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0:00
Hi, I'm Glenn Schofield, artist and video game director, and I'm here to answer your questions from Twitter.
0:04
This is video game support.
0:11
Dr. Bruce Wayne, why do horror games scare me when horror movies don't?
0:14
Laugh out loud because it's immersive.
0:17
You are right there, that is you.
0:19
That is great to hear because that's what we try to do.
0:22
We try, and the more we immerse you and make you feel like you're the character, the more you're gonna get scared.
0:30
Trust me.
0:32
Rusky bruh, why don't startup studios just make their own game engine?
0:36
Like bro, stop being lazy.
0:39
Wow, okay, well my teams have made plenty of engines and they are hard.
0:46
They take years and years, especially for the nowadays you need to take an old engine and and rework it.
0:51
But making an engine from scratch in today's market is going to take you years and millions of dollars.
0:58
And uh, you'll still get it wrong.
1:01
By the time I got to uh, EA, you know, they had a lot of different engines around.
1:07
We were starting to build one where for Lord of the Rings, and I don't know, they were about a year into it.
1:13
I said, what are we doing?
1:15
We're two years away.
1:17
So we looked around and we got creative.
1:19
Lord of the Rings is about large areas and then sort of a castle on the end or or something, a fortress.
1:27
What's like that?
1:27
Tiger Woods long areas and at the end is where you go get food where you're done.
1:33
And so we took the Tiger Woods engine and turned that into the Lord of the Rings engine.
1:40
You just have to be smart about what you do and what you use for an engine.
1:44
Paragama doinks, I'm sure I got that wrong.
1:47
What steps do I need to take to be a video game director because I feel like I can be the video game Spielberg?
1:53
Good for you, that's confidence.
1:56
To be a video game director, you're gonna have to move up the ranks.
2:00
You got to learn the inside and and outside of video games, so you just can't come in and do it, no way.
2:06
You got to have a lot of knowledge.
2:08
You can come up in in many different ways.
2:10
I came up through the art field, you know, I started as an artist in video games.
2:14
I've seen people come up as from producers.
2:17
You're gonna need experience.
2:19
You're gonna need to know everything about the video game.
2:21
I don't need to know the technology, but I need to understand it and it's changing in every game, so you just can't jump in.
2:37
I'm sorry, uh, does Samforium do horror game creators get scared of their own creation sometimes?
2:41
No.
2:41
What happens really is that after a while, you've played the game so many times, you don't know if it's scary or not.
2:48
If in the beginning, the first time that, you know, I say, 'Hey, let's let's do this here,' and if the first time I see it, I jump or I get scared, then I know it's good.
2:58
Hold on, I've got something.
3:03
So this, it's two-head from the Callisto protocol.
3:06
I'm sure that the first time you see him, you will be very scared.
3:09
We went through a lot of iterations to get to this.
3:11
He's morphed into two heads and you can actually blow off either side and one head will fall off and they'll still be coming at you with half his body, so he's pretty scary and uh, he's really hard to kill.
3:29
Yoshi, why are video games $60?
3:34
Why are they all $60?
3:34
Who agreed on that?
3:34
I don't know who agreed on all that, I surely didn't.
3:34
I think that it's the console guys who come up with the cost, but there may be uh, some of the publishers have something to do with it.
3:42
But I gotta be honest with you, they've been like 50, 60 dollars for what, a decade, something like that.
3:52
And which time games have doubled or quadrupled in cost and the price hasn't gone up and you can see the difference between a PlayStation 2 game and a PlayStation 5 game and you're almost paying the same price.
4:09
Man, I don't want to put the cost on on the on the fan, and I don't.
4:16
But they're expensive to make, they really are.
4:18
Add Spirit Destiny, how do you write a video game script?
4:22
Well, it's pretty complex.
4:24
I don't consider myself a writer, I consider myself a storyteller.
4:29
So I'll write 20 pages or something on what this game was, and once I have a story and I've talked to everybody sort of into it and through it and whatever, we bring on our writers.
4:38
The next two, three years, the writers are working with me and they're writing the script and they're adding the characters and and things like that.
