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Happy #Blocktober! Will be posting some gameplay and systems design from #GodOfWarRagnarok here! I got the amazing chance to work on so many little narrative moments across the game in #GodOfWarRagnarok. Lets look at the Train Align minigame moment today! James , while working on the level wanted to... show more
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A big big thank you to every single person that contributed to these GPMs over the entire development cycle! Wouldn’t be able to do any of this if it wasn’t for my awesome TD team, Eric Williams, My Lead Nick Eberle and Special shout out to @DaNightTrain for helping figure out so many problems and making our lives super easy. It takes a huge effort from so many people to bring these features to life, so thank you everyone at @sonySantaMonica and I am so grateful for the opportunity to learn and collaborate together.
Here is a graph of the game states we ended up that maps when you listen to Atreus' directions in green and when you dont in red!
@DaNightTrain And people wonder why game development takes awhile Such a seemingly simple thing but it had months of planning and testing and design to accommodate everything a player is able to do
@DaNightTrain Rainbow WAD_R_Perm is over budget message, finally getting its day in the sun.
@DaNightTrain legendary
@DaNightTrain Love this! Thanks for sharing 🙏
@DaNightTrain 🙏 thank you for creating the opportunity!
@DaNightTrain Iconic
@PoodleTime @DaNightTrain The biggest headache of my life to work on, but it worked out lol 😅
@DaNightTrain mind blowing!
![Béla Tarr on how the concept of time works in "Sátántangó" (1994): "Interviewer: Did you have any problems when you first wanted to make the film in the ‘80s? How did you start work on the film? Tarr: It was mostly a political problem. We couldn't start in the ‘80s because of censorship from the communist government at the time, but by the early ‘90s it became possible to do it and it took four years to do, from 1990 to 1994. You have to understand. This man [Lázsló] was living in the Hungarian lowlands, and he saw a lot of things in the reality of how people were living, and of course he transformed it and created this beautiful novel. I understood when I started working on this project that I cannot do any kind of adaptation. I had to go back to the Hungarian lowlands, like him. I had to see how life is going on out there, and I had to find the film language, I had to figure out how I can get the same stuff that he did in the novel. By the end, I spent two years in the Hungarian lowlands filming, I can tell you I know all the houses, I know all f***ing roads, I know everything in this part of the country. By the end of my time there I could find the way to film and afterwards we could use the dramaturgical structure of the novel, and of course we did not have a script, we had only the novel and my vision. That's all we had. Interviewer: What about the sense of time that you found in that place? Tarr: Hey man, if you are sitting in the Hungarian lowlands, I'm sure it's the same in the desert in, let's say, Arizona, when you are out there: there is no time, no distance anymore, you can go hours, weeks, and you don't see anything. You are out of time; you have a different sense of time then when you are living in a town. And so, the slowness of the drama came from this. You know, you have to understand that first you have to know the life of the places and then afterwards you have a feeling for how you have to film it." ("I Am Interested in the World, Not Just in Filming It": Béla Tarr on "Sátántangó", David Perrin, MUBI, 2019) P.S: Remembering the great Hungarian filmmaker, Béla Tarr, on his 71st birthday!](https://image.24vids.com/tw-2079603226740240527/amplify_video_thumb/2079603023488393216/img/IEj2Kv_pmR80s54i.jpg)
