Ghost of tsushima art2/25/2023 ![]() ![]() People talk good about him, people talk bad about him, he’s becoming bigger than he would have ever imagined.” As Jin hunts enemies, some of them are frightening, and some are actually frightened.Ĭonnell gives an example from the demo, where in the ghost section, Jin obliterates four or five people quickly with a smoke bomb and kunai - or throwing - knives, and then a guy falls. But as he’s progressing into becoming the ghost, what he’s really becoming is a legendary warrior. ![]() “Both of these groups are weighing on him. “He has people reflecting this to him friends and family who support him in doing what he has to do to save the island, even if it is a little messy, and then other people who live and die by the samurai code: death before dishonor,” continues Connell. “When the invasion happens in the story and his world is turned upside down, he’s put into a situation where that doesn’t work anymore and he begins doing things that are a little bit unorthodox for the time or certainly against some of his teachings.” From there, the people around Jin start to behave differently, along with the protagonist. “In the trailer, we show as a young boy being taught a lesson by someone who appears to be a samurai peer - this is his life, he’s always had this certain way of living,” he says. “By having those visual elements be more than just visual elements - they’re helpful as well - hopefully care about his home.”Īs Jin sets forth on his path from a samurai to a ghost, the character becomes quite feared, and the sense of fear itself is even used in combat to the player’s advantage, Connell explains. “This is home, and in the story he is protecting his home at all costs,” says Connell. The story of Jin, the young samurai at the center of the game, also fuels the decision to involve such movement. “It’s almost like an arrow pointing you in a certain direction.” “That’s quite a bit of a hurdle technically, but I’m glad it was one of our original goals because eventually it turned into something far greater - the way we actually let move through the island,” he explains. ![]() “We created an art direction goal very early on that everything must move,” says Connell, giving the example of capes, bushes, grass, flowers and flags as elements that would move in the wind. “Whether it was old remnants of a castle that was overgrown with beautiful ivy or a giant pampas field - these things were very evocative to us and we wanted to faithfully create that feeling for people,” Connell tells THR.Īlong the way, they drew upon the films of Japanese director Akira Kurosawa, who as Connell describes, includes a sense of motion and movement in every frame. As he set out to create a “massive open world,” Connell and the creative team visited mainland Japan and Tsushima and were inspired by the overarching beauty of the locations they set foot in. ![]()
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