Artistic Progression or Back to Basics?

This was an issue that came to mind a little while back. All artists, in all forms and disciplines learn, grow and develop in their specific field, and even broaden their skills in other areas. That's life. Whether I'm talking about a music group or a fine artist, that's irrelevant, because each is an individual creative skill. The problem I see here, though, is the unsaid debate that seems to surround these mediums. While it is not spoken aloud, one only has to look hard enough to see that the recipients of these creative arts - the outsiders who see the work from afar and utter a unique point of view - appear to be torn. 

Is it better for an artist, of any kind, to fly the nest and leave their comfort zone or are they best holding on to what made them who they are in the first place? 

Either way, it seems they cannot win. One way or another, there will always be criticism towards an artist of any discipline. 

Take for example, the latest album released at the end of October just passed, by Kamelot. A band known for being one of the most influential power metal bands of the last decade or more. No one would really dispute that, but over the past few years things have begun to change. The power metal element has lessened, leaning towards a progressive style. Now, there's nothing wrong with progressive metal, yet there are people out there who are so narrow-minded who believe that once a group makes their break in one particular genre, then they should have to stay in that threshold. There are those out there who are strictly listeners of one style of music, and anything or anyone who does not fall under that one category they actually consider worthy are automatically shunted and criticised for not being what that individual wants them to be.

Yet the most absurd thing with this particular album, Silverthorn, is that the band have actually turned back to roots. That more melodic, rawer and more vocally powerful and emotional sound has returned! It sounds like the best two albums of their career, Epica and The Black Halo. But apparently for some people that isn't enough.  

That selfish attitude is dangerous. It is also unfair. When someone makes music, they have every right to grow and develop, and if they never do then all you will ever receive from them is more of the same. Never will you hear another ground-breaking release because you haven't allowed them that creative freedom. 

Every artist has to develop. Yes, they will always grow and change as time goes by. I've seen it with digital painters even, or fine artists, where as an artist begins to experiment with different techniques a regular viewer of theirs shoots down that creativity and tries to dictate that they should stick with what they've always done best. That is wrong. An artist would end up stuck in a rut, going nowhere, learning nothing. 

On the other hand, is it truly right for an artist to leave everything else behind? In the beginning they would have developed something, that one unique aspect that makes them recognizable. It wouldn't be right for them to abandon that. So, while that artist, be it a band - like the above example who have remember their roots after a precarious few years and yet kept their more mature sound - or a fine artist, has every right to progress into something new and unexplored, it always pays to stay true to the original. Going back to basics always has its advantages for the sake of those appreciators who were drawn into the art by that first unique spark that defines the artist.

Fans should not try and dictate what the artist does. Honestly, that is really selfish. A real fan should be able to understand and appreciate that a creative mind will never stay in one place. It keeps the excitement alive, knowing that something knew will turn out from it all, carrying with it the essence of the creative person. That spark is like a signature. Without it, that work could belong to anyone. 

Just don't tie their hands. An artist must be able to spread his or her wings and find new territory. Taking risks is the only way to achieve something greater than what has already been reached. 

Nachos x

Kamelot, The Almighty

It has to be said that Kamelot put on the most incredible show I have seen to date. While I thought Shinedown performed excellently, followed by Evanescence in Manchester, I was overwhelmed by Kamelot. 

Though, it must be said that each band I've seen this Autumn/Winter has played in a completely different venue to the rest, with Kamelot performing in the smallest venue in the HMV Forum in London and Evanescence in Manchester Arena (approximately three times as big as the Forum!). Personally I prefer the smaller arenas, as they exert a much more intimate feel and atmosphere. You feel far closer to the band on stage and - if you're lucky like me - you get pinpointed in the crowd. (-Momentary fan-girl squeal-). I've had a very different experience with each, although I did get to meet Shinedown as well as Kamelot, mainly because of the venue. The other contributing factor to an excellent gig is also the crowd, believe it or not. A cooperative, excitable crowd always add to the lively atmosphere. 

Also adding the fact that I met them too... I met my all-time favourite band!

L-R: Oliver; Casey; Thomas; Me; Tommy; Sean; Elize

Sure, Evanescence had that air about it, of course they did with the six and a half thousand people present, but Kamelot, with their more close-knit, loyal fan-base to stand by them regardless, were gifted with an amazing crowd of people who enjoyed every moment of the show. You could hear the beauty in the music, but you could also feel it too! The emotion in Tommy's voice, and the acting of the songs through his gestures, and the bass rumbling through you... it simply all came together perfectly. Not to mention the perfect blend and variety of songs they played throughout. I could not help but feel giddy every moment I was about three feet away from any one of the band members... never had I been so close. Tommy made the decision of jumping off the stage and stood upon the barrier (perhaps a bad idea with a group of gaggling girls to my left pretty much attempting to grope the man)... and moments like that, and when the infamous Thomas Youngblood stands upon the amps in front of you and brushes his hand past yours, leaves you somewhat breathless. No experience I have had compares to this, feeling the live music of and standing so near the band you admire perhaps the most. 