4:46
So it is a long process because a video game is a is is pretty long, 10, 12, 13 hours, something like that.
4:54
So the scripts are big.
4:54
They change a lot because this is about gameplay and something might not be fun.
4:59
We leave a lot of room for change.
5:02
At Sea, could tell who makes up these game ratings, comic mischief, come on.
5:09
Really, I don't have a problem with the games, ladies.
5:13
It seems like most games that deserve an M get an M.
5:15
I've never had a problem with a game's rating.
5:18
I think maybe in the early days we had one a problem with one in Europe, and we worked on that one of the European countries.
5:26
But at the end of the day, uh, we talked them into what it what it should be.
5:29
I don't have a problem with it now, but the critic scores, oh boy, I could talk to you all day about that.
5:35
Aika 95, I never knew that motion capture process also included with voice acting recording or did they record that separately and did a lip mimic on motion capture?
5:51
There's another process called performance capture or what we call P cap and that's actually where we capture the voice acting on motion capture.
5:55
Uh, it's really just about the movements.
5:58
The fidelity isn't the same as performance capture, which are big stages that we actually have to go down to Hollywood to do.
6:09
There's only only a couple down there.
6:09
So we go down and Sony one and here's an example of us getting the motion of a kill scene.
6:16
Primo Dodges, he strikes to the legs, which swipes him out, he comes up, crack, splits the head open, right?
6:21
Okay, we don't really do the the lips or the voice here on motion capture, but we'll get 75% of the moves for the game at least uh, in the motion capture studio.
6:38
Sorry, I'm not good at making scary things.
6:41
How do horror games come up with the most unnerving stuff?
6:44
Play a lot of scary games, watch a lot of movies.
6:46
If you're passionate about anything, right, you're gonna get into it, you're gonna be studying it, you're going to be absorbed in it.
6:57
For years, I've been like a sci-fi horror fan since I was really young.
7:00
I'm constantly thinking about it, constantly have ideas in my head, so you know, I know I have some.
7:07
But for us, you know, I put it out to the team, we got 200 people, we're gonna, they're gonna come up with ideas.
7:14
I'm always asking them for ideas because it's not about my ideas always getting in the game, it's about the best ideas getting in the game.
7:21
I don't care where it comes from, so we're constantly asking the team and having brainstorming meetings and doing things like that because the second part to it and how do the creators of them not like scare the out of themselves when looking at their own assets?
7:34
You know, sometimes I gotta tell you, like with the gore system that we have in in our new game, the first time I saw some of that stuff, I was shocked, not necessarily like scared, but I was really psyched because I'm like, that's brand new, haven't seen that, that's gonna gross people out, especially on the latest platforms, I mean consoles, man, this stuff looks amazing.
7:55
At Two Fool, why are video games important?
7:59
Video games are, uh, I think incredibly important.
8:04
They are an art form.
8:04
It's entertainment, it's a social network.
8:09
They're just, you know, part of pop culture now.
8:11
They are part of our world.
8:14
Video games are bigger than movies and music combined, doubled.
8:17
They're that huge.
8:21
I also think that they're the next medium, we're already doing it to tell a great story.
8:26
I mean, look at video games and the difference between where they were 10 years ago and where they are today, a huge jump.
8:31
We're always working on next technology, what's the next thing?
8:36
Uh, you know, movies, which I love, 10 years ago to today, it's not a big leap, right?
8:42
But video games are constantly, constantly changing.
8:44
That's one of the hardest thing about making them, but it's also one of the funnest things.
8:50
At X24 Sonic, it's a long one, how the do you design levels like in the survival horror game building?
8:57
How do you decide which rooms are locked or empty and and what order the player will go through them?
9:04
How do you come up with the layout and progression because I don't know where to start?
9:08
That could take me all day to answer, but uh, we start out with a paper idea, a paper map.
9:13
We we have software now that we can lay it out pretty quickly and we move things around and stuff like that and this is done by the designers.
9:22
So the designers are laying out the gameplay when people look at it and go, 'Hey, that looks pretty good.'
9:26
We don't know yet, but well we think it looks good, we'll then go into our engine and we lay it out in blocks, we call it block world, very simple mesh.
