvious that they were originally created for a different game (unless you’re a huge Dishonored fan). This was done by improving the asset models and textures to be on par with the newer assets made specifically for Deathloop along with placing them in areas where their 19th century style isn’t that jarring.

While some players may find reusing assets immersion breaking, there are a number of benefits that justify the practice. Because both Dishonored 2 and Deathloop were made using Arkane Studios Void engine, which made it very easy to simply import assets from Dishonored 2 into Deathloop. This much less time then it would have for Arkane’s artists to create all new furniture. This in turn made things easier for Deathloop’s level designers, as they didn’t have to wait as long to start creating levels. Taking advantage of an engine’s affordances when designing a game is nothing new. For example, level designers of Doom took into account how id Tech 1 (aka the Doom engine) rendered spaces when they were making levels in order to get the most out of the engine. Despite some players finding the reuse of assets off-putting, it’s an effective way to make the most out of a game’s engine. Considering that using a game engine to its fullest is something game designers have been doing since the days of Doom, it’s unlikely that such practices will stop anytime soon.

Deathloop is available for PlayStation 5 and PC.

Sources

Sanglard, Fabien. “Doom Engine Code Review.” Fabien Sanglard’s Website, 13 January 2010, https://fabiensanglard.net/doomIphone/doomClassicRenderer.php

Steward, Jared. “Dishonored 2 Furniture Spotted in Deathloop.” GameRant, 19 September 2021, https://gamerant.com/deathloop-dishonored-2-reused-assets-furniture/

This Week’s Work – Texturing

Unfortunately due to an increase in school work I was unable to write a blog post for this week. So in lieu of my regular musings, enjoy this look at some of what I’ve been working on.

Thank you to Austin Martin and Ashley Leandres for the wonderful models, and for being all around awesome teammates!

The Device
Model in Maya by Austin Martin. Textured by author in Substance Painter.
Textures used on The Device. Made by author in Photoshop.
The Runes
Models made in Maya by Ashley Leandres. Textured by author in Substance Painter.
Texture used on Runes. Made by author in Photoshop.
The Speakers
Model made in Maya by Austin Martin. Textured by author in Substance Painter.
Texture used on Speakers. Made by author in Photoshop.
Check out some of Austin & Ashley’s other work:

Austin Martin – LinkedIn

Ashley Leandres – ArtStation

What Remains of Edith Finch: Why is it art?

Why is the Mona Lisa smiling? What is Banksy’s newest work satirizing? At times it seems the vaguer a piece of art’s meaning, the more it is valued. Perhaps this is why many consider What Remains of Edith Finch to be a prime example of video games as art. It is not only beautiful, but also opaque.

The exterior of the Finch house. Screenshot by author

At the start of the game the narrative seems straightforward enough: after the passing of her mother, Edith Finch returns to her childhood home to learn about her family. Upon arriving at the family property, a somber and mysterious mood is swiftly established by lack of other living beings and the imposing presence of the Finch house. Before the player even enters the house, questions arise about their surroundings. Why are there missing person posters clogging the creek? What is with the decrepit dragon structure in the front yard? Were the appropriate building permits obtained to add the precariously placed additions to the house? Things get even stranger when the player gains entry to the house’s interior. Why are local restaurants afraid to deliver to the Finches? Why are there references to Norse culture? What’s in the basement? What’s with the sealed off rooms? Is the strangeness surrounding this family supernatural, or something more “real”?

Not all of these questions are answered during the game, and the ones that are addressed are not answered completely. We learn that the Finch family is seemingly cursed, with only one member of each generation surviving to adulthood. The rooms belonging to deceased family members were sealed away by Edith’s mother in the hope that by hiding their untimely demise the curse can be forgotten, and therefore broken. Unfortunately, this tactic does not seem to work as Edith is apparently the last member of her family left alive.

While this information satisfies most of the broader questions posed, it fails to address some of the more intriguing aspects of the game. For example, it remains unclear if the family really is cursed or if the youthful deaths of many of its members is due to a placebo effect from belief in the curse. For some of the family it is not even clear how they passed away. An example of this is the death of Molly, who recounts in her journal turning into various animals before becoming a monster who eats herself. Given the eerie mood of the game at first I was under the impression that Molly’s experience was to be taken literally, but after doing some research I found that the general belief is Molly was hallucinating after eating poisonous berries. Yet after learning this I still feel there is more to Molly’s visions. What she experienced felt so real, and I’m skeptical that a young child would so cheerful write about eating a human even if she wasn’t in a normal state of mind. This dissonance in interpretation is what I believe truly makes What Remains of Edith Finch a work of art. By intentionally leaving so much of its narrative, events, lore, history, and outcome open to interpretation, players can’t help but continue to think about the game even after their time playing it is over.

