Entertainment

How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

When we talk to Saleem Dabbous and Kyle McKernan, creative directors of Goodbye Volcano High, we ask the obvious question: why dinosaurs? ” Yes. Who doesn’t love dinosaurs? Dabbed smiles. As unusual as they are, the dinosaurs have been around since the very beginning of a long pre-production process.

“We wanted a world that reflected us but was also our thing, and made fun references to non-humanistic elements. […] We also wanted to do something different that humans have never seen and where dinosaurs make a lot of sense. “We also thought there was a really strong narrative hook with the dinosaurs because… I guess everyone knows what happened to the dinosaurs, right?” Dabbous said. McKernan jokes, “Wait, what happened to them?” It seems a bit late to give you a spoiler alert…

McKernan tells us, “Aesthetically, I think Lucie, our art director and character designer, got it right away. [Viatgé] it will be possible […] take it in really cool and colorful directions and make it into something really cool. And as soon as we started seeing the character designs, we were like, ‘Okay, yeah, we really have to go after this,’ because it felt like something that we wanted to do was complete and well understood. .

Like TV shows like Bojack Horseman and Tuca And Bertie, the KO_OP team clearly takes artistic liberties. “[Those shows] Don’t try to stick to anything that’s scientifically correct,” says Dabbous, “and it lets you choose what you want and do it yourself. Taking dinosaurs and making them ours is something I’ve always wanted to do.”

life stamp

Goodbye Volkan High

OPM

“Honestly, I feel good about it,” he says. “I don’t think our story is like Life is Strange, but that’s not a bad thing. I guess such comparisons don’t bother me at all. They are often touchstones for people to build a mental model of what something is.

Goodbye Volcano High differs from other games by having no movement mechanics. “What we’re really taking away are things like voice systems in BioWare games like Mass Effect or Dragon Age – imagine that spanning a whole game and then there’s another layer of interaction on top of that. . [through] cinematic mini-games or interactions with sound and other elements that we will discover over time.

Dabbous later adds, “We actually wanted to do something that almost felt like you were directing a narrative. you are part of [what is] almost like an animated film.

Goodbye Volkan High

A big project for a team of ten people. “[We started] to realize, ‘Oh, we’re basically going to animate an entire TV series. And we will do all the art for it. We have to write every chapter. We have to put the whole voiceover and everything together. It takes a lot of work to do all of this, but it’s really exciting because every new piece of art that arrives is every person we talk to. [about] the in-game voiceover… it gets a lot more exciting and it gets a lot more real.

“On all the other platforms where this game may or may not come, there will be a lot of work to do to get the game to work the way we want it to – on PS5 it might be a little easy,” Dabbous said. Earlier, “what’s really good about development for PS5 is that our game is 2D, despite the fact that there are still too many memory constraints,” he said.

“And we do a lot of visual lighting effects and things that work in real time, if we do it right the player should never realize that’s happening. […] Like us [want to] Possibility of panning, zooming or certain camera movements, i.e. our resolutions and textures […] They all have to be massive to look good in 4K. And what’s really cool about doing that on PS5 is that we don’t worry too much about technical constraints on memory, resolution size, etc., which allows us to really focus on creating the best possible art.”

high school rumble

Goodbye Volkan High

Saleem Dabous

Dabbulous is also enthusiastic about the DualSense controller, saying, “Haptics have been around for a very long time. […] And I feel like this drum that I keep playing and [haptics] it was so important and so precious that no one seems to talk about it in any meaningful way. It’s like ‘Oh, vibration, roar, whatever!’ something like that.”

McKernan agrees: “The first thing that comes to mind is some kind of gun feedback or something. It’s like, ‘Oh, I’m shooting a machine gun and it comes to my fingers.’ But when we first talked to Sony about this concept, yeah, we did something, and it felt like we could put you more in that character’s shoes if he was having trouble finding him and that you really had to work for it, just like you would in real life.

“Having things like a resilient or adaptive trigger that can change its feeling…like a controller that changes its feeling based on a character’s emotional state… […] this seems like a very exciting tool in terms of design […] And as game designers, I think it’s an incredibly fun and exciting experience to create new emotions for players. We can feel it ourselves in 2021.


