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发表于 2019-3-26 20:16 · 浙江
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Hidetaka Miyazaki is known for his extremely hands-on, detailed direction, taking part in every element of a game's design.
Perhaps the most telling is found in the back pages of Dark Souls: Design Works, amid images of freakish beasts and ancient armour. In it, one of the handful of art designers of the game, Masanori Waragai, tells how he brought a design for the game’s undead dragon to Miyazaki. Looking at the sketch of a disgusting beast, swarming with maggots, Miyazaki chastised Waragai for relying on gross-out imagery: “Can’t you instead try to convey the deep sorrow of a magnificent beast doomed to a slow and possibly endless descent into ruin?” It’s a passing note, like any game director might offer, but you can tell by the way Waragai specifically mentions it that it has stuck with him. This idea seems to stick with Miyazaki too, emerging again and again in different interviews. In them Miyazaki sometimes refers to a desire of his, a quest. Though many see his games as brutal and unforgiving, he explains that his desire is not to punish players. Instead, in carefully chosen words, delivered in precise Japanese, he explains that his desire, his quest, is to create something of beauty.
https://killscreen.com/articles/ ... -beauty-bloodborne/
First there’s a conversation with the director about what kind of universe this is. This character is an expression of the idea: what would happen to humans if they transformed into beasts? What are the variations of a beast-ified human? The team must share the same worldview and try to come up with characters in conversation with the director and each other. They show and tell the designs with the director and there’s a conversation there. Director Miyazaki is much like an art director himself the way he works, so he gives the art staff very specific, concrete ideas on what he wants. The team works together with Miyazaki on very specific nuances of how things should look in the design.
http://www.kotaku.co.uk/2015/03/ ... me-character-design
I have a lot, actually--game designs, level designs, art designs, and even in regards to the text.
But, if I was to bring up one concept in particular, I would say it's my personal want of having things hold a sense of beauty within them. No matter how hideous something is, I want to see a spark of beauty within it. Or, I want to create something of beauty that shines when it is next to whatever that hideous something is.
https://www.gamespot.com/article ... -poss/1100-6441636/
"We spent a long time discussing the base concept of the art design," explains Miyazaki, asked how the team of artists and designers that he manages constructed Dark Souls' visual design. "The game focuses a lot on death, but what is death? What does it look like? What does death mean in this world? What does it mean to live and to die? That is something we discussed very closely. The story is about a fire in the world, a symbol of both living and death. The fire is what brought death to Dark Souls' world, but also the only hope for life. Demons, chaos, dragons, all of them are different incarnations and representations of our idea of death in Dark Souls.
"Dragons, for instance, emerged as a concept somewhere between a living and a dead thing – neither one nor the other. At the same time, though, I wanted to create something beautiful, with this idea of death at heart. But again, people have a lot of different definitions of what beautiful means. We had deep discussion about what beautiful should mean for Dark Souls."
https://www.ign.com/articles/201 ... d-behind-dark-souls
“I feel like nobody will believe me when I say this, but I’m a tasteful man and I like to adjust things accordingly; there was very careful management of the boundaries of what is shown,” he says. “Things like what colour the blood would be - we had to really adjust the tone of the red that we were using. But also when creatures are attacked and blood is spilling everywhere, it’s adjusted so that it’s expressed in more of an artistic way than a violent or gruesome way; it’s symbolic. It’s expressed in the way that a painting would show something, not a photorealistic representation. That maintains a sense of terror without being gratuitous.
“There were many things that needed to be toned down. Bloodborne is set in a nightmarish world, and that sense of horror needed to be expressed, so there are always going to be things that when first created were rather too over-the-top. Where do you set the limitations of what you show visually? It’s something that I had to exercise quite a lot throughout the project. I wanted to take a step into that more sinister, gruesome setting and environment compared to the Souls series, but then you’ve always got to be careful of how far you step into it - that’s something that Sony has helped with. We did discuss what the right boundaries were, what would be too distasteful.”
It’s evident from talking to anyone involved with Bloodborne that Hidetaka Miyazaki has taken the same extremely detailed, hands-on approach to directing the game as he did with Demon’s Souls and Dark Souls - even though he is now the president of FROM Software. “Director Miyazaki is much like an art director himself the way he works, so he gives the art staff very specific, concrete ideas on what he wants. The team works together with Miyazaki on very specific nuances of how things should look in the design,” one of the lead artists tells me.
“He is a very interesting director. He’s a very logical person,” adds Yamagiwa. “But one of the biggest things about him is the process by which he creates something, where he comes up with an idea for a creation. It is very unique to him and also very fast. He is a very quick creator and that’s something that really impressed me. Another thing about him is that he gets inspiration from a lot of different things, but his strongest inspiration comes from novels - he is a big fan of literature. As a result he’ll read a book and be like “THIS!”, and underline a section, and show it to the artists and attempt to draw - he’s not an artist himself, but he’ll draw what he’s looking for. He does everything in his power to expand his imagination to that his worlds take on a life of their own. I am very impressed by that.”
http://www.kotaku.co.uk/2015/03/ ... -bloodborne-killing |
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