The wings of flies, gentlemen, represent the aerial power of the psychic faculties.
Впечатлил трейлер к игре Scorn. Как будто Гигер встретил Сайлент Хилл. Мир, по которому ты ходишь создан из плоти и костей и архитектура игры выглядит так, будто ты находишься внутри живого организма.
Концепт арты.
Побродила по сайту игры и нашла классное интервью с художником игры - Ljubomir Peklar.
When the Scorn trailer came out a couple of weeks back I was fascinated by its aesthetic. It has that potent mixture of architecture and biology which skims so close to revulsion but is also incredibly beautiful. It reminded me of conversations about abjection from art history, of ideas about transgressing bodily boundaries, of monstrous organs, dripping fluids…
But I wanted to know what Scorn‘s developers thought. What led game and level designer Ljubomir Peklar and his colleagues to these spaces for their game? Here are their answers and some of the wonderful artwork they’ve shared. You can click on each image for a larger version if you want to examine the fine details!
Pip: Tell me about your influences for the game – other artists, places, movies and so on…
Ljubomir Peklar: A person is influenced by many things and different artists throughout his life. Sometimes their art defines your taste and sometimes you naturally gravitate towards concepts you have an affinity for. Your view on life, your thoughts and ideas will push you towards similar minded artists.
Scorn’s influences are based on ideas and concepts I wanted to explore. When it comes to visual influences just looking at any comment section for Scorn you will notice two names are constantly mentioned: H.R. Giger (who appears to be a household name now) and the much less well known polish painter Zdzislaw Beksinski. They are certainly the two main visual influences but their work was not chosen because it looks cool but because different aspects of their work relate to various themes and ideas in Scorn. We also tried to create our own style.
As for other influences it’s quite a big list. If we are talking movies it’s directors like Cronenberg, Argento, Lynch, Carpenter and Jodorowsky just to name a few. Writers of different genres from Horror and SF to philosophy like Lovecraft, Barker, Thomas Ligotti, J.G. Ballard, Stanislaw Lem, Kafka, Albert Camus, Heidegger and so on. Games like Silent Hill, Resident Evil or Metroid Prime.
Pip: How did the look of the game change from initial sketches to the final style?
Peklar: Not that much, surprisingly. The biggest problem was finding the right concept artist that could realize all the details of the world. Our concept designer Filip Acovic, went through my ideas rather quickly but what was crucial is a good communication. Once Filip understood what I wanted we had a flood of interesting concepts. We knew from the start what was visually the right choice for Scorn; we just needed to figure out how to get there. Filip paints quickly so he didn’t do many standard sketches. It’s really important to get the feel for the world you are creating as soon as possible, especially if it’s as unorthodox as this one.
Pip: Which parts did you work on first?
Peklar: We designed the main character first, as he is the centerpiece of the game, so we concentrated on the ideas that we wanted to express through him. There is a feature, that we haven’t shown yet, that was really important to get exactly right, both in the concept art and later in the game.
Sometimes you have to try out crazy and even ridiculous ideas to realize what works and what doesn’t (image below).
Продолжение
Концепт арты.
Побродила по сайту игры и нашла классное интервью с художником игры - Ljubomir Peklar.
When the Scorn trailer came out a couple of weeks back I was fascinated by its aesthetic. It has that potent mixture of architecture and biology which skims so close to revulsion but is also incredibly beautiful. It reminded me of conversations about abjection from art history, of ideas about transgressing bodily boundaries, of monstrous organs, dripping fluids…
But I wanted to know what Scorn‘s developers thought. What led game and level designer Ljubomir Peklar and his colleagues to these spaces for their game? Here are their answers and some of the wonderful artwork they’ve shared. You can click on each image for a larger version if you want to examine the fine details!
Pip: Tell me about your influences for the game – other artists, places, movies and so on…
Ljubomir Peklar: A person is influenced by many things and different artists throughout his life. Sometimes their art defines your taste and sometimes you naturally gravitate towards concepts you have an affinity for. Your view on life, your thoughts and ideas will push you towards similar minded artists.
Scorn’s influences are based on ideas and concepts I wanted to explore. When it comes to visual influences just looking at any comment section for Scorn you will notice two names are constantly mentioned: H.R. Giger (who appears to be a household name now) and the much less well known polish painter Zdzislaw Beksinski. They are certainly the two main visual influences but their work was not chosen because it looks cool but because different aspects of their work relate to various themes and ideas in Scorn. We also tried to create our own style.
As for other influences it’s quite a big list. If we are talking movies it’s directors like Cronenberg, Argento, Lynch, Carpenter and Jodorowsky just to name a few. Writers of different genres from Horror and SF to philosophy like Lovecraft, Barker, Thomas Ligotti, J.G. Ballard, Stanislaw Lem, Kafka, Albert Camus, Heidegger and so on. Games like Silent Hill, Resident Evil or Metroid Prime.
Pip: How did the look of the game change from initial sketches to the final style?
Peklar: Not that much, surprisingly. The biggest problem was finding the right concept artist that could realize all the details of the world. Our concept designer Filip Acovic, went through my ideas rather quickly but what was crucial is a good communication. Once Filip understood what I wanted we had a flood of interesting concepts. We knew from the start what was visually the right choice for Scorn; we just needed to figure out how to get there. Filip paints quickly so he didn’t do many standard sketches. It’s really important to get the feel for the world you are creating as soon as possible, especially if it’s as unorthodox as this one.
Pip: Which parts did you work on first?
Peklar: We designed the main character first, as he is the centerpiece of the game, so we concentrated on the ideas that we wanted to express through him. There is a feature, that we haven’t shown yet, that was really important to get exactly right, both in the concept art and later in the game.
Sometimes you have to try out crazy and even ridiculous ideas to realize what works and what doesn’t (image below).
Продолжение
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03.08.2016 в 14:33-
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03.08.2016 в 15:56Scorn is an atmospheric first person horror adventure game set in a nightmarish universe of odd forms and somber tapestry. It is designed around an idea of "being thrown into the world". Isolated and lost inside this dream-like world you will explore different interconnected regions in a non-linear fashion. The unsettling environment is a character itself. Every location contains its own theme (story), puzzles and characters that are integral in creating a cohesive lived in world. Throughout the game you will open up new areas, acquire different skill sets, weapons, various items and try to comprehend the sights presented to you.
-Cohesive “lived in” world - Scorn takes place in open-ended world with different interconnected regions. Each region is a maze like structure with various rooms and paths to discover. All the storytelling happens in-game, with no cut-scenes to distract you from the grisly reality of the living, breathing (throbbing, dripping) world you’re in. But keep your eyes open - the game won’t show you any sympathy if you miss something important on your uneasy travels. Everything has a reason and purpose - you just need to work out what it is.
-Full body awareness – player will experience better immersion being aware of the character’s body and movement. Interaction with the world is realistic - objects are picked up with your hands (instead of just floating in midair), machines and instruments are operated by grabbing the controls etc.
-No HUD - For a greater immersion into the world there is no HUD to assist the player. Everything is implied and indicated through environmental design.
-Inventory and ammo management - is defined and limited. It plays a big role in keeping the player in an even greater state of awareness throughout the whole game. Players will have to think about when to fight and when to take cover and how their actions affect the world around them. Different play styles will be needed to advance.
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03.08.2016 в 16:05