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How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

Talking with Goodbye Volcano High’s co-creative directors Saleem Dabbous and Kyle McKernan, we ask the obvious question: why dinosaurs? “Yeah. I mean, who doesn’t love dinosaurs?” Dabbous grins. As unusual as they are, the dinosaurs were there from the very beginning of a lengthy pre-production process. 
“We wanted a world that reflected our own but also was its own thing and had fun references to non-humanistic elements […] We also just wanted to make something different, something that people hadn’t seen and dinosaurs made a lot of sense.” Dabbous adds, “We also thought that there was a very strong narrative hook with dinosaurs because… I think everyone knows what happened to the dinosaurs, right?” McKernan jokes, “Wait, what happened to them?” It seems a bit late to give you a spoiler warning… 
McKernan tells us, “Aesthetically, I think we knew immediately that our art director and character designer, Lucie [Viatgé] would be able to […] take it in some really cool, colourful directions and make something really beautiful out of it. And as soon as we started seeing the character designs, we were like, ‘Okay, yeah, we really need to start pursuing this,’ because it just felt like such a complete, well-realised thing that we wanted to make.” 
Like television shows such as Bojack Horseman and Tuca And Bertie, the KO_OP team obviously take artistic liberties. “[Those shows] don’t try to stick to anything that’s scientifically accurate, obviously,” says Dabbous, “and that lets you pick and choose what you want from this thing and make it your own. To be able to take dinosaurs and make it our own is just such a cool thing that I’ve always wanted to do.” 
Life is scaly

“I feel fine about that, honestly,” he says, adding, “I think our story is nothing like Life is Strange, but that’s not a bad thing. I think comparisons like that never bother me. They’re just generally touchstones for people to kind of build a mental model of what something is.” 
Goodbye Volcano High also differentiates itself from other games by having no movement mechanics whatsoever. “What we’re really drawing from are things like the conversation systems in BioWare games like Mass Effect or Dragon Age – imagine that expanded across an entire game and then having another layer of interaction on top of that [through] cinematic minigames or interactions with audio and other bits that we will be revealing over time.” 
Dabbous later adds, “Essentially we really wanted to make something where you felt like you were almost directing a narrative. You’re part of [what is] almost like an animated film.”

It’s a huge undertaking for a team of about ten people. “[We started] to realise, ‘Oh, we’re gonna basically be animating an entire TV series. And we’re gonna be doing all the art for that. We have to write every episode. We have to put together all the voice acting and everything. It’s taking a lot of work to get all that done, but it’s really exciting because every new piece of art that comes in, every person we talked to [about] voice acting on the game… it just gets so much more exciting and becomes so much more real.” 
“All the other platforms that this game may or may not come to will have a lot of work that will have to be done to make the game run the way we want it to – while on PS5, it can just kind of happen easily,” Dabbous tells us. He had earlier said, “What’s been really nice about developing for PS5 is that, even though our game is 2D, there’s still a lot of memory constraints.”
“And we’re doing a lot of visual lighting effects and things that are running in real time that, if we pull it off right, the player should never even notice is happening […] we also [want to] be able to pan or zoom or do some camera movements, which means our resolutions and our textures […] have to be at a ginormous size for that to all look perfect at 4K. And so what’s really nice about doing that work on the PS5 is that we’re really not super-worried about technical constraints on memory and resolution size and things like that, so that lets us really focus on making the best possible art.” 
High school rumble

Saleem Dabbous

Dabbuous is also enthusiastic about the DualSense controller, “Haptics have been around for so long […] And I feel like it’s this drum that I keep on beating on and [haptics] have like been so important, and so valuable and like, nobody seems to actually talk about it in any meaningful way. It’s just like, ‘Oh, vibration, rumble, whatever!’” 
McKernan agrees, “The first thing that comes to mind is some sort of like weaponry feedback or something. Like, ‘Oh, I’m firing a machine gun and it’s kicking back on my fingers.’ But when we first spoke to Sony about that concept, it just clicked with us to be like, yeah, we could totally put you more in the shoes of this character if they’re having trouble getting something out and you really have to work for it just like you would in real life.” 
Dabbous elaborates, “Having things like a resistive or adaptive trigger that can change its feel… like, a controller that changes its feel based on a character’s emotional state […] that is like just such an exciting tool from a design perspective […] And I just think that, as game designers, that’s just an incredibly fun and exciting experience to create new feelings for players.” We’ll be able to feel it for ourselves in 2021.
Looking for the latest information on the PS5 and PS4? Then you’ll want to subscribe to Official PlayStation Magazine to get it delivered straight to your doorstep, and check out Magazines Direct for all of the latest offers. 

