Mass Effect and design: how to tell a story without saying a word

New players were looking for a familiar story format for themselves, and the desire of developers to provide cinematic experience in an interactive shell is quite natural. However, this approach imposed a number of serious restrictions. For example – how to organically weave the techniques of classic RPGs in a dynamic environmental of cinema, in which tons of intra -game text have become a key way to build a plot narrative?

It would seem an impossible task. But in the arsenal of the same cinema for a long time there has long been a perfect solution for such a situation. Design.

Everything is brilliant – just

The pioneers of the adaptation of classic RPGs in the analogue of Video Grand Cinema was a team that has already taken timid steps in this direction. Their previous games were a deafening success and therefore the concept of a young employee proposed by the management of the studio seemed promising, among other things, Microsoft representatives.
As a result: the acquisition of exclusive publishing rights and the title of potential system system for the new console-Xbox 360.

Among the claims stated by the publisher were: high -quality graphics, numerous dialogs and general cinema of what is happening.

And now, the first pitfalls showed themselves already at the initial stages of the development of the environment.

The graphic engine gave out a more than a worthy picture, but the total angularity of the models did not allow to fully evaluate the project belonging to the new generation and, moreover, caused involuntary associations with the previous game of the studio in a similar setting. The way out of the situation was a simple design solution, which later we can see even on the logo.

Civilizations inhabiting the galaxy call it.

Arc. The elegant geometric figure became the cornerstone of the entire visual style of the franchise. Each segment of the intra -game space, a character, an element of equipment and even an interface were “rounded” by the developers.

This cunning move made it possible to perform several important tasks at once:
-Get rid of the problem of the angular environment, raising the overall level of perception of the picture to the necessary Next-Gen project.
-To acquire a unique futuristic style by protecting the game from the inevitable comparisons with the previous game of the studio – SW: Kotor, in which the aesthetics of retrofuturism predominated.
-Save in your asset the reception of an angular environment, which in the future will harmoniously fit into the design of certain locations (more on that later).

Crooked lines – they have no number.

Throughout the Mass Effect trilogy, one can notice an interesting development of design in individual aspects. If the first part to a greater extent formed the visual basis of the world of the game, then the second, in view of the specifics of its plot, paid close attention to the appearance of the characters. Trikel, which was obliged to become a kind of symbiosis of two approaches, in general, coped with this mission, allowing only a few minor misses regarding past developments.
But about everything in order.

At first sight

“For the first time, the video game has the potential to compete with the quality of the production and the drama of the feature films. Holding this thought in our heads, we went on a journey that challenged not only our creative capabilities, but also the ability to turn the fruits of our imagination into a plausible reality.”

In their projects, BioWare with enviable skill managed to embody plabigious worlds on the screens of our monitors. But as already mentioned, within the framework of the concept of a dynamic narrative, a description of locations and actions through the text, as one of the methods of narration, could fatally affect the game immersion. Therefore, the studios had to take out this technique for brackets of the usual formula, laying the burden of the “narrator” directly on the very environment.

Simply put, each location literally with one appearance should answer a number of logical questions.
Namely, what is it:

-Cultural background
-Historical background
-functional

In other words – “who, when and why?”.

Similar principles are applicable to all elements of the environment, including interiors, household items, weapons, equipment, etc.D.

IKEA designers. By the way, how many crooked lines have you counted this time?

Let’s go directly to examples.

Eden Prime. One of the first human colonies outside the solar system and part -time the first large location meets the player with a very unfriendly environment. The prosperous paradise was subjected to an unexpected attack, which is eloquently hinting at the color palette of the environment.

To – after. One of the basic techniques in the coloring “Red Color = Danger”. Very eloquent.

The appearance of local buildings is also not inferior in information content. The colossal size of the tower and their restrained design, the design of the design indicate the strictly functional nature of the structures, which is not surprising. The planet is at an early stage of development and the aesthetic side of the issue worried engineers at least.
It is worth noting that this type of structures is perfect for a description of the concept of potential cities of the future-arcologies (architecture-ecology).
The idea, which has developed thanks to the Italo-American architect Paolo Soreri, implies the construction of self-sufficient multi-level structures (hyperstructures) as an alternative to modern megalopolis, in order to minimize the negative impact on the environment.