Now, when you think about it, the impact music has on you isn't too far gone from art. Music is an art. The point of art is to create an impression on the viewer (or listener!), to convey a message and to communicate visually (or musically!). When you look at a painting, drawing, digital or otherwise, you feel something from it. It impacts you with some kind of emotion whether positive or negative, and leaves you pondering more about the message or ideal of that artwork. You interpret the piece of work, deciding on whether it comes together as a successful piece or not - in your opinion (that's mightily important) mind you - and discovering the whole reason for the use of colour palette and style of brush strokes. Artwork always has contrast, and the artist behind it all undoubtedly develops. 

This applies to musicians as well. A good musician  singer, songwriter, guitarist, composer (you name it) creates their music with intent, deliberately and confidently, trying to leave an imprint on the listener. 

During Kamelot's show, I felt it all. Tommy's voice, particularly during Song for Jolee, sent chills down my spine with that mournful beauty coupled with the song's lyrics. It was an absolutely incredible experience. Let's not forget that they are really lovely people to talk to as well, I know first hand now. If I could turn back time I would most certainly do it all again (including battle with the London Underground to get there!). 

In the next couple of days I will post the photographic evidence, some rather good captured moments if I say so (this time with a proper camera, unlike Shinedown (woops!)). Although, here is a taster for what is to come, a taster of just how near I was: -

(-More excitement-)

Tommy Karevik

SO  if you are a fan of Kamelot, stay tuned for more photography from the Silverthorn

tour @ The Forum, London.
x

Shinedown - Manchester 29/10/12

I had to write an entry about this gig; it was, as per usual, an excellent performance by Shinedown- this time at the 02 Apollo. 

Not to mention this time I was able to meet them. (Moment of heart-busting excitement!)

Yes this is art related, because it includes some of my VERY amateur photography (in this case it wasn't really for artwork's purposes, given that I was limited to my camera phone and waiting to take photographs at rare still moments!) 

Anyway, I took a few photographs which weren't the best quality but they capture the essence of the atmosphere in the arena. [ N.B - I remembered a camera, but forgot the memory card, which reduced me to the use of my phone. This was devastating, because in the end the dim lighting and poor quality led to a photograph with the band that I had to edit in Photoshop to get it vaguely clear ] 

BUT - I met them, and they were such friendly guys! Surprised by how short they all were, barely taller than my measly 5'6, but such a humble group of men. Bit of banter over my phone because they saw my password when I tried to get to the camera mode. Shinedown - you could steal my phone any-day (just so long as you gave it back!) 

The band and I! Not the best quality picture, but one is better than none at all!

It was simply amazing. A pretty much packed out venue, with nearly four thousand people - which is quite impressive for a band that has only really recently taken off over here in the United Kingdom. Bear in mind, that's only one venue out of many that they have been playing at throughout their UK tour. 

They had a slightly different set-list this time, which I wasn't complaining about. They played pretty much most of my favourite songs, as always! One of the best moments had to be during the encore, the performance of Simple Man: 

Hearing the crowd singing over the top of Brent was incredible and chill-inducing all at once:

Excuse the steward in the corner! But yes, I was close :P 

Later I may return to this post and update the pictures with slightly edited, sharper focus and better contrasted versions - just so to make the quality somewhat better! But you can see enough from these for now ;)

I digress. 

Before Simple Man came Devour, and boy does that always go down well! I love this song and I always sing my heart out when it inevitably comes about during their performance!

Taking a photo of the guitarist at this point above (obviously!) and to get a smile of recognition from the earlier Meet & Greet filled me with butterflies. Zach is such a lovely man - well, as are they all. 

These photographs may be swamped with light, but I hope you can see the energy in them. The very exposed light is partly due to the strobe lights, partly due to the poor equipment being used to take the photographs - as earlier stated! :P 

Every one of the songs played were amazing. I've never been disappointed by a performance by Shinedown - and I've seen them three times this year already. Many more of their gigs for me to attend, I expect! Okay, so the support bands were questionable, the second most definitely better than the first, but in the end it wasn't them I went to see. It was Shinedown, and once again they delivered. 

