RUSS SEVERE: When I first got started, I would look at the software
and it would look like I was in the cockpit of a Boeing 747
with all these buttons and gadgets.
And it was very intimidating.
But then when you get in and you just start learning how to do it,
you'll find that
you just need to dig in and learn a few basic things.
And that's where everybody starts.
One, two, three...
RON ALLEN: the game industry changed quite a bit actually.
You know, back then the development teams were small.
I mean, we're talking about maybe 12 people or so.
JACINDA CHEW: I actually started developing on the PlayStation 2.
I remember anytime we checked in something into the game,
we would actually have to wait 24 hours to see the results in game after that.
DOMINIC ROBILLIARD: If I had an idea that I wanted to get on screen,
it would involve a lot of people,
animators, artists, everybody
just to kind of fabricate that into something that you could play.
CAMERON CHRISTIAN: The projects were nine months to a year.
And now projects are like four years, five years depending on the project.
RUSS SEVERE: One of the major differences between what we had 20 years ago
and what we have today
is the ability to really immerse the player into an environment.
The tools that we have today are so much better than we had 20 years ago.
RON ALLEN: I wish I had the tools and everything, like Dreams,
to be able to make my own games back then.
I can't even imagine the things that I would make.
I would make space games.
I would make games where you can ride in a vehicle.
It's amazing. It's a dream come true.
JOHN SWEENEY: I tend to draw inspiration from a few various areas,
film, my personal experiences,
whether it's travel
or just some lighting that I happen to see on any given day.
MELISSA SHIM: For God of War I looked at a lot of martial arts videos.
Like I'd just go onto YouTube
and just try and find anything cool
for the type of move I was doing.
NATE WEIKERT: My goals when I started Day's Gone
were simply to figure out how to construct the environment in a natural way.
Finding that line of playability and presentation
is always a big challenge.
JAMES RIDING III: The big action movies,
the big action sequences for games,
like, we want to make something that is completely memorable.
PETER FIELD: The first thing to do when you're building a level
is to recognize what the pillar or the purpose of this level is.
JOHN SWEENEY: What do you want the viewer or the player to focus on or look at?
I like to start with my shapes
and then move into color
and then, finally, lighting.
Once you've nailed down the thing that you want to convey,
you can start building the whole level around that.
JAMES RIDING III: Every time you iterate,
every time you work on something,
it's get's a little bit better each time.
That's a requirement for game design.
JOHN SWEENEY: Don't be afraid to try something and fail
or have it not work.
That's part of it.
DOMINIC ROBILLIARD: You don't have to know what good looks like.
You just need to make it better.
And you do that a thousand times in a row.
And eventually with enough perseverance you will get there.
The Living Paint mechanics are a perfect example of that for us.
We have multiple, different versions of them,
multiple, different styles and takes on it.
It wasn't until we could really
harness the player's own input and gesture
and actually take the strokes that they make
and embellish them into something beautiful
that it really kind of locked down
and cemented the whole game in place.
RUSS SEVERE: You're making a game for people to enjoy,
and you're not making real life.
If you take something like a forest scene
where you have a lot of rocks and trees that have fallen down
and there's just rubble everywhere,
and then you say,
now go ride a motorcycle through it.
That would be impossible to do.
And so we had to clean up a lot of that stuff
and try to retain the the look
and the things that make a forest feel like a forest
while still keeping it clean and playable.
JAMES RIDING III: When Kratos and Atreus first come up with their first set of bandits,
and this fight scene led directly into a cinematic.
We realized that we needed to have different enemy types
that you couldn't move to.
By putting pillars in the way, we close off line of sight,
so that way we knew the player had to kind of stay in this kind of range.
And those were things that we had no idea on paper,
and we didn't find out until we started iterating on it
PETER FIELD: Everyone goes into Dreams,
and they think that they're an artist,
or they think that they're an animator,
or they think they're a musician.
And the beautiful thing about Dreams is it's all of those tools in one place.
And I think it'll surprise people when they think that they're a musician
and they find they're really good at art or the other way around.
JAMES RIDING III: Dreams is going to have a great impact on the games industry
because it allows the consumers to be creatives.
CAMERON CHRISTIAN: It will hopefully help inspire people to be designers
or content creators.
ELYSE LEMOINE: It's going to open the door
to showing people who aren't part of the industry
what it takes to make a game.
MARK HEALEY: You've got all the tools that you need
to make professional quality games, music, and films.
And all you need is a PlayStation 4 and a controller.
JACINDA CHEW: I'm the art director at Insomniac Games.
RON ALLEN: I'm manager here at Bend Studio.
MELISSA SHIM: Senior animator at Santa Monica Studio.
NATE WEIKERT: Principal environment artist at Bend Studio.
CAMERON CHRISTIAN: Design director at Insomniac Games.
PETER FIELD: Designer at Media Molecule.
RUSS SEVERE: Environment team lead at Bend Studio.
DOMINIC ROBILLIARD: Creative director of Pixelopus.
ELYSE LEMOINE: Senior narrative designer at Bend Studio.
JAMES RIDING III: Senior level designer at Santa Monica Studio
JOH SWEENEY: Art director at Naughty Dog.
MARK HEALEY: Creative director at Media Molecule.
And I can't wait...
to see what you create...