Entertainment

How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

In our conversation with Saleem Dabbous, co-creative director of Goodbye Volcano High, and Kyle McKernan, we ask a clear question. Why are dinosaurs? “Yes. Who doesn’t like dinosaurs?” Dabbus smiles. Unusually, the dinosaur was there from the beginning after a lengthy pre-production process.

“We wanted a world that was a reflection of ourselves, but at the same time it was ours, and made an interesting reference to the inhuman element. […] We also wanted to do something different that people had never seen before, and dinosaurs meant a lot.” Dabbous adds. Do you know what happened to dinosaurs?” I think it’s too late for McKernan to jokingly give a spoiler warning “Wait, what happened to them?”…

“Aesthetically, Lucie, our art director and character designer, [Viatgé] could do […] Take it in some really cool and colorful directions and make something really beautiful. And as soon as we started looking at character design we thought, ‘Yeah, we really should start doing that.’ Because it felt like a complete, well-executed job that we wanted to do. ”

Like TV shows like Bojack Horseman and Tuca And Bertie, the KO_OP team obviously takes on artistic freedom. “[Those shows] Of course, don’t try to stick with what’s scientifically correct,” says Dabbous. Being able to make dinosaurs ours is a cool thing I’ve always wanted to do.”

life is scale

hello the height of the volcano

operating profit

“I honestly think it’s a good thing,” he said. “I don’t think our story is similar to Life is Strange, but it’s not bad. I don’t think those comparisons bother me. It’s just a touchstone for building a mental model.”

Goodbye Volcano High also differs from other games in that it has no movement mechanics at all. “What we’re actually using is something like the dialogue system in a BioWare game like Mass Effect or Dragon Age. Imagine that it’s extended throughout the game and then there’s another layer of interaction on top of that. [through] Interactions with cinematic mini-games or audio and other beats that will be revealed over time.”

Dabbous adds later. you are part [what is] Almost like an animated movie.”

hello the height of the volcano

For a team of about 10 people, this is a staggering task. “[We started] ‘Oh, we’re basically going to animate an entire TV series. And we will do all the art for it. We have to write every episode. We have to do everything with all the voice actors. It takes a lot of work to get this to work, but every time a new piece of art comes out, it’s really exciting because there’s everyone we’ve talked to. [about] The voice actors for the game will be… much more exciting and a lot more realistic.”

“It’s going to be a lot of work to get this game to play the way we want it to play on all other platforms that may or may not release,” Dabbous says. . He’s previously said, “The really nice thing about developing for PS5 is that even though our game is 2D, we still have a lot of memory limitations.”

“And we do a lot of visual lighting effects and things that happen in real time. If we’re doing it right, players won’t even notice what’s going on. […] also we [want to] We can pan, zoom or do some camera movement which means our resolution and texture. […] They all need to be huge in size to look perfect in 4K. The really nice thing about doing this on PS5 is that I don’t worry too much about technical limitations like storage and resolution size, so I can really focus on making the best art possible.”

high school hype

hello the height of the volcano

Salim Dabus

Dabbuous is also crazy about the DualSense controller. […] And it feels like a drum that I keep pounding [haptics] They are so important and so valuable that no one seems to talk about them in a meaningful way. It’s like, ‘Oh, vibration, rumble, whatever!’”

McKernan agrees: “The first thing that comes to mind is some sort of gun feedback. For example, ‘Oh, I got hit by a finger while shooting a machine gun.’ But when we first talked to Sony about this concept, we decided that yes, we could put more of you in the position of this character if you’re having trouble coming up with something that you really need to put in. It’s just like reality,” he said.

Dabbous explains: […] This is a very interesting tool from a design point of view. […] And as a game designer, I think giving players a new feel is an incredibly fun and exciting experience.” In 2021, we will feel it firsthand.


Looking for the latest PS5 and PS4 information? then you will want it Official PlayStation Magazine subscription We deliver to your doorstep and check out magazine direct For all current offers.