There was an intriguing moment, when Brent stopped the whole show because of some commotion going on not too far to my right. Perhaps someone had been hurt, and he wasn't going to carry on playing until he made sure everyone was all-right. It turned out that a girl had lost her Iphone. Well, darling, don't take such an expensive phone to a gig where it would potentially get lost or damaged! You interrupted everyone else's show. Other than that little five minutes of amusement, a flawless show. It perhaps topped their performance at Download this year... maybe. ;D

Meeting them was almost dream-like, and I'd pay for it again! (Although I didn't pay for it this time, it was a birthday gift!)

If only I had remembered my memory card for the worthwhile, 14 mp camera I had with me...

SDK Modelling

Sounds like a disease... but no, it's not! :P

In the case of this blog and 3D modelling, it refers to the texturing of a model made by another person. Many  people create models and upload them for other people to practice their texturing. It's a good way to learn the typical way of laying out UV's after a character is modelled, to be able texture properly and accurately.

Here is my attempt at an SDK:

MODEL BY:  JOCHEN BREMER 

It kind of looks like Iron Man in a way, what with the red and gold complimenting metal. She's a cyborg, if you haven't noticed. There have been lots of takes on this 'Cybabe' model, space interpretations, everything. So this is mine. Her dress sense is pretty much based on the kind of thing I wear (except not shorts quite so short!) I'm quite happy with the texture quality, the textures being shown below: 

So I'll disclaim now, that I'm not sure how the contrast and/or saturation looks on the screen you're viewing it on, because my laptop (the only thing I can work from until I buy a desktop after Christmas) seems to be oddly desaturated compared to most. So what may view as a nice saturation level to me may be a bit too high on another person's screen. So apologies for that.

Anyway, onwards to completing my Pitch Document.
x

Beginner Lightmapping in UDK

Sounds difficult - it isn't really.
Sounds awkward - that it is. 

You've just got the hang of unwrapping UV's in Maya for texturing your model, which you're then going to import into UDK for a nice imaginative and professional scene. Then you learn about lightmapping. Lightmapping is what allows for proper lighting and shadow upon externally inserted models in a UDK scene, for those who don't know that. Bear in mind, I'm writing as if addressing a complete novice to the Unreal Engine and its scary interface. I was a complete novice not so long ago - I could probably still claim that title now, but, as stated previously, I'm a fast learner. Yes, I'm definitely an amateur. -Ahem- I digress. 

So not only do you need to unwrap the texture UV in Maya, you have to create a second UV for the same model, which will be created as the lightmap. It has to be unwrapped properly, with each shell in its own unique space - generally with about 2-4 pixels between each shell if you are working on a grid equal to the UDK grid. Well, that worked for me.

Anyway, all of this means that an imported, fully textured model will be lighted correctly, shadows being cast in the right manner according the direction of the light baked in the UDK scene.

To anyone completely new to this, it may feel complicated, but as long as you follow the right steps and look up tutorials (there are plenty out there!), then you'll get there.

Just to finish up, here's the result of my lightmapping project for uni. In the end I came out with some pretty cool shadows I think. I'm not saying its perfect, but nothing and no one is. For a first attempt, it's satisfactory.  (It features the two low poly models I posted not too long ago, in fact)

 

'Til next time xx

Low Poly Models

After a fairly lengthy period of not posting work (except for the line-art for a current piece posted a short while back), I've finally got some artwork to post! It just happens to be the first of my Uni projects. As much as I try, anything good always seems to come out of University work, which isn't exactly a bad thing, but sometimes my motivation for personal works flutters out of the window. Even when I have some inspiring breakthroughs with ideas, there are occasions when I just don't want to do anything. And with these ever quickening, fast-pacing projects which are inevitably going to test my motivation, skill and perseverance, it's going to begin to get a little tougher to find spare time for personal artwork. In other words, I'd better get as much in as possible before I find myself drowning under the work-load. It's inevitable on a course like mine, no matter how time-efficient you might be. Everyone at some point has pulled an all-night working session. These fast, demanding projects will help me to refine my time management skills and to get some serious drive back into my work. 

Personally, I think it has been a good start - although today I had my brain fried trying to keep up with the pace my tutor was giving his tutorials for using UDK light-mapping. Regarding the project just completed, it was a good success. For a week's work and with a poly-count limit of 300 tri's, these models came out rather well I think. 

