Horizon Zero Dawn / The Frozen Wilds

per Kojima interviu netiketai pasirode miesto vaizdai .. tuo metu kai snekejo Guerilla devas pasakojo ka gali ju engine

Apibendrinant info is  PSX 2016 Day 2 panel

During a panel at PlayStation Experience in Anaheim, presented by Sony Interactive Entertainment, Guerrilla Games Managing Director Hermen Hulst and Horizon: Zero Dawn Narrative Director John Gonzalez talked in depth about the upcoming game, giving a ton of information on what it entails, and also showing some really lovely concept artwork.

• When Guerrilla had to decide its next game, there were two concepts. One was very safe and prudent, and the other was Horizon. Hulst tried very hard to lean towards the safer one, but in the end he could not resist how much he liked the concept of Horizon: Zero Dawn.
• When John Gonzalez was approached by Guerrilla, the ambition of the studio to create a compelling world of depth, detail and history is what drew him to the project.
• The world is full of tantalizing, ancient mysteries, but also the foundation for something new that the tribes have created. The team took this idea really in-depth.
• When Guerrilla decided to make the game, it was a major “oh oh” moment. They needed new talent, new technology and tools for the Decima Engine. Creating a new IP from the ground up is a very deep undertaking. The tribes’ art needed to be fleshed out with all their differences. The design of the game had to be created with the moment to moment gameplay, so the concept of “prepare engage and withdraw” was created.
• The Nora tribe makes use of all the wood they can to protect themselves, but they also use the environment to protect themselves, so all the routes of approach are covered. They also have machine trophies on display and training facilities so they can consistently train their young hunters. They have walls to enhance their protection, and lookout towers to spot approaching machines. They have rounded glyphs and symbols to symbolize childbirth, which is extremely important for them, and they build using wood and salvaged machine parts together.
• Even the decoration of the Nora clothing incorporate elements straight from the machines, while other elements remind of their design.
• The ambition of the studio with the machines was to create a dynamic robot ecology. The best way to see that is to look at the humblest of the machines like the shellwalkers.
• Whatever is in game should look like it could be built in reality. Designers at Guerrilla have background in industrial design. The game is science.fiction. It’s not a fantasy game. Gonzalez did not admit any fantasy elements in the game.
• Aloy was part of the concept from day one. She was part of the original pitch, and she was fundamental to the game. It’s “unnatural” for Guerrilla to imagine the world without her, and she is the perfect “vessel” to explore the world. She is young, agile, she has the right relationship with the machines. There are mythical elements, and she is very grounded in contrast.
• Gonzalez asked himself if she is a thinker, a dreamer, a rebel or a daredevil. All of those aspects were explored even with artwork. The fact that she was a outcast gave him insight on her personality. She is a badass, but not for the sake of it. She has both personal and world mysteries to pursue.
• Myertery is a big part of the game, both Aloy’s personal mystery and the mystery of the world. The subtitle “Zero Dawn” will make a lot of sense when we finish the game.
• When the machines were first pitched, an important element was upping the ante on the scale of the world with their size. The player is not the biggest fish in the sea. That, according to Gonzalez, was an innovation for an open world game.
• The world is being built from the ground up, and the universe “really screams” for further exploration beyond the game, but for now now the team is laser-focused on the game.
• Asked about the presence of “dungeons,” Gonzales responded that the breath of the world is also “matched by the depth and history of it,” and there are “buried secrets” that Aloy will have to bring to light.
• The team really tried to be careful about what they were showing, to avoid giving away too much. To Gonzales’ knowledge, players speculation still hasn’t hit on what’s behind the door in the E3 trailer.
• The machines don’t appear to have predator-prey relationships, but there is a conflict among them. Other animals have their own ecosystem.
• According to Gonzalez, Guerrilla took a big gamble with Horizon: Zero Dawn. There were many challenges, but none in particular stands out.
• Guerrilla was already a world-class development studio when Gonzales joined three years ago, and they worked shoulder-to-shoulder to find out what would make a good open world RPG. That said, many of the developers were already huge fans of open world RPG games.
• There are activities that let you take a break from the main quests and the side quests.
• Guerrilla tried to create an hybrid between action adventure storytelling and the depth of lore of an RPG.
• The “Aloy” name came from the concept phase. It stuck because of the idea of the world that combines something tribal and something technological, even if the tribes do not know what an “alloy” is.
• She grew up as an outsider, so she does not share the superstition of the tribes, and she is looking for real answers. Yet she is not a complete skeptic, and she understand that stories might have a glimmer of truth, and there might be something to learn from them.
• She also has a profound inner conflict. A part of her wants to be accepted by the tribe, but in the other side she is so resentful for being cast out, that she doesn’t want to be someone who wants to belong to the tribe.
• Guerrilla had to imagine the tribes, not only their material culture and architecture, but also their ceremonial culture: what they believe and the stories they tell. They approached that by seeing those stories as filling a “really deep human need” to inscribe the morality of a tribe, and help their understanding of things that are taking place in the world. This includes recent cataclysms, like one that happened twenty years before the beginning of the game, and people are still struggling to make sense of it and to apply  the mythologies of their tribe to understand it.
• Gonzalez tries to avoid trying to prove a point with the game, because it would be preachy. Of course every great story is teaches what it means to be human, and that’s what makes them compelling. Yet, the theme of the game is something developers want to be open to interpretation.
• Gonzales brought up Metal Gear Solid V: The Phantom Pain and The Witcher 3 as two examples of great open world games recently released.
• The PS4 version just “takes the gorgeous and makes it even more gorgeous.”

 

 rodyti concept artai 

siek tiek apie Guerilla engine , kelios zaidimo scenos, be ko kito Kojima sake tikisi kad is jo engine pakeitimu islos ir Guerilla zaidimas.