More information

How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

Talking with Goodbye Volcano High’s co-creative directors Saleem Dabbous and Kyle McKernan, we ask the obvious question: why dinosaurs? “Yeah. I mean, who doesn’t love dinosaurs?” Dabbous grins. As unusual as they are, the dinosaurs were there from the very beginning of a lengthy pre-production process. 
“We wanted a world that reflected our own but also was its own thing and had fun references to non-humanistic elements […] We also just wanted to make something different, something that people hadn’t seen and dinosaurs made a lot of sense.” Dabbous adds, “We also thought that there was a very strong narrative hook with dinosaurs because… I think everyone knows what happened to the dinosaurs, right?” McKernan jokes, “Wait, what happened to them?” It seems a bit late to give you a spoiler warning… 
McKernan tells us, “Aesthetically, I think we knew immediately that our art director and character designer, Lucie [Viatgé] would be able to […] take it in some really cool, colourful directions and make something really beautiful out of it. And as soon as we started seeing the character designs, we were like, ‘Okay, yeah, we really need to start pursuing this,’ because it just felt like such a complete, well-realised thing that we wanted to make.” 
Like television shows such as Bojack Horseman and Tuca And Bertie, the KO_OP team obviously take artistic liberties. “[Those shows] don’t try to stick to anything that’s scientifically accurate, obviously,” says Dabbous, “and that lets you pick and choose what you want from this thing and make it your own. To be able to take dinosaurs and make it our own is just such a cool thing that I’ve always wanted to do.” 
Life is scaly

“I feel fine about that, honestly,” he says, adding, “I think our story is nothing like Life is Strange, but that’s not a bad thing. I think comparisons like that never bother me. They’re just generally touchstones for people to kind of build a mental model of what something is.” 
Goodbye Volcano High also differentiates itself from other games by having no movement mechanics whatsoever. “What we’re really drawing from are things like the conversation systems in BioWare games like Mass Effect or Dragon Age – imagine that expanded across an entire game and then having another layer of interaction on top of that [through] cinematic minigames or interactions with audio and other bits that we will be revealing over time.” 
Dabbous later adds, “Essentially we really wanted to make something where you felt like you were almost directing a narrative. You’re part of [what is] almost like an animated film.”

It’s a huge undertaking for a team of about ten people. “[We started] to realise, ‘Oh, we’re gonna basically be animating an entire TV series. And we’re gonna be doing all the art for that. We have to write every episode. We have to put together all the voice acting and everything. It’s taking a lot of work to get all that done, but it’s really exciting because every new piece of art that comes in, every person we talked to [about] voice acting on the game… it just gets so much more exciting and becomes so much more real.” 
“All the other platforms that this game may or may not come to will have a lot of work that will have to be done to make the game run the way we want it to – while on PS5, it can just kind of happen easily,” Dabbous tells us. He had earlier said, “What’s been really nice about developing for PS5 is that, even though our game is 2D, there’s still a lot of memory constraints.”
“And we’re doing a lot of visual lighting effects and things that are running in real time that, if we pull it off right, the player should never even notice is happening […] we also [want to] be able to pan or zoom or do some camera movements, which means our resolutions and our textures […] have to be at a ginormous size for that to all look perfect at 4K. And so what’s really nice about doing that work on the PS5 is that we’re really not super-worried about technical constraints on memory and resolution size and things like that, so that lets us really focus on making the best possible art.” 
High school rumble

Saleem Dabbous

Dabbuous is also enthusiastic about the DualSense controller, “Haptics have been around for so long […] And I feel like it’s this drum that I keep on beating on and [haptics] have like been so important, and so valuable and like, nobody seems to actually talk about it in any meaningful way. It’s just like, ‘Oh, vibration, rumble, whatever!’” 
McKernan agrees, “The first thing that comes to mind is some sort of like weaponry feedback or something. Like, ‘Oh, I’m firing a machine gun and it’s kicking back on my fingers.’ But when we first spoke to Sony about that concept, it just clicked with us to be like, yeah, we could totally put you more in the shoes of this character if they’re having trouble getting something out and you really have to work for it just like you would in real life.” 
Dabbous elaborates, “Having things like a resistive or adaptive trigger that can change its feel… like, a controller that changes its feel based on a character’s emotional state […] that is like just such an exciting tool from a design perspective […] And I just think that, as game designers, that’s just an incredibly fun and exciting experience to create new feelings for players.” We’ll be able to feel it for ourselves in 2021.
Looking for the latest information on the PS5 and PS4? Then you’ll want to subscribe to Official PlayStation Magazine to get it delivered straight to your doorstep, and check out Magazines Direct for all of the latest offers. 

