A little bit about the internal kitchen
Good Lords, fair Ladies!
Once again we decided to share with you some details of how we create Diplomacy is Not an Option. Let's talk about the cutscenes that you can watch at the beginning and end of the campaign missions.
Like a lot of things in collective creation, it all starts with writing the script. However, there are many "buts" to consider. In the case of DiNaO, the script may be subject to adjustments, for example, if we realize the difficulties of implementing a certain victory condition. Or, when a game designer gets an idea on how to make a mission more interesting. Information about an upcoming or completed mission (and the mission itself) is also a part of the narrative. Accordingly, changes in the mission lead to a rewriting of the cutscene script.
But let's stick to the main topic, shall we? The mission settings are approved and the script is written, presenting both, the general storyline and the compositional properties of each cutscene. Now it's time to make some sketches.
Why do we need these silly cartoons, you may ask? Here comes the answer. Artists do the modeling and draw the environments. With these sketches, it will be easier for them to understand the characters, the composition, and most importantly - the timing (for example, how many seconds the characters look at each other in prostration). Before starting to "shoot" cutscenes, a spreadsheet is also made. Based on the sketches, this table reflects the times and durations of the characters' lines. At the sketch stage, we also cut off excessive script details. The cartoon author has to ease the task for artists. Sometimes the same joke can be shown more simply with the help of the language of the visualization. So many of the minor details from the literary version of the script meant to create a mood or add piquancy may be changed.
Finally, the artists step in. This is the most time-consuming and labor-intensive stage. First of all, it is necessary to create the concepts of the characters. Let's say without spoilers, most of the characters in the cutscenes are the same. However, some of them make their appearance in the game once or twice. And they should be modeled with the same neatness as the main characters.
And this is where we stop for today. Rest assured we'll continue to talk about the making of cutscenes a bit later.
Yours the Door 407 dev team.
Once again we decided to share with you some details of how we create Diplomacy is Not an Option. Let's talk about the cutscenes that you can watch at the beginning and end of the campaign missions.
Like a lot of things in collective creation, it all starts with writing the script. However, there are many "buts" to consider. In the case of DiNaO, the script may be subject to adjustments, for example, if we realize the difficulties of implementing a certain victory condition. Or, when a game designer gets an idea on how to make a mission more interesting. Information about an upcoming or completed mission (and the mission itself) is also a part of the narrative. Accordingly, changes in the mission lead to a rewriting of the cutscene script.
But let's stick to the main topic, shall we? The mission settings are approved and the script is written, presenting both, the general storyline and the compositional properties of each cutscene. Now it's time to make some sketches.
Why do we need these silly cartoons, you may ask? Here comes the answer. Artists do the modeling and draw the environments. With these sketches, it will be easier for them to understand the characters, the composition, and most importantly - the timing (for example, how many seconds the characters look at each other in prostration). Before starting to "shoot" cutscenes, a spreadsheet is also made. Based on the sketches, this table reflects the times and durations of the characters' lines. At the sketch stage, we also cut off excessive script details. The cartoon author has to ease the task for artists. Sometimes the same joke can be shown more simply with the help of the language of the visualization. So many of the minor details from the literary version of the script meant to create a mood or add piquancy may be changed.
Finally, the artists step in. This is the most time-consuming and labor-intensive stage. First of all, it is necessary to create the concepts of the characters. Let's say without spoilers, most of the characters in the cutscenes are the same. However, some of them make their appearance in the game once or twice. And they should be modeled with the same neatness as the main characters.
And this is where we stop for today. Rest assured we'll continue to talk about the making of cutscenes a bit later.
Yours the Door 407 dev team.