My favourite, undoubtedly: the Robo-Wolf :D 

    

Low poly models, two of them modelled, unwrapped and textured in a week. I don't think that's bad going really, not with everything else I have to do in between. I've decided I really, really like the Create Polygon Tool. It gave birth to Robo-Wolf. Robo-Wolf's texture took me a grand total of four hours.... I really need to work at speeding up my painting. Skillwise I've improved greatly, but as for efficiency regarding time... I'm still a bit of a slow worker unfortunately. 

When it comes down to it, I will always have more work to post on here with the amount we have to do at Uni, and you will most certainly be seeing more 3D work. We have a model dedicated to 3D modelling, which involves mostly using UDK Editor (Unreal Engine) and Maya. Unreal has a frightening interface for those who have never used it before, I will say that. But I'm a fast learner. I'll master it soon. (Hopefully!) In the meantime, enjoy my newest models, which will in the next week be imported into UDK in fact. 

Until next time x

What about the theory?

Practice always come with theory. They are two sides of the same coin. If know nothing about what you are trying to do, then how can you possibly do it? And if you do not practise the skills which you have theoretically learned, then how can you progress with learning that knowledge? I see a lot of people when it comes to Games Design, leaping in the deep end without at first reading the do's and don't's, and something always gets lost in the process. Having the knowledge helps you to put it into practice properly and more accurately, ultimately coming out with a much better concept. 

Recently, I've been reading up on the writing and creating side of games. From learning exactly how a good Quest game is designed, to how to create convincing dialogues within a game which are necessary, relevant and turn your game from a flop to a AAA title. Not to mention what you should and shouldn't do in the industry.

From what I've been learning, I found that there were statements and quotes which stood out to me. The kind which stick in your head and make everything seem clear and simple, so much so that you bang your head in frustration for not realising what it meant before. 

As simply as that, I'm going to share a few of these which I found particularly useful: 

What is a Quest?

'A journey across a symbolic, fantastic landscape in which a protagonist or player collects objects and talks to characters in order to overcome challenges.'

This was taken from the book Quests by Jeff Howard; a nice, easily comprehensible statement to summarise a Quest. 

'Quests in games can actually provide an interesting type of bridge ..[] in that games can contain predefined sequences of events that the player then has to actualise and effect.' 

A statement by Jesper Juul, explaining how narratology and ludology can be connected by the use of interactivity - meaning the player has to enact and make happen a story which is ultimately already laid out. 

'A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow men.'

Another definition of a Quest as written by Joseph Campbell, signifying the biggest aspects of  what makes a Quest. 

'Designing the spaces of quests is a matter of planning increasingly more remote, difficult to access, exotic Locations in which quest-givers more and more relevant to the quests can be found.'

Taken from Quests (Jeff Howard), a statement suggesting the typical pattern of the progression through a quest, a pattern which defines quests. 

'In essence, designers should consider ways to motivate their quests by the acquisition of an object of great power, then break their artefact into pieces and place them strategically across their game world in ways that will prompt players to explore and overcome challenges.'

A perfect example of this is throughout the entire series of the Legend of Zelda, where, let's take Ocarina of Time as an example, Link must travel to different structures in treacherous places to overcome puzzles and enemies to obtain the medallions containing the power of the sages - which then ultimately allows him to reach and defeat Ganondorf. 

'We made a conscious decision years ago that we believe games can be both interactive entertainment and a compelling medium in which to tell stories and develop characters.'

A statement from Dille & Zuur Platten (The Ultimate Guide to Video Game Writing and Design), this relates to an earlier blog post, discussing the opposition between narratology and ludology. They believe that both CAN go hand in hand, where the story is more like the supporting cast. 

'Sitting between the conflict inherent in the story and the stakes that are played for is where the core dramatic tension of the game-play narrative takes place.'

Dille and Zuur Platten again, a point of advice to those beginning to work upon the idea of creating tension. The most tension arises when the stakes begin to come to light through the conflict i.e - the protagonist learning that should he lose this fight, then the entire city is doomed. 

Danny Bilson makes an analogy regarding relationship and dialogue: 

'If you meet a guy in level 2 and he double-crosses you, you're going to have very strong feelings about him in level 4. Now what happens if he helps you? What's changed? What's his agenda? What are you going to think when you run into him in level 4?'

In other words, twists and turns in the game keep it fresh. 

'Story in video game terms is anything which helps you immerse yourself into the game-playing experience.'

When Dille and Zuur Platten say this, they mean that the story/dialogue in a game should be relevant - a piece of information vital to helping the game move along and engage the player in what they are doing, rather than casual, unnecessary drivel which will send the player to sleep. 

'A character's physical appearance is often a manifestation of his wants, needs, status, current situation and life experiences.'