Unambiguous conclusions can also be drawn with the design of smaller buildings, given to the torn and detailed study directly to the player.
Maximum functionality, interiors’ asceticism. These modular premises are distinguished by the maximum cheapness and are intended for a limited series of actions – to eat, sleep, and again for work.

Here they are – building towns of the future.

By the way, the developers again did not forget about the color filling. White color often symbolizes the new beginning, and Eden Prime is a symbol of human progress. Celebrations of science and technology. Therefore, all buildings of the local scientific complex are made in predominantly light colors.
Moreover, this trend is also relevant for other “scientific” locations.

Noveria is a perverted analogue of Silicon Valley in the Universe Mass Effect. Bright place with dark secrets.

By the way of Novevia. Cold rocky planet, whose climate is as unfriendly as its inhabitants. The deceptive gloss of impeccable geometry is only a glossy screen, which hides the dirty secrets of numerous corporations under it, at its pursuit of enrichment at all costs dangerously balancing at a thin line between ambitions and madness ..

Already from one description of this place it blows cold … which was reflected in the work of artists.

Excessively “correct” geometry and an abundance of cold shades are the right way to create an oppressive atmosphere. And no bends!

Having taken as the basis of the visual, smooth lines, the developers achieved the effect when direct and strict features in the architecture of objects create a feeling of anxiety and a certain foreignity.
The authors partially applied such flirting with perception in the design of the buildings of extinct races, where the presence of angles implies the age of these very buildings. But it is partly, t.To. A skilled combination of futuristic bends with an angular environment perfectly played into the hands of one of the main ideas of the plot – the ancients in our understanding of civilization in their cycle were considered advanced.

Once Ilos belonged to the leading race of his cycle-Inusanonon. For the protein it was they were the forerunner.

From straight to guides

Mass Effect, as a representative of Video Grand Cinema, is obliged to follow the basic principles of directing. Therefore, many models in the game gained their final and familiar view of us for the sake of a competent setting of scenes.

Remember the introductory episode. Shepard costs the interior of the ship. At this time, the operator is inseparably followed by the hero, changing the prospect of the frame, supporting the growing dynamics of the scene.
Several installation screens and here we see the general plans of the Normandy combat frigate, which after a few moments disappears in the azure outbreak of the Retranstaller “Haron”, rushing into the vast expanses of the cosmos.

Operating work in the aforementioned episode is performed at a high level, but the initial design of one of the main characters of the game could lubricate the final pleasant impression.

Visual evolution of relayers. We are interested in the one on the left.

The fact is that the presence on the screen of a large amount of visual information can lead to the defocusing of the audience attention. To prevent this from happening, the so -called guide lines are used in the composition, which allow you to “bring” the look at the desired section of the frame. The horizontal orientation of the relay played the role of such a line. In addition, this is a great way to give a static object a peculiar impulse – thanks to the streamlined form, it seems like a relay and itself is not averse to rushing into the interstellar space.

From the number of objects, the head could go around … Fortunately, guiding lines on guard of your attention

But no matter how wonderful the filling of locations may be, the basis of the role -playing player is the interaction of the player with the characters, which was perfectly understood in BioWare.

“Anatomy” of design

Perfect of the pen – so it is possible to characterize the work of the studio on the appearance of the in -game races. Early BioWare projects, with rare exceptions, were based on existing franchises, so the developers once again encountered a new task for themselves.

Concept arts that underlie the design of any model, in this case, should have taken into account a much more variable.
The plausible physiology of creatures, the functionality of which is due to the conditions of their habitat, was also added to the factors of the cultural and historical background. Thus, the authors managed not only to emphasize the biological diversity of reasonable species, but also to reveal the lorus of unknown worlds deeper.

