![]() But even that, we thought it was really important to reflect the fact that most of the things that happen are kind of out of their control. Some people certainly found the ending of the game to not be as big of a pay off as maybe they would have wanted it to. I think that ended up being reflected a lot in the story of the game as well. And so the things that represent the player, whether it's the footsteps you make, or the soundtrack, I wanted them to almost surrender to this to the majesty of this place, because that place is so much bigger than this character is. But the player is this little thing inside. ![]() “The environment itself gets to be big and huge and bold and overwhelming and magnificent and majestic. “Even though the game takes place in this massive, beautiful environment - and it's a huge credit to Olly and Jane, for their translation of that into into this incredibly convincing game world - Henry is a very tiny, almost infinitesimally small part of it,” Remo says. “It's a very intentional and constrained colour palette, and has a stylised component to it that I think really prizes economy with a strong palette.”įirewatch’s soundtrack could also be described as being constrained or prizing economy, and Remo explains that was also a deliberate choice to reflect not only the art or the environment, but the tone of the game itself. ![]() While Moss had worked in video games previously, his main experience was with movie posters, which Remo thinks might have translated to Firewatch’s instantly recognisable look.
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