From the Ultimate Guide to Video game writing and design, this statement refers to the ideology that a character's appearance should not be designed before the rest of the character, else it can restrict and limit your creativity when it comes to creating the character as a whole. When you form a character, it is what makes that character which tends to drive how he or she will ultimately look. 

This last one is more about the team you will inevitably work in when it comes to working on a real industry project: 

'It is very important that the entire team focus on a simple, memorable, one sentence (or paragraph) version of what the game is about.'

If everyone is under the same impression by the very same statement defining your game concept, then everyone is on the same page and the likelihood of miscommunication decreases quite a lot. Each team player understands the same notion, and can work together from that. Ultimately, this ties in with the concept of a 'hook', generally a one-liner which sums up the story in a hand-full of powerful words - something you'd expect to find on the back of the game box.

Of course, I could very possibly go on for much longer, but I picked out points that these writers have made which I found are good to know. If they are useful for you - the reader- too then all the better! 

Narratology Versus Ludology

An ongoing debate that it is, whether Video Games can only be made successful by its story or by its game-play. Narratologists are adamant that a game requires an engaging story as opposed to meaningless action, whilst Ludologists argue that games are about interactivity first and foremost, and so a successful game is made so by its structure of play and action. This debate applies to, more than any other, quests. How do you create a quest game to incorporate its narrative with the idea of interactive game-play, where the player influences events?

In Quests Jeff Howard writes about a Quest: 'A Journey across a symbolic, fantastic landscape in which the protagonist or player collects objects and talks to characters in order to overcome challenges'. This definition blurs the line between rule-based and narrative game-play. So, it stands to reason that you cannot create an interactive journey without a story to lead it. Literature, mythology, technology and gaming all unite to form interactive and compelling play. 

I believe that it is all ultimately conjoined, to unify meaning and action. Within a quest, meaning includes personal ambition, ideas, benefit to society and spiritual authenticity, as suggested by Howard. There is a reason for every action, dialogue, and strategy - relating back to the story of the game. Symbolism engages the player in the story, creating cognitive activity rather than passive spectating. The way in which a player interprets the narrative of a game determines what action they will then take and consequently change the game accordingly. Lead by a narrative, it is the player who shapes the game. 

Howard states the two arguments by each side. According to narratologists, 'games be analysed as narratives', whilst ludologists counter-argue that 'games should be studied for the features that are distinctively related to play'. These arguments are simultaneously right and wrong, in my opinion, for rules and simulation are nothing without meaning. A game cannot engage a player if there is no motivation for the action. Therefore, games should be analysed for how the incorporate narrative and interactivity together. 

While a game is a set of rules for interactive play, a player also follows a series of events deliberately connected and designed to lead on to each other in time. The player must interact and set these chain of events into effect in order to unfurl further story and game-play. Jesper Juul, an influential games researcher, writes: 'Quests in games can actually provide an interesting type of bridge... [ ] in that games can contain predefined sequences of events that the player then has to actualise or effect'. His statement suggests that the player essentially unlocks the progression of the game's narrative through completing challenges and interacting in the game world. It is seen as 'enactment' when a player plays out an unknowingly predetermined plot. 

A Quest is not what it claims to be if there is no meaning. The term derives from the Latin 'questare', which means to 'seek'. This suggests a goal-orientated search. If you were to analysis an existing quest game, such as the Legend of Zelda (one of the most renowned of modern video games), it is clear that the interaction is meshed with the narrative of the game. Every challenge undertaken within the game is for a reason. In Ocarina of Time, you must collect the three Spiritual Stones in order to reach the Triforce before the Gerudo Thief Ganandorf - whilst this is the narrative, the predefined story the player must follow, the player enacts this by overcoming challenges: defeating monsters, seeking out ultimately helpful objects that aid progression through the game. To move through the game, the player must 'decode the significance of a new object, in relation to the quest', but also ideas and insights with it. 

Howard suggests three main types of meaning in quests: 

'Impact of accomplishments'; how will this shape the path ahead?

'Emotional urgency of backstory'

'Expressive, semantic and thematic meaning'

All of these spark cognitive and interpretative effort to try and discover the meaning of the quest, thus engaging the player in the game's challenges and its story. Moral virtues are introduced, which are predominantly absent in a game lacking narrative. If a player is forced to consider morals and consequences, they begin to interpret the meaning of dialogue and action within the game in their effort to make the right decision in their challenge [which will eventually take them down the narrative path]. Ultimately, a successful Quest game designer has to create the right balance between narrative and game-play. I believe that neither works greatly without the other. A player needs to have a reason to overcome challenges, such as consequential results based on those actions. Is there truly consequence in a game without narrative? And how can the player overcome challenges without interactively shaping the Quest? 