#Goodbye #Volcano #High #shaping #nextgeneration #adventure #games #PS5

How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

Talking with Goodbye Volcano High’s co-creative directors Saleem Dabbous and Kyle McKernan, we ask the obvious question: why dinosaurs? “Yeah. I mean, who doesn’t love dinosaurs?” Dabbous grins. As unusual as they are, the dinosaurs were there from the very beginning of a lengthy pre-production process. 
“We wanted a world that reflected our own but also was its own thing and had fun references to non-humanistic elements […] We also just wanted to make something different, something that people hadn’t seen and dinosaurs made a lot of sense.” Dabbous adds, “We also thought that there was a very strong narrative hook with dinosaurs because… I think everyone knows what happened to the dinosaurs, right?” McKernan jokes, “Wait, what happened to them?” It seems a bit late to give you a spoiler warning… 
McKernan tells us, “Aesthetically, I think we knew immediately that our art director and character designer, Lucie [Viatgé] would be able to […] take it in some really cool, colourful directions and make something really beautiful out of it. And as soon as we started seeing the character designs, we were like, ‘Okay, yeah, we really need to start pursuing this,’ because it just felt like such a complete, well-realised thing that we wanted to make.” 
Like television shows such as Bojack Horseman and Tuca And Bertie, the KO_OP team obviously take artistic liberties. “[Those shows] don’t try to stick to anything that’s scientifically accurate, obviously,” says Dabbous, “and that lets you pick and choose what you want from this thing and make it your own. To be able to take dinosaurs and make it our own is just such a cool thing that I’ve always wanted to do.” 
Life is scaly

“I feel fine about that, honestly,” he says, adding, “I think our story is nothing like Life is Strange, but that’s not a bad thing. I think comparisons like that never bother me. They’re just generally touchstones for people to kind of build a mental model of what something is.” 
Goodbye Volcano High also differentiates itself from other games by having no movement mechanics whatsoever. “What we’re really drawing from are things like the conversation systems in BioWare games like Mass Effect or Dragon Age – imagine that expanded across an entire game and then having another layer of interaction on top of that [through] cinematic minigames or interactions with audio and other bits that we will be revealing over time.” 
Dabbous later adds, “Essentially we really wanted to make something where you felt like you were almost directing a narrative. You’re part of [what is] almost like an animated film.”

It’s a huge undertaking for a team of about ten people. “[We started] to realise, ‘Oh, we’re gonna basically be animating an entire TV series. And we’re gonna be doing all the art for that. We have to write every episode. We have to put together all the voice acting and everything. It’s taking a lot of work to get all that done, but it’s really exciting because every new piece of art that comes in, every person we talked to [about] voice acting on the game… it just gets so much more exciting and becomes so much more real.” 
“All the other platforms that this game may or may not come to will have a lot of work that will have to be done to make the game run the way we want it to – while on PS5, it can just kind of happen easily,” Dabbous tells us. He had earlier said, “What’s been really nice about developing for PS5 is that, even though our game is 2D, there’s still a lot of memory constraints.”
“And we’re doing a lot of visual lighting effects and things that are running in real time that, if we pull it off right, the player should never even notice is happening […] we also [want to] be able to pan or zoom or do some camera movements, which means our resolutions and our textures […] have to be at a ginormous size for that to all look perfect at 4K. And so what’s really nice about doing that work on the PS5 is that we’re really not super-worried about technical constraints on memory and resolution size and things like that, so that lets us really focus on making the best possible art.” 
High school rumble

Saleem Dabbous

Dabbuous is also enthusiastic about the DualSense controller, “Haptics have been around for so long […] And I feel like it’s this drum that I keep on beating on and [haptics] have like been so important, and so valuable and like, nobody seems to actually talk about it in any meaningful way. It’s just like, ‘Oh, vibration, rumble, whatever!’” 
McKernan agrees, “The first thing that comes to mind is some sort of like weaponry feedback or something. Like, ‘Oh, I’m firing a machine gun and it’s kicking back on my fingers.’ But when we first spoke to Sony about that concept, it just clicked with us to be like, yeah, we could totally put you more in the shoes of this character if they’re having trouble getting something out and you really have to work for it just like you would in real life.” 
Dabbous elaborates, “Having things like a resistive or adaptive trigger that can change its feel… like, a controller that changes its feel based on a character’s emotional state […] that is like just such an exciting tool from a design perspective […] And I just think that, as game designers, that’s just an incredibly fun and exciting experience to create new feelings for players.” We’ll be able to feel it for ourselves in 2021.
Looking for the latest information on the PS5 and PS4? Then you’ll want to subscribe to Official PlayStation Magazine to get it delivered straight to your doorstep, and check out Magazines Direct for all of the latest offers. 

#Goodbye #Volcano #High #shaping #nextgeneration #adventure #games #PS5


Synthetic: Vik News

Vik News

Viknews Vietnam specializes in sharing useful knowledge about marriage - family, beauty, motherhood experience, nutritional care during pregnancy, before and after birth, lipstick, royal jelly, home and furniture. (wooden doors, decorative chandeliers, dining tables, kitchen cabinets..)……

Trả lời

Email của bạn sẽ không được hiển thị công khai. Các trường bắt buộc được đánh dấu *

Back to top button