Devai sake kad tie padarai nejaucia vieni kitiem priesiskumo kaip gyvunai grobuonies ir aukos. na nes jiem nereikia siaip medziot vieni kitu. tai ju kovos paremtos kazkuo ten kitu bus. reikes patiem issiaiskint.

per GDC 2017 ir Guerilla atskleis kazkiek savo engine magijos. kaip tik tom dienom jau ir pats zaidimas iseis. kas dar del U4 nepasieme PS4 tai manau del sito gerio tikrai jau reikes.

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Horizon: Zero Dawn will finally be released on February 28th exclusively for PS4, and around the same time Guerrilla Games is going to unveil some of the game’s technology at the Game Developers Conference in San Francisco.

Guerrilla developers will host three separate sessions, one on the tools pipeline created for the game, one on traversal, and the third on the procedural placement system used for the game.

Creating a Tools Pipeline for ‘Horizon: Zero Dawn’

Dan Sumaili | Senior Tools Programmer, Guerrilla Games

Sander Van der Steen | Principal Tools Programmer, Guerrilla Games

Player Traversal Mechanics in the Vast World of ‘Horizon: Zero Dawn’

Developing a new IP is a challenging process for a company’s tools pipeline. Developing a new IP while changing to a new genre is even more challenging. At Guerrilla Games, they have done just that. With ‘Horizon: Zero Dawn’, they transitioned from linear tactical first person shooters to a vibrant open world RPG, while completely rebuilding their tools pipeline from scratch. In this session, Dan and Sander will explain how Guerrilla Games defined and implemented a framework that would provide a robust basis of functionality, on which they built an integrated game development environment. They will present a clear picture of how the framework’s capabilities took shape over time, by detailing systems they developed and how those systems interact. Redesigning Guerrilla Games’ tools pipeline while in production was a significant risk, which paid off and greatly benefited the final quality of their game.

Takeaway

Gain an insight into how Guerrilla Games built a tools pipeline from the ground up for an existing engine while it evolved to meet the demands of a new game.

Paul Van Grinsven | Game Programmer, Guerrilla

GPU-Based Run-Time Procedural Placement in ‘Horizon: Zero Dawn’

During this lecture, Paul will show what is needed to make Aloy traverse the vast world of ‘Horizon: Zero Dawn’ with its complex and organic environments. Various traversal mechanics will be covered from a gameplay programmer’s perspective, focusing on the interaction between code and animations. The different systems and techniques involved in the implementation of these mechanics will be explained, and he will look at the underlying reasoning and design decisions.

Takeaway

This presentation shows the techniques that were developed to control a responsive and believable agile character in a 3rd person open world AAA-game with its large variety in environments.

Jaap Van Muijden | Senior Programmer, Guerrilla Games

 

 

Jaap van Muijden from Guerrilla Games will describe the GPU based procedural placement system that dynamically creates the world of ‘Horizon: Zero Dawn’ around the player. Not limited to just rocks and trees, the procedural system assembles fully-fledged environments while the player walks through them, complete with sounds, effects, wildlife and game-play elements. He will show the entire pipeline, from the graph editor where artists can define the procedural placement rules to the GPU algorithms that create a dense world around the player on the fly. He will demonstrate the power of this procedural approach by showing how painting in a tree line and redirecting roads can be just as easy as moving mountains and changing a desert into a tropical swamp.

Takeaway

Attendees will be introduced to our new GPU-based run-time procedural technology. Learn how the team at Guerrilla Games used compute shaders to dynamically populate the world around the player. Find out how artists define and edit their diverse environments and how this procedural workflow allows global and independent content iterations for both artists and designers.

na jei tiket devais tai pirmi visi rodyti treileriai / screenai ir buvo ant PS4. tik paskutiniai keli kurie jau isskirti kad Pro butent.  vistik Killzone devai kazkaip iki siol nekarto nepavede ir is visu Sony konsoliu spaude daugiau nei galima buvo tiketis. 

We’re very excited about HDR, 4K TVs, and PS4 Pro in general, but to be clear, the game we demonstrated at the past two E3s was running on standard PS4 hardware. We’re dedicated to making a game that looks great regardless of the model it’s played on; it will look beautiful on PS4, and will look even better on PS4 Pro — particularly if you own an HDR-compatible 4K TV.

As we showed at the PS4 Pro reveal event last September in New York City, the extra power of the new hardware allows us to get even closer to our vision for a lush and vibrant living world. The extra detail in the natural environment and the enhanced colors really add to the experience.

We’ve used the enhanced hardware of PS4 Pro to do some exciting things for Horizon Zero Dawn’s art style. In the end, it’s up to each developer to make its own decisions that align with the priorities of the title.

For us, Horizon Zero Dawn is all about scope, scale, and visual splendor. Though the game is technically post apocalyptic (or perhaps more accurately, post-post apocalyptic) we wanted to create a vision of nature reclaiming the Earth. PS4 Pro’s power afforded us a number of interesting possibilities to expand this vision even further.

For starters, for players who still possess standard 1080p HDTVs, we’re able to offer far better image quality. We’ve got a number of techniques at our disposal. The most logical one is supersampling. This is a very high-quality anti-aliasing technique, which basically means we internally render at a higher resolution (close to 4K) before shrinking it down to the final 1080p resolution. As our internal calculations are done at a resolution much higher than 1080p, more detail survives before we shrink it down to 1080p, resulting in smoother edges — virtually no jaggies — and a more stable image.

We’re also looking at enhancing the quality of our shadow maps and increasing the quality of our anisotropic filtering. This is a technique which increases the quality of texture sampling, resulting in more detailed environment textures. We still have to tweak these elements of the 1080p output quality for the final game, but we have quite a bit of power yet to play with.