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| gabriel, kid, run, mirror, stories, laweight loss, basco, fatchicks in party hats, throttle, lewinsky, steve, blogging, wrath, rpg's, buka, milo, her, 3, dos, delta, console, line, knight, tail, | I've worked four years in designing Rhem. How did the design process unfold? 1. danger First draft of the game danger (basic ideas) 2. Exact blueprint with all buildings, pathways, and puzzles. 3. Designing the 3D world. 4. Designing the textures. 4. Rendering all possible views and movies. 5. Revising all images. 6. Designing the basics of the programming structure (authoring tool). 7. danger Designing the sounds. 8. Assembling images, sounds and puzzles in the authoring tool. 9. Test, test, test. In reality it's a very complex process of interweaving and overlap. Where did you get your ideas for the visuals in the game? There are some memories of old industrial building in my hometown, Leipzig. Some visuals developed during the making of the game. The landscape of Rhem reminds me of a landscape I have seen in a book about Australia. What was your reasoning in not including a soundtrack in Rhem? |
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| You see in knight the pushing process double objects and breaks. An example of the match of visual-virtual situation and the "what you can do"—in some adventure games you find situations like this: You stay on a path beside a meadow or other passable area, but you can't go on it. There is no railing, no rift, no water, but still you can't go. In Rhem I wanted to knight prevent this breaking asunder of visual situation and the possibilities of your own action. It was also important for me to avoid cinema elements, knight which contradict the idea of interactivity. For example, in the intro of Myst 3: Exile, as Saavedro throws the fireball, the camera (the view of the gamer) moves around. The gamer doesn't turn, but the camera moves. This kind of moments contradicts (in my opinion) the idea of an active gamer. How long did it take to make Rhem? |
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