A indicative example – Rasa Elkor. Powerful muscles – the need for high gravity of the native planet. Each fall is fraught with serious injuries for them, which is due to leisurely in movements and, as a result, conservatism in views.

Hanars have a similar building with jellyfish? Logical, because their planet is covered by an immense ocean.
Voluz for a second part with their spacesuits, and their speech is accompanied by a characteristic whistle? All the fault of the pressure inside the suit, which exceeds the earthly 60 times and is the optimal species for this.

Sometimes attention to the details is truly impressive.

Back to the historical background.

The chronology of the Mass Effect universe covers a huge time interval and the appearance of many is directly dependent on the context of the events of occurred long before the start of the original game.

Kvarians – the race of interstellar nomads, whose immune system weakened after many years of wandering through the galaxy, which obliges them to constantly wear spacesuits. The reason for the exile was a reckless experiment to create artificial intelligence (in the person of the Geta), which became controlled. And the once great people were forced to leave their house under the threat of total destruction at the hands of their own creations.

To show the current plight of quarrians, the designers gave their things as a mocking look as possible. According to the developers themselves, buying up the details and as if the clothes collected from scraps should unequivocally hint at the nomadic lifestyle of the race and the sharp need for resources.
The authors also noted that the anatomical resemblance of Kvariatsnev and Geta, which visually allows you to build a historical connection between the aspects of the conflict, is also important.

“I gave birth to you. “. And again pay attention to the color scheme in this very tense scene.

In the course of the development of this plot branch, the question of the presence of individual thinking has more than once. We get the final answer only in the final part of the trilogy, but some details can be revealed simply by studying the design of ships and a palette of colors involved in the image of synthetics.
Neutral in nature, the gray color indicates the absence of the aforementioned individuality. And the similarity of the Geta ships with insects hints at the collective mind of these creatures.

Artists also applied the same technique in relation to the main antagonists of the game – the Reapers.
The features inherent in an insect are used in order to cause disgust and hostility among the players. However, despite the consonance of the image with the Geta, the reapers are based on a more complex segmental structure. Thus, the authors wanted to point out the unconditional technological superiority of ancient synthetics in relation to their younger brothers.

Even having a single source, it is possible to create a difference in perception not only due to an increase in the size of the object, but also to the complication of its structure.

As for the topic of the individuality of the Geta, the introduction of a character named Legion changes the vector of this submachine, which instantly affected the design of the hero in favor of personification. And for a reason.
After all, it is the appearance of unique characters that plays a special role in building an intra -game narrative. The difficult task that the developers coped with perfectly. Let it not immediately.

Meet on a dressing

BioWare has always been famous for her skill in working out characters, and the Mass Effect series was no exception.
The rules are all the same – one glance should be enough to form an opinion about the personality of the hero.
Background, motivation, beliefs – each character has a certain set of characteristics and the task of artists to capture all of the above as accurately as possible.

The first one that the players will see on the screen is Shepard himself directly, who took a proud pose in the window of creating a character.
The only presence of the appearance of the appearance excludes the possibility of revealing the character with the help of his “face”, so the source of information should be the initial armor of the captain.
In the early concept arts, Shepard was dressed in a white suit, idealizing his image, which ultimately did not suit the authors. This armor was awarded to Ashley Williams, and the main character received at the disposal, which had already become a cult, equipment N7-a darker option with blood-red inserts.
As planned, the chosen colors symbolize the ambiguity of the protagonist, who is able to become both an exemplary embodiment of virtue and ruthless pragmatist. Moreover, in both of his hypostases, ready to make any sacrifices in order to achieve the goal.

Subsequently, Shepard will receive not only new uniforms, but also the courageous face of a model of Dutch origin – Mark Vanderloo.

Ashley’s white spacesuit now gained a different function.
Sergeant William, granddaughter of General Williams, the first and only commander of the alliance of the alien army, who surrendered the garrison. This tragic episode put a fat cross on a successful career of the general and all members of his family.