#Goodbye #Volcano #High #shaping #nextgeneration #adventure #games #PS5

How Goodbye Volcano High is shaping the next-generation of adventure games on PS5

Talking with Goodbye Volcano High’s co-creative directors Saleem Dabbous and Kyle McKernan, we ask the obvious question: why dinosaurs? “Yeah. I mean, who doesn’t love dinosaurs?” Dabbous grins. As unusual as they are, the dinosaurs were there from the very beginning of a lengthy pre-production process. 
“We wanted a world that reflected our own but also was its own thing and had fun references to non-humanistic elements […] We also just wanted to make something different, something that people hadn’t seen and dinosaurs made a lot of sense.” Dabbous adds, “We also thought that there was a very strong narrative hook with dinosaurs because… I think everyone knows what happened to the dinosaurs, right?” McKernan jokes, “Wait, what happened to them?” It seems a bit late to give you a spoiler warning… 
McKernan tells us, “Aesthetically, I think we knew immediately that our art director and character designer, Lucie [Viatgé] would be able to […] take it in some really cool, colourful directions and make something really beautiful out of it. And as soon as we started seeing the character designs, we were like, ‘Okay, yeah, we really need to start pursuing this,’ because it just felt like such a complete, well-realised thing that we wanted to make.” 
Like television shows such as Bojack Horseman and Tuca And Bertie, the KO_OP team obviously take artistic liberties. “[Those shows] don’t try to stick to anything that’s scientifically accurate, obviously,” says Dabbous, “and that lets you pick and choose what you want from this thing and make it your own. To be able to take dinosaurs and make it our own is just such a cool thing that I’ve always wanted to do.” 
Life is scaly

“I feel fine about that, honestly,” he says, adding, “I think our story is nothing like Life is Strange, but that’s not a bad thing. I think comparisons like that never bother me. They’re just generally touchstones for people to kind of build a mental model of what something is.” 
Goodbye Volcano High also differentiates itself from other games by having no movement mechanics whatsoever. “What we’re really drawing from are things like the conversation systems in BioWare games like Mass Effect or Dragon Age – imagine that expanded across an entire game and then having another layer of interaction on top of that [through] cinematic minigames or interactions with audio and other bits that we will be revealing over time.” 
Dabbous later adds, “Essentially we really wanted to make something where you felt like you were almost directing a narrative. You’re part of [what is] almost like an animated film.”

It’s a huge undertaking for a team of about ten people. “[We started] to realise, ‘Oh, we’re gonna basically be animating an entire TV series. And we’re gonna be doing all the art for that. We have to write every episode. We have to put together all the voice acting and everything. It’s taking a lot of work to get all that done, but it’s really exciting because every new piece of art that comes in, every person we talked to [about] voice acting on the game… it just gets so much more exciting and becomes so much more real.” 
“All the other platforms that this game may or may not come to will have a lot of work that will have to be done to make the game run the way we want it to – while on PS5, it can just kind of happen easily,” Dabbous tells us. He had earlier said, “What’s been really nice about developing for PS5 is that, even though our game is 2D, there’s still a lot of memory constraints.”
“And we’re doing a lot of visual lighting effects and things that are running in real time that, if we pull it off right, the player should never even notice is happening […] we also [want to] be able to pan or zoom or do some camera movements, which means our resolutions and our textures […] have to be at a ginormous size for that to all look perfect at 4K. And so what’s really nice about doing that work on the PS5 is that we’re really not super-worried about technical constraints on memory and resolution size and things like that, so that lets us really focus on making the best possible art.” 
High school rumble

Saleem Dabbous

Dabbuous is also enthusiastic about the DualSense controller, “Haptics have been around for so long […] And I feel like it’s this drum that I keep on beating on and [haptics] have like been so important, and so valuable and like, nobody seems to actually talk about it in any meaningful way. It’s just like, ‘Oh, vibration, rumble, whatever!’” 
McKernan agrees, “The first thing that comes to mind is some sort of like weaponry feedback or something. Like, ‘Oh, I’m firing a machine gun and it’s kicking back on my fingers.’ But when we first spoke to Sony about that concept, it just clicked with us to be like, yeah, we could totally put you more in the shoes of this character if they’re having trouble getting something out and you really have to work for it just like you would in real life.” 
Dabbous elaborates, “Having things like a resistive or adaptive trigger that can change its feel… like, a controller that changes its feel based on a character’s emotional state […] that is like just such an exciting tool from a design perspective […] And I just think that, as game designers, that’s just an incredibly fun and exciting experience to create new feelings for players.” We’ll be able to feel it for ourselves in 2021.
Looking for the latest information on the PS5 and PS4? Then you’ll want to subscribe to Official PlayStation Magazine to get it delivered straight to your doorstep, and check out Magazines Direct for all of the latest offers. 

#Goodbye #Volcano #High #shaping #nextgeneration #adventure #games #PS5


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