Trailer Analysis: Halo: Reach

I love the game Halo: Reach, with its overpowering sense of unconquerable evil mixed with an equal feeling of undying fortitude and hope. These two powerful feelings are conveyed in this trailer due to its heavy focus on large silhouettes and areas of high contrasting colors. Alien ships and designs are large, rounded shapes composed with purples and lighter blues while human armor and vehicles have earth tones of browns, greens, and some examples of brighter oranges and yellows to truly stand apart from the aliens they are fighting. They obvious differences between ships and technology isn't the only thing showing these factions at war though, the game trailer starting out with relatively calm establishing scenes showing transportation of troops and armor turns into destructive battle quickly. Even the landscape reflects the harsh effects of these battles, as the trailer plays out, the environment goes from wide open spaces showcasing calm nature, (like the mountains scene involving the helicopters at the beginning) to burning, crowded cities and crashed star ships at the end. This trailer captures the entire campaign in a minute, and showcases all of the centeral emotional feelings that the player should go through by watching the world around them slowly descend into chaos. All the while without saying a word, giving names of anything, (other than the planet: Reach) or giving any major spoilers or deaths.

Comments

Megaman X Tutorial Level Analysis

Megaman X Tutorial Level Analysis Jarod Reizian Frank Anyone whose played a Megaman game before knows how well structured and paced the games are, showing small conflicts and minor threats prior to combining them in crazy scenarios to keep things interesting; while simultaneously testing the player’s ability. In classic Megaman fashion the level layout is designed to introduce small obstacles in controlled environments prior to combining threats in challenging manors. You start out in a flat zone with no enemies, allowing you to push buttons and run around on your own. The first flying enemies you encounter are not only slow, but start their attacks nearly off screen from you, giving you plenty of time to see that not only is stage destruction possible, (their attacks crush bits of the floor out) but also that certain enemies are only able to be hit while jumping. And the two mini-bosses crash down and take you to a chasm environment in which you cant get out using just running ...

Trailer Analysis: Assassin's Creed II

The trailer I will be analyzing is the Assassins Creed 2 E3 trailer. My reasons for picking this as my favorite trailer, along with the one that I am planning on reviewing for in-class purposes are as follows: - Aesthetically beautiful - Builds and alludes to a bigger story while also focusing on the relation of our protagonist with the trailer's one off antagonist. - Actually shows off gameplay mechanics, weapons, and abilities, (such as freerunning and hiring "ladies of the night") in a more cinematic light. - We don't see our protagonist immediately, he is built up as this unseen force and therefore has a much bigger and frightening impact when we first see him tearing open a rich man's throat. - Excellent music and sound design that punctuate each major action of either the protagonist or those he is hunting. - Each shot shows off just a little bit more of the Italian renaissance world to show off the new environment the game's narrat...

Exploring Projectiles- Choosing my ammo

In class we learned about three separate ways to create projectiles in Unreal Engine, Line Tracing, Spawn Projectile, and Spawn Physics actors, each tailored towards different types of weapons/other projectiles. For bullets, lasers and other more instantaneous-esc moment, line tracing proved to be the most effective, as it easily travels the fastest, but wouldn't be as accurate a projectile system as the projectile spawning system. The projectile spawn system is just how it sounds, pre-built with "fake physics" that are less taxing on the game engine, and allow for simplistic additions to how they interact with the game environment, other actors, etc; though it can be difficult to implement true physics with this projectile and the nature of it being pre-built means that once you break it, it becomes difficult to repair. The last actor is more very adaptable, but has to be built from the ground up, the "spawn physics actor" puts any SM through the physics engine...

Jarod's Art Process Blog

Search This Blog