Quests games build the bridge between Ludology and Narratology. In the end, no game is void of narrative. If there is action, only action, then a game is only a meaningless string of events which lead to an ending lacking in achievement or consequence. There is no true engagement. Quest games are neither one nor the other. They are both: an epic story unfurled by the seeking and finding of vital items essential to moving through the predetermined fate of the protagonist. 

Although this discusses Quest games, it is suggested that every game indicates a form of quest in one way or another, so the idealogy of narratives and interactivity working in partnership to create an engaging world with meaningful action can apply to other genres of games too. 

Games such as Halo leave much to be desired. Players spend the majority of their time shooting the living daylights out of enemies, and for what? They are given a mission, but what is the consequence of completing the mission? What is the virtue the player gains out of it, as opposed to the satisfaction of having murdered dozens of enemies in cold blood? The story lacks in meaning, rendering the game monotonous, bland and eventually the type of game which will be left collecting dust on the shelf because it has lost its appeal. You can only get so much enjoyment out of blasting creatures' heads off for so long. In the long run, it would give so much more meaning if there was something deeper for the player/protagonist to fight for.

So the idea that Quest games close the gap between Narratology and Ludology should be taken on board. Every action has some kind of meaning, take human lives for example, so why do so many games lack this? There is a little quest in everything, reason for everything, so video games should overcome the conflict between Narratologists and Ludologists who so deeply oppose each other. I regard that neither is right alone. They are two sides of the same coin, two halves.

Hmm, let's stop the silly bickering as to whose right about what should make a game and work together, eh?

In the battle Narratology Versus Ludology, nobody wins. 

The Emerald Isle

So some time ago now, two companions and I took a short break to Northern Ireland, Belfast in fact. Within those four nights and five days, we crammed in a fair few activities. Traditional Irish pubs, coach excursions to popular landmarks around the coast, a foggy day out at the Zoo and a visit to the Titanic museum (an outing almost foiled by the Queen who, unbeknown to us, was due to visit that very same museum the same day).

I must say the Emerald Isle lives up to its name, especially through some of these photographs which I took over the course of the mini-holiday. Sure, we didn't have the best weather - in fact there were floods nearby - but we made the most of what we were given, and the sun seemed to come out at the perfect moment for taking beautiful pictures of a unmistakably picturesque landscape. 

May I disclaim that these were taken with a rather old camera whose quality rapidly diminishes with each zoom. Considering that, these aren't bad quality really.

Okay, so nearly two months on and I finally get around to showcasing my favourite pieces from the holiday, but at last they are here: 

View from Across the Rope Bridge

En-route Rope Bridge

The Silverback

Otter the Curious

Tiger Spies Lunch

Inside the Titanic Museum

Titanic Quarter - Steps to Nowhere

Skyward Verdict

Given that I've just completed the most recent instalment of the Legend of Zelda series, Skyward Sword, and given that I'm a games design student, I thought I would express my thoughts on the game as a whole, and break it down into sections. I'll be considering a number of different questions from a Games Design student's point of view:

 How good was the level design? 

      Were the puzzles challenging?

          Did the mechanics work well? 

                 Were the characters well thought out? 

                         Was the story well written? 

                                  Better designed than previous instalments?

I'll try to keep it as concise as possible, don't you worry. 

ALSO,  SPOILER ALERT. DON'T READ IF YOU DON'T WANT ANYTHING GIVEN AWAY. 

FIRSTLY, I'm a big Legend of Zelda fan, and the excitement I felt when I heard of the new game last year was immense. About time, I thought, and in the end I was not disappointed. Granted, Skyward Sword took a bit of getting used to. The graphics are somewhere in between the likes of Twilight Princess and Wind Waker, which ultimately makes some characters in particular look too cartoon-like compared to others, let's say Fledge compared against Link. The controls are very different, of course, to Twilight Princess if you played that on the Gamecube - yet make more sense when it comes down to it. Once again, though, you have Link the main hero and Zelda, around whom the story revolves. Zelda goes missing from Skyloft to the surface world, and you must find her. Here the story begins, and onwards the plot unfolds and thickens. 