9:38
We put a character in and we run through it.
9:39
Uh, if we like that, we then have the artists look at it because the designer is just something that fun.
9:46
So sometimes they'll have a hallway going to a bathroom and the bathroom have a second door that goes into a bedroom.
9:51
So we have to get it right.
9:54
The artist will go in and make sure architecturally the building is correct and and tell them we have to rework it a bit.
10:01
As far as which ones are locked and uh, and which ones are empty and everything that comes with the gameplay, that's usually probably 50% is uh, uh, has got on your uh, paper map over the course of making a level and making a level can take two years because you're working on it, working on iterating, putting the enemies in, so it takes a long time, these things change.
10:24
At Angelo's End, why are the simplest games always the best?
10:28
I hear what you're saying, but I don't necessarily agree.
10:32
Some of the simplest games are great, right?
10:34
It's easy to get in, easy to understand, and you don't have a lot of startup time, right, to get into it.
10:41
You know, Rocket League and even Call of Duty to an extent is easy to get into these days.
10:47
I mean, it's hard to play against a lot of people, but um, I like games that take not a long, long time to get into it, but they build up the mechanics a bit.
10:56
It takes a little while and you're learning the story and all, so I'm not always about the simplest game, but I understand what you're saying.
11:07
At Jeff Whitmore One, what is the scariest video game ever?
11:09
Very good question and I'm sure a lot of people have different answers, but mine has got to be one of the Silent Hills, probably Silent Hill 2.
11:21
I mean, when that horn went off and I knew Pyramid Head was coming at me, I just ran and that was terrifying.
11:21
Or you're in the fog, your little Geiger counter goes off and you knew something was around, you're just really frightening.
11:21
So great game, scared the heck out of me.
11:21
Um, I wish they would make more.
11:21
Portable G, some great names here.
11:21
What makes a good hard game?
11:21
Well, I obviously one that you keep wanting to go through it, right, because you know you're gonna just get scared, but if you want to play the whole thing, that's a good horror game.
11:21
But what makes it good?
11:21
Well, I think story is important.
11:21
I think story will pull you through, right?
11:21
Obviously tension and sound and music will get you through not being frustrated.
11:21
That is a fine line when we're when we're making a game, you know, we can make something then that kills you 10 times, but you'll you'll just throw your controller and blame us.
12:07
But if you die like three times, you're kind of blaming yourself and you want to get through it again, so we are really careful about how hard you make it.
12:17
Um, we get analytics and and watch people play and and all sorts of things, so we don't want you too frustrated.
12:25
Somebody said to me once, they're like, 'What I loved about Dead Space was that every level I knew you were gonna show me something new and exciting and different, whether it scared me or not, and I couldn't put it down.'
12:38
At Adele Pinot Music, how important is sound design for a video game?
12:44
Wow, right up my alley, especially for a horror game, sound design and music and everything else is 50% of the game, right?
12:52
It's 50% of the horror.
12:56
I consider music and audio in a horror game a feature, it's a mechanic, it's that important.
13:02
And, you know, for all my other video games, I've been sitting in the booths with the audio directors for 20 years, it's that important to me, but in a horror game, it's a mechanic.
13:13
Let's say you're doing a, uh, a machine, well for a scary game, the machine should sound scary, and so we make sure that everything we kind of put in, even though it's relatable, it's gonna have a weird or an off-putting sound.
13:25
And then we get the music in, and when I say music, it's not music as you know, I mean, it's scary, it's got weird instruments, sometimes it gets a little abstract, and the whole idea here is to add that tension and that's the key to a horror game because then you can make your scares much better and much bigger because they're already sort of dense and then at that point when we do a scare, what we call a stinger, here's an example of a stinger from the Callisto protocol.
13:56
Thank you.
13:59
It's gotta be on point.
13:59
It's gotta be right there, right on the money, or it's not going to be good.
14:03
So we spent a lot of time, uh, getting the timing right.
14:05
At The One for DJ YTF, is Elden Ring so hard, bro?
14:13
Well, I guess that's subjective, but uh, yeah, from what I hear, I haven't played it all right.
14:17
Pretty busy right now with this video game.