Over the course of human history, a plethora of aesthetically pleasing visuals have been produced, and now more than ever people have access to works of art. Whether it is by a Renaissance master or an Indie game studio, most people can claim that they have experienced “art”. Despite this, if you were to ask a random individual on the street or in a chat room to name the title of their favorite artwork it might take them a minute or a quick Google search. We are surrounded by beautiful yet forgettable images. This is true of video games as well as more traditional art forms. Most games available today would fall somewhere in the range of looking “good”, but the ones that will be looked back on as pinnacles of art history are the ones that make us think. This is why What Remains of Edith Finch is art. It leaves things open to interpretation to force the player to think, and thereby staying in their mind long after the game has ended. Like other great works of art before it, What Remains of Edith Finch leaves a lasting impression on the audience.

What Remains of Edith Finch is available on Steam: https://store.steampowered.com/app/501300/What_Remains_of_Edith_Finch/

Sources

What Remains of Edith Finch. West Hollywood, CA: Annapurna Interactive, 2017. PC.

Memories as Inspiration for Game Art

I’ve recently been working on developing assets for a 2D side scroller game as part of a game art class. In this game, the player takes control of a ball as they roll through a museum collecting pieces of art. While the art style of this game is not very elaborate due to my knowledge of Adobe Illustrator being a work in progress, I’ve been able to make the game more unique by drawing upon something I am familiar with: the National Gallery of Art (NGA).

One of my earliest memories of growing up in Washington DC is roaming the halls and courtyards of NGA, staring up starry-eyed at the gorgeous paintings and sculptures. Over the years I’ve grown attached to certain pieces in their collection and have become well acquainted with the architectural elements of the building, such as the wood paneled rooms of the Dutch collection and the black columns of the West Building Rotunda.

West Building Rotunda, the National Gallery of Art, Washington DC.

Originally, I had not intended the game to be set in a specific real world location. However, the further down the design pipeline I went, the more I noticed how my familiarity with NGA was influencing my designs. For example, most of the pieces of art the player collects are part NGA’s permanent collection. Initially this was not a conscious choice on my part, but rather a consequence of brainstorming “famous pieces of art” combined with many memories of viewing NGA’s offerings. Though the more I thought about it, having the game take place in NGA made sense. My knowledge of the museum would be a readily available resource that could help me create a distinct game world.

Artwork collectible items. Artwork images from NGA Collection Search.

With the internet and other modern technologies, it can be very easy to look up new and different things as inspiration. That said, firsthand knowledge and experience remains highly useful. I hope my experience with this project will encourage others to look inwards and see how their memories can improve their creations.

Sources

“Collection Search.” National Gallery of Art, http://www.nga.gov/collection/collection-search.html.

West Building Rotunda. National Gallery of Art, http://www.nga.gov/press/2019/holiday.html.

Exploring Character Design: Paper’s Please

Welcome to the first of a series of posts where I briefly analyze the archetypes and design choices of video game characters. In this installment we will examine some of the characters from Papers, Please.

Protagonist: The Inspector

Archetype: Anti-hero and Everyman

While there are several factions the player can have the Inspector side side with, at the end of the day he will be acting in his own self-interest. The Inspector is a simple bureaucrat whose just trying to make a living and not get on the wrong side of the government. He’s not actively trying to do good, he’s just following orders. Even though his actions can have larger implications, the Inspector is still just a regular human, lacking any special powers and unprepared for what’s to come.

Design

We do not see many images of the Inspector, but in the ones we do he comes across as a bland ordinary citizen. There is nothing remarkable about him and his only power is to approve or deny entry for people crossing the border. He is a blank slate visually, only being shown as a hulking shadow sitting down at their desk and once as a highly pixelated grey image. This allows the different choices the player makes on his behalf while playing the game more believable, as there is not much visual pre-establishment of what he would do if not being controlled by the player.

Antagonists: M. Vonel and Dimitri

Archetypes: Superior and Opposing

Both M. Vonel and Dimitri fall into the superior and opposing antagonist archetypes. Although they do not belong to the same government agency, M. Vonel and Dimitri rank higher then the Inspector in the internal government pecking order. It is also the job of each of them, albeit by different means, to monitor the Inspector. This can lead to them acting as opposition to the Inspector if the player’s goals do not align with theirs.