LEVEL design was one of the best things about this instalment. Whereas older instalments were designed with a much more typical structure (Ocarina of Time: run from Temple to Temple collecting medallions), Skyward Sword was designed with much more variety. Each dungeon was a unique location despite the fact there was only Faron Woods, Eldin Volcano and Lanaryu Desert to visit on the surface world. My favourite was the ship. Clever idea, using 'timeshift stones/orbs' to solve puzzles, and it played out like a ship, right down the boss of the 'dungeon'. So maybe you have to revisit each location about three times, but each visit is completely different. Take Eldin Volcano: upon your third return, the volcano erupts and your taken prisoner by the Bokoblins, with most of your equipment stolen. You have to get it all back. 

I was so impressed with the diversity of the level design in this game, from the Fire Sanctuary to the Ship to the Sky Keep. 

PUZZLES in the game were most certainly challenging. While some were similar to those of other instalments, there were definitely new and more difficult puzzles. Using 'timeshift stones' in the Lanaryu Mining Facility was definitely one that makes you think. Of course, there is the usual, like getting across chasms with the claw-shot. The whole idea of puzzles is to challenge the player and add meaning, particularly in a quest game like LoZ. Everything you do is for reason. You don't just hit a switch to open a door. You hit a switch because you need to activate something that will point you to another puzzle to open a door. It was good to see more innovative puzzles in this instalment. Collecting the Tadtones was perhaps one of the most enjoyable for me. 

THEN comes the mechanics. This game probably has the best mechanics out of all of them. The fact that you can upgrade weapons using treasures is a great way to make players explore the world, because you have to find the treasures. The same applies to enhancing potions for better effects. The beetle is a good weapon, allowing you to scout and look around a large area, and to reach far off objects. Although the bow is a recurring item, the mechanics are definitely more interesting - to shoot the bow you actually have to aim with the remote, draw back the nun-chuck as if drawing the string, hold down C and then let go to hit your target. I had great fun with that. A new mechanic is being able to burrow underground with 'Mogma Digging Mitts'. As a summary of mechanics, they are far more interactive from the players point of view (using the wii remote) and Link's point of view (exploration, talking to NPC's in the game. Well designed mechanics. 

YES, the characters were definitely intriguing. By collecting gratitude crystals, you were encouraged to interact with the NPC's to get them. You learned things about people you wouldn't have thought. And one of the biggest character developments is Groose, another student of the Knight Academy who hates Link and has a crush on Zelda. In the end, he grows out of his childish bullying to help the hero, but all the while his feelings for Zelda are real. There are definitely some funny moments with Groose. Another character development is between Cawlin, Karane and Pipit - basically the hero plays matchmaker in a love triangle. In the meantime you learn that Pipit has a bit of a temper.... Even Link seems to have more expression to him in this game, and you see the relationship between him and Zelda later on in the game. Although character design in places is questionable, they all have heart and personality. 

THE story. Now that was a story, in my opinion. This game shows that games and narratives  can work together, as is debated in the book Quests, which I'm currently reading. Skyward Sword is basically the origin story to most other instalments, if not all. The game plays out how the Master Sword came to exist, the rising of the first Hero, the relevance of the green tunic and Zelda's true nature, and basically leads to the becoming of Hyrule. Link embarks on a journey to save Zelda and the world from being consumed by the Demon King. As you progress, you pursue Zelda and enhance the Skyward Sword with the powers of the Goddesses. The whole story is deep, thoughtful and emotional (for me, especially the moment where they are briefly united), and having played through this, everything else makes sense. It all fits together. 

IN a nutshell, yes, Skyward Sword is definitely the best designed game in my opinion. Although it gets a bit repetitive going back to the same places, it never feels the same when you go back each time. And the amount of bosses it feels like you have to battle is crazy - like the Imprisoned. Three times?! Come on! I hated that battle each time. However Skyward Sword is the best game in the series, with the most heart and importance to it.

I could have rambled for much longer, but I certainly made the effort to keep it as compact and easy to read as possible. 

And that's me done trying to apply my experience of Games Design to a game I absolutely loved. If you read to this point, I commend you, and I hope you visit my blog again.

Nachos
x

Escapism

Both art and games are an excellent way of escapism, when it comes down to it. I, for one, am capable of spending hours at a time beating my frustrating at a particularly difficult boss in my favourite game, or in deep concentration creating my next piece of artwork. It helps me to block out the world when I least feel like interacting with it or at my most unsociable moments. Then, given some time, painting something - maybe an out-of-this-world fantasy scene or possibly a fictional creation of my mind engulfing enough to distract my thoughts from an otherwise disheartening, droll day. 

Sometimes it's absolutely necessary to escape from real life for a while, especially when the atmosphere beneath the roof you live is somewhat tense and less than amiable. This, unfortunately, appears to be the case for me and has been over the past eighteen hours. 