14:19
From what I hear, yes, it's very hard, but uh, that's sort of what's going on in the video game industry right now and I've seen it go up and down over the years.
14:29
Sometimes they get a little bit easier and then they get a little bit harder.
14:32
We're going through that period right now, and matter of fact, uh, we're gonna make ours pretty tough too.
14:36
I just think it's it's sort of that point in video games and uh, just keep playing, you'll get through it.
14:42
At TDSN 19, how well does a finger Mo cap work?
14:48
Well, I have one right here, it's awesome.
14:53
We used to have to animate the fingers and it was a lot of work, you know, you've mocap the whole thing, then you got to go in because the hands got to look right, they got to grip the guns, they got to grip this, they got to punch.
15:01
They've saved us a lot of time, a lot of energy, and a lot of a lot of headaches.
15:05
Well worth their money, and uh, they work great.
15:10
At Nick Gage one, I always wonder how long does motion capture usually take to finish?
15:17
By having a motion capture stage here at uh, Striking Distance Studios, we're able to capture motion every day.
15:26
If we need to get a run, we can do a run in the morning, by the afternoon the run is in the game.
15:32
Might need a little tweak here and there or or maybe uh, you know, something to get it from one animation to the other.
15:37
We do it in real time and then we just take that motion and we uh, put it in game, so it's it's uh, it's really quick and that's what makes uh, quality for us.
15:46
Being here in the studio gives us the ability to have quality because we can do something over and over and over again and the key to video games is iteration.
16:00
It's hard.
16:00
What is your favorite monster design in a video game?
16:07
Are there any obscure ones you think deserve more praise?
16:07
Wow, I have seen some great ones, uh, I mentioned Pyramid Head, uh, before, Pyramid Head is is just weird, right?
16:13
And so I gotta hand it to them for that that one.
16:18
I like Nemesis from Resident Evil.
16:18
I mean, Resident Evil over the years just has some really good ones, but I I think I'm gonna stick with those two for now.
16:27
Ah, Big Ass Luigi, how the hell do game physics work?
16:31
Do you have to give the program the formula for gravity or what?
16:35
I'm not an engineer, I'm an artist, but yes, we've been working with physics for, you know, 20, 30 years now.
16:43
Um, so game physics, some of that is when the character falls, they hit the ground, right?
16:47
That's gotta look good and that's game physics in in itself, that is a huge thing that we have in games and it's very expensive.
16:55
That's why sometimes when a character is dead on the ground, you go to kick them, they don't move in some games because if they move, you're talking about just using a performance and things like that, so that's why you see that.
17:08
The formula for gravity or no, that's that we don't have to do that now.
17:12
Zero G, which we had in uh, in one of my games, that space, we had to take it because you're floating around and that took a lot of work.
17:22
It was like, uh, when we have to do swimming and put them in them in water, it had to feel something like that.
17:26
And I'll tell you when, uh, one of the secrets of Dead Space was, you know, when you're in zero G, you're kind of moving differently.
17:34
Well, we put it in what was we thought was real zero G timing, it started feeling sluggish, so we did was we gave it the same amount of speed as the regular walk, but we made the animation look slower and so we never got that sluggishness and uh, no one ever knew that it was the same size, no uh, same speed, no one ever got back to us.
17:52
At Hannah Marief, can someone explain to me why I get actual anxiety when I'm playing a video game as if I might be shot in real life?
17:59
Well, let's hope that doesn't happen, Hannah.
18:03
The anxiety, uh, is of course you don't want to die, you don't want to, you don't have to start over, everybody, whatever you've accumulated, whether it's going through the level or, you know, upgrades and stuff, you don't want to lose that, you've earned that.
18:18
So I think that's part of it.
18:20
In a hard game, the anxiety is what we want you to have all throughout it, anxiety and tension because then we can scare you more, so that is something that we try and manufacture.
18:30
If a game isn't manufacturing it like on purpose like we are, it just comes from and I want to start over, not wanting to go to a checkpoint, not wanting to die.
18:39
I think, well, that's all the questions for today.
18:43
Uh, I I appreciate you sending them in and uh, I hope you learned something.