Design

The colors used for M. Vonel are blue and black. This creates the interesting effect of being scared (black), while also feeling an uneasy calm (blue). His presence becomes further intimidating by not being able to see his eyes, as they are blocked by glasses. His attire and mustache also remind the player of a Nazi, adding to his terrifying yet authoritatively serene demeanor as a special investigator for the Ministry of Information.

Unlike M. Vonel, Dimitri initially has a warmer, more inviting style. However, soon after the player first interacts with Dimitri it is clear that he is not there to be your friend. The true meaning of what his red attire is meant to convey becomes clear: not warmth, but anger and danger. As the protagonists’ supervisor, Dimitri has the power to reduce his salary or terminate his employment.

Conclusions

Although most of the characters encountered in Papers, Please are randomly generated, the ones that are consciously designed display choices that are intended to reflect their role and influence the mood of the player.

If enjoyed this post, consider checking out my review of Papers, Please.

Papers, Please is available on Steam: https://store.steampowered.com/app/239030/Papers_Please/

Sources

Papers Please. Lucas Pope, 2013.

Image Sources

https://papersplease.fandom.com/wiki/Inspector

https://papersplease.fandom.com/wiki/M._Vonel

https://papersplease.fandom.com/wiki/Dimitri

Trikaya: The South Asian Inspired Puzzle Game I Didn’t Know I Wanted

Trikaya title screen. Screenshot by author

There is so much I liked about Trikaya I frankly don’t know where to begin. I suppose an overview of the game’s story would be as good a place as any to start.

Upon entering a mysterious temple, the player spies a McGuffin containing four jewels. As soon as the player approaches this item, the jewels fly out of it and hide themselves within the temple. Then starts the meat and potatoes of the game: finding the jewels and using their powers to navigate through the temple. That’s all well and good standard video game stuff, but it’s not why I enjoyed Trikaya. Where this game really shines is its South Asian-influence.

The four jewels. Screenshot by author

The temple itself is a beautiful fantasy re-imagining of Indian architecture. The towers that loom around the maze-like temple bring to mind Moghul forts, and the vibrant colors of the wall murals are reminiscent of North Indian paintings.

The Red Fort, Delhi
A painting in the Phad style, one of a number of Rajasthani painting styles

The core of Trikaya’s gameplay is puzzles. To complete the game the player must secure three of the four jewels. These jewels align with the elements Wind, Earth, and Fire. Each of these jewels allows the player to cast spells that impact some of the objects in the temple. At first it was somewhat confusing keeping track of which spells did what, as some objects can have more then one spell cast on them, but the spell effect it in different ways. I eventually embraced this as part of the game’s challenge. There is no time limit placed upon the player, so the challenge comes from figuring out what interacts with what, and which objects should be used in what way in order to advance. Due to most elements of the environment being some shade of orange or brown, there is also a degree of “hidden object” style gameplay involved. Carefully looking around the temple, I felt a sense of accomplishment whenever I noticed an interactable object. Hints are also given to the player in the form of the aforementioned murals. I simply love this as a way to guide the player. Note only is it simple yet effective, but it also adds to the worldbuilding. When examining these visual aids, I could sense the ancientness of this temple and the mystery of what happened to the people who came before me.

One of the instructional murals in Trikaya. Screenshot by author

Even though the route the player takes through the game is a pre-determined linear one, the turning passageways and various elevations traversed gives the feeling of being lost, but in a good way. Think of the feeling you get wandering through a nature trail or roaming an abandoned beach. The warm orange walls that surround the player create an inviting yet mysterious mood. There are just a handful of objects that can be interacted with, allowing the player to not constantly be on the lookout for something to control. Yet instead of this making the game feel like it’s lacking elements, it creates a casual, almost walking simulator-esque mood.

South Asian influences continue to be lacking in video games, so I hope other game designers take note of Trikaya. Until the triple-A games industry realizes that there is more to life then medieval western RPGs and military inspired FPSs, I will continue to enjoy Trikaya’s delicious content of magic, puzzles, architecture, and elephants.

Trikaya is free to play on Steam: https://store.steampowered.com/app/1410870/Trikaya/

Sources

Trikaya. Dallas, TX: SMU Guildhall, 2021. PC.

Images

Festive Celebrations 1. Unknown. https://www.artzolo.com/traditional-art/festive-celebrations-1?

Red Fort- Closer view of the top part of the gate above the Meena Bazaar. Delhi, India. Dennis Jarvis, 2007. https://commons.wikimedia.org/wiki/File:India-0037_-Flickr–archer10(Dennis).jpg

Trikaya Screenshots by author.

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