I very much need to retreat into my own private world for a little while. So maybe you might see more frequent uploads of art, or maybe none at all if I so choose to immerse myself in video games rather than to take the more artistic route and digitally paint whatever comes to my mind. I'm thinking I'll turn more towards  playing games, especially since I yet have to completely The Legend of Zelda: Skyward Sword. That will certainly keep me busy for hours on end. Of course, games are the kings of procrastination and the bane of productivity - but once in a while productivity can wait in line. After some quiet time. 

Quiet time is good. 

Escapism is something I'm quite adept at, easily able to throw myself mentally out of reality and into a daydream. In a way this is also good for creating a new piece of artwork. The more I daydream, the more ideas that spark strong motivation for a potential piece, ultimately making that piece better quality than it might have been without that random imaginative flare. Take my Winged Wolf in the previous post as an example. I'm not entirely sure where that stemmed from at all, except maybe my love of wolves (those spectacular creatures!). As I've said before, sometimes the less you think about it - when it comes to an initial idea - the better. It gives you so much creative freedom when you get creating and painting, moulding and shaping as you absently built a piece from your mind to paper (in my case a Photoshop canvas). You lose yourself in what you're doing, stroke by stroke, imagining that whatever it may be forming on that blank canvas is real.

Even if you cannot physical evade hardships, you can always indulge yourself in the best thing you can escape to mentally, a haven. For me that's art and that's games. 

Perhaps a somewhat solemn entry, but given the skittishness within these walls, I very much needed to express myself somewhere. Basically I'm probably going to ignore the world for a day or two.

Nachos
xx

Northern Ireland-bound

Yes.

Today at six pm, I set out with my boyfriend and sister to embark on an adventure towards Northern Ireland; Belfast to be more specific. Why, you may ask? 

Well, for one thing, none of us have ever been to Ireland and we've heard pretty stories regarding its scenic beauty. Of course we're aware of the unrest over there in recent times, but we aim to avoid that and simply enjoy our holiday. And that's the plan, plain and simple. We will enjoy our short break away. It will be worth it, no doubt, and it was actually affordable for us students. The downside to a cheap journey is that it is terribly awkward: in twelve hours' time I will be sitting on a coach for twelve hours onwards as we travel from Birmingham to Belfast by coach and ferry. Twelve bloody hours sat down, I think I might die during this time, however as long as the end result is worth it I can deal with that. 

Okay, perhaps I haven't been keeping up to speed with this blog just yet. Unfortunately, I've had a very busy few weeks, and I recounted last night in bed. The past week has been spent replacing the garden fence - which involves eighteen concrete posts and eighteen fence panels and digging in the most awful clay soil you could imagine. Now after you imagine that, place rocks, bricks, concrete and various other crap buried by previous builders rammed down those post holes we attempt to dig. It is soul destroying. 

The week before that a friend of the family visited, and back further still I was at Download Festival as many who have read this blog may already know from my earlier ramblings and squealing about just how fantastic a time I had that weekend. 

Artwork has been posted on here though, rest assured, albeit one portrait. But that portrait has an extensive explanation to it if you choose to look in my rather small archive to the right. Any comments on the both versions of course would be greatly appreciated. 

But, I digress. 

I have many projects planned for the summer duration, and I will complete most of them, if not all of them. The first of which being the second portrait of my Little Fire series, and the second being a scene, recreated from my memory, of one of the best experiences of my life so far. Then, being in Ireland for the best part of a week, I'm sure that will spark even more inspiration for random, one-pieces sooner or later. If not, I am taking my camera with me and my amateur photography skills will most likely make a show here eventually. Who doesn't take photos on holiday? I most certainly do, and I intend to take some photographs worthy of this blog. Yes, I enthuse about photography as well as my specific line of art and design. 

I like to branch out. 

But to make things OH so much better...

I passed first year with flying colours! 

Hurrah!

I achieved 69.5%, averaging my four grades. I was so close! 0.5% off getting a First for the first year of my degree. I think that's good going. The single semester module let me down a tad and I know it, however I know exactly where to improve over the next year. If it wasn't for the Drawing Elective I would be soaring right about now. 

Highest grade: 79% for Historical Contextual Studies. Now that surprised me. But overall, I'm still so happy about these results. My hard work shows, I reckon, despite my shouts and tantrums about how the results of my work never seemed to reflect my efforts. 

And on that high flying note, I will leave you there! Keep a look out for upcoming pictures from Ireland (after I return of course!) and maybe even some digital artwork inspired by the dainty little Ireland. 

Hwyl fawr fy mhobl! 

Nachos x