Despite excellent training, Ashley appears before the player a soldier without combat experience, t.To. Her repeated petitions for transfer to service in the current fleet were rejected.
Start a career from scratch, find a chance to prove yourself, without looking at dark pages in a family biography – the main desire of the sergeant and the main leitmotif of its history.

White color correctly emphasizes the purity of Ashley’s thoughts and its unshakable devotion to the ideals of the Alliance.

Unfortunately, such an effective way of revealing characters is divided into one key gameplay mechanics – a change of equipment.
This mainly applies to Shepard and his Sopartians, because other NPS have a static design, with the exception of special cases (Saren and the final battle).

Of course, the Rex’s fighting scars that speak of the harsh past of the Krogan, or the strict hairstyle of Ashley, striving to follow the charter, and many other details will not go anywhere. But when players prefer more powerful equipment samples, thereby changing the original design, the heroes lose their lion’s share of depth.
The original part could still allow such liberties – the stories of the characters were of secondary importance in it. However, in the sequel, the situation was in a different way. The storylines of the heroes made up the main backbone of the game, so the authors went to a radical change in mechanics.

“I am very glad how far we have advanced [in design]. Even with Shepard’s armor, because this is the thing that you will see constantly. I think it also serves as a metaphor for what the series was transformed into – more mundane, strong and believable, with a large number of small details.”

In Mass Effect 2, the authors again used the captain armor as an element of the narrative. But what to do if the player replaces the original equipment to more attractive, in terms of combat characteristics, option?
You just need to remove this mechanics.

Instead of faceless universal rackets of armor, players got the opportunity to combine individual parts of the equipment of their protege. Moreover, each element had a unique, but designed in the same style, design and was intended only for the protagonist. Such a laconic management of ammunition contributed to the gameplay waging, without prejudice to the visual narrative.

The texture of the material, defects, scuffs, cracks … All this is the result of the painstaking work of artists. Dozens of concepts and hundreds of hours of labor.

And if the captain’s face could be subjected to at least point changes, then the Sopartians and important secondary characters have lost even such luxury.

No place paints a person

When we worked on the design of the ghost, our goal was to knit his image and name. So it was mainly about creating an interesting environment, something frightening and almost abstract. It so happened that he just sits in a chair and watches the dying star.

The strong interconnection of the characters and the environment was, perhaps, the main distinguishing feature of the sequel. Therefore, the design of the heroes should not have undergone fundamental changes during the narrative.
A harmonious combination of colors or a game in contrast – depending on the plot of a particular mission, the tasks of artists could radically differ.

Mordin Solus is a geneticist, a former Salarian intelligence operative who took a direct part in the modification of the genofag. Shepard meets him at the Omega station, where the mysterious virus forced the local authorities to declare unlimited quarantine in several areas.

“I killed many, Shepard. Different methods. ”

The appearance of the Salarian is rich in details. A trauma of the cranial horn speaks of the combat past of the Salarian, a wrinkled face – a sign of advanced age. The developers themselves admitted that the appearance of Mordin was inspired by the image of Clint Eastwood.
But the most interesting thing is that in the end, this image is extremely dependent on the general atmosphere of the location.

Pay attention to color schemes and, in particular, to the texture of the armor. White color indicating the relationship of the character with science has a rather dirty shade, and red elements are perfectly combined with the overall aesthetics of the environment full of oppressive and painful colors. A character with a different design, just would not fit into the context set by the authors.

The opposite situation is with Grunt. Grown in the incubator on the planet-musical, the “ideal” Crogan by all means is opposed to the “image” of relatives. The hero is not burdened with the sad past of his race, his character is generated outside the “native” society, therefore, a prerequisite for creating a reliable image was a complete rejection of “Crogan” color patterns and introduction of atypical hi-teles of elements.
All for the sake of achieving contrast.

Grunt – High Technology Product. By the way, the unexplored cranial plates are inherent in young crogans. Roughly speaking, Grunt is still a baby. Damn a dangerous baby.

