I initially realised that I would need to use a lot more of the engine than just the effects system itself. I liked the idea of using an off-the-shelf engine since I would be able to focus straight away on the design of the effects rather than the design of the tools to make effects. Previously, I worked at a few games companies that built their own engines, which is a completely different process than using off-the-shelf tools. If I had known that I was going to need to animate 80 scenes at the start of development, I would have been even more apprehensive than I was. Throughout the course of development, the design of the effects evolved and the remit expanded to include animating all of the character scenes in the game. The initial effects remit was to create a flying orb of light that would move around the world with AI, create objects that you can interact with to trigger the characters audio, to create all ambient effects in the world to add movement and life to the world, as well as setting up physics objects and all of the water in the game.īasically anything that moved in the game was an effects task. There was very little remit in how the light effects in the game would look but I was ready for an exploration into the design and development of the effects for the game. When I started working at The Chinese Room, the effects on Everybody's Gone to the Rapture were always going to be a challenge. The blogpost was originally posted on The Chinese Room website Introduction
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