The characters migrated from the original game also did not go unnoticed. Ashley’s design was finally settled. The armor of Garrus gained a more expressive texture and even underwent insignificant changes directly under the influence of the plot. Liara, taking into account the DLS, manages to change several types of equipment, and the spacesuit added in a detailed study of the patterns. And in many ways, these changes were due to the changed environment.

By the way about a detailed study. If you believe the authors, every tattoo jack makes sense and its backstory.

In the third part, the developers tried to adhere to a given quality plan. And we can say that they succeeded.
With reservations.

Spoon of tar

It must be said right away that Mass Effect 3 definitely has strengths.

Shepard’s main goal was to unite the races of the Milky Way under a single banner in order to give a final rebuff to the forces of the reapers. In this regard, the captain should visit many diverse worlds, each of which, being only an article from the local code, finally found visual embodiment.
Native Planet Azari, metropolitan ruins of Tuchanka, Turian Menae (Palaven’s satellite), veil Perseus (Getov’s habitat). In the end – the Earth, and in particular Vancouver and London, whose appearance clearly demonstrates the level of development of mankind.

In the past parts, the player has already happened to look in the territory controlled by these races. The overall impression has long been formed, and therefore the authors had to not only repeat, but also expand visual expirins, giving a fresh look at the old background, through new locations.

The Tuchanka ruins shed light on the former greatness of the once prosperous civilization of the crogans.

Some “newcomers” in Shepard’s team can also please excellent study.
Particular attention should be paid to the only representative of the extinct race of the Protean – Yavik. The prototype of his armor was the armor of the samurai, which once again emphasizes the “ancient” motives in the image of a humanoid. By the way, a similar plate structure of equipment can be seen in Samara. No wonder the Azari-Yustitsar, leading analogies with human history, compares his order with the warriors of medieval Japan, which similarly refers to the rich heritage of the culture of the blue-legged beauties.

Yavik is not just a warrior, but an “avatar” personifying one of the parties to the Society of the Protean is revenge. The scarlet color will not let you lie.

However, simultaneously with successful finds, there was a place and frankly controversial moments.

More than once mentioned Ashley was expected to be redesigned. Her merits, finally, were awarded the leadership of the alliance, which allowed the sergeant to “overcome the curse of the Williams family” and achieve the long -awaited recognition.
But her new look in the first second causes … bewilderment.

Loose hair, a combat mini-skirt, a clear accent on the charms of the heroine. Of course, the Mass Effect series has always been famous for attractive characters, but in this case, the problem is the fundamental inconsistency of character with the appearance.

The developers motivated their decision by the fact that they wanted to add to the image of Ashley “Sex Appeal”, but there is no motivation for such transformations in the heroine herself.

It is worth admitting a new image to her face, but this kind of metamorphosis goes against a previously prescribed character.

However, closing your eyes to annoying little things, Triklu can be made a rather high rating. In fact, starting from the developments of the past parts, the artists could only successfully rethink the general aesthetics, diversifying the established setting with new narrative elements. The fragile balance between thoughtless copying and excessive amateur performances, which the authors managed to preserve.

The redesign of the vast majority of characters does not cause complaints. Updates are contextual dependent and are not deprived of bindings to previous events.

Garrus, along with an increase, “overgrown” a couple of protective plates on a suit. A different color (black, for example) would more clearly emphasize the new status of the Turian, but perhaps the developers did not want to distance themselves too much from the usual image. Their right.

Mass Effect trilogy is unique in many respects.
Let not everyone appreciated the rejection of the classic canons of the genre.
Someone seemed unnecessary for cinematography;Others, on the contrary, were delighted with the change of the established paradigm.
But, in any case, the influence of this franchise on the game industry is not amenable to the slightest doubt.

Video games, like any media, do not stand still. The merger of formats, borrowing successful concepts, the search for new narrative methods … All these are unchanging satellites of progress, at the head of which, at one time, proudly sat Bioware’s studio.

mass-effect-i-da-kak-gage-hestory-no-sazav-ni-lava-s-1

Mass Effect and design: how to tell a story without saying a word

Leave a Comment Cancel Reply