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Silent Hill 2 Remake
Thiết kế lại một thế giới của cơn ác mộng quen thuộc - Silent Hill 2 Remake Phỏng vấn Monika Chmura DevGAMM
Nhà thiết kế cấp độ và chiến đấu tại Bloober Team đã nói với chúng tôi về tất cả những gì đã tạo ra môi trường và bầu không khí được khen ngợi của phiên bản mới nhất của Konami cổ điển, với sự nhấn mạnh đặc biệt vào phần Woodside Apartments.
Phiên âm âm thanh
"Hi friends, we are in misty Gdańsk for the DevGAMM, and I think it can't be more fitting to talk Silent Hill 2 Remake with Monika.
Thank you so much for joining us. Your panel was just finished, you just left the main stage.
So you were talking mostly level design, on the Woodside Apartments part of the game."
"So which would you say is the main lesson you've shared with young developers here?
Well, to be honest, the main lesson for me was kind of the teamwork.
Because you cannot stress that enough how important it is and how important it was, especially in such a project.
Because there was a lot of pressure on us, and we kind of partially added that pressure to ourselves."
"And we didn't want to fail anyone. And within the team, we kind of helped each other and supported each other.
And we were giving feedback beyond our departments.
So we were giving feedback to the departments that you normally are not that much involved in.
But here we work as a whole organism, and I think that was really important."
"Okay, sorry that I missed the panel myself. I wanted to attend. I'm looking forward to playing the remake myself.
I completely loved Shattered Memories back in the day as a remake of the first game.
And now I'm looking forward to playing your remake, guys.
But of course, Woodside Apartments got a big revamp compared to the original."
"So it's more comprehensive, it's more detailed.
Every apartment tries to tell a story. It's got its own narrative, environmental narrative to tell the story and background of the character.
So how did you approach this area to be one of the most revamped areas compared to the original?
Okay, so because we changed the camera perspective, that had a huge impact for every department, obviously, and for level design."
"And it's kind of, well, it is different than the original game.
As you mentioned, it's bigger, more revamped.
But I think that we were able to keep the most important parts and the most important bits that were in the original game kind of intact.
And despite changes in geometry, changes in the layout, they're still there."
"And as for those apartments that you mentioned, it's not necessarily connected to the characters themselves.
It's more like a level design feature.
So it would help players with orienting themselves because we have a map and it's kind of a big thing in our game.
It's one of the crucial mechanics."
"Although it doesn't necessarily mean that players should look at it all the time.
So we needed to have proper environmental storytelling that would help you orient yourself on the map.
And of course, this area is also important because you meet several characters for the first time.
So you have your first encounter with Pyramid Head, which is one of the main villains of this world."
"You could say so. It's pretty famous, even for people who haven't played or haven't even watched the movies or whatever.
So how did you approach that specific encounter?
And the fact that there's this great nod that when you're done and you go back, then the world turns into the reception once again.
So how do you approach this specific aspect?
So as you mentioned, the Pyramid Head is quite, I would call it a pop cultural phenomenon right now."
"Because we changed the geometry and long corridors are not necessarily working well in a third person camera.
So we decided to break them a little bit.
But for that specific part, we needed a long, straight corridor that has a lot of darkness.
So we kind of struggled a little bit to find the right spot because we wanted that moment to be really elevated, to have proper build up for it."
"That has proper lighting.
And so you can feel that power that comes from this character.
And also it connects to the other events.
So when you pick up the gun, then you hear the scream and you find a dead body in the apartment that you previously visited."
"With the bullets.
Yeah, exactly.
And then the Pyramid Head disappears.
So it was crucial to keep that flow intact and this chain of events the same way as it was in the original game."
"Because we felt that it corresponds strongly with building the character of Pyramid Head.
Of course, you've mentioned darkness.
Darkness is very important in the remake because of course it's much more realistic graphics.
The lighting system is much more complex, much more modern compared to the original."
"And you go very, very dark here.
So how would you say the game purposefully being so dark affected what you can do in terms of level design?
Both for the better or for the worse?
Well, to be honest, I think for the better."
"Because lighting serves mostly to build the right atmosphere.
And we are doing a horror game after all.
So it's really important to have that feeling of dread that you can experience as a player.
And as for its influence to the level design, well, it has obviously some."
"But I don't see it as an obstacle.
It's rather something that builds the whole picture.
So the darkness is a part of level design for Silent Hill.
What about puzzles?
What can you tell me about puzzles?
Puzzles are both part of smaller game design but also sometimes are part of bigger level design."
"So how did you work with puzzles to feel familiar but also to work with the new modern level design and the new modern survival horror genre?
So we had kind of pretty strong source material on that field.
Because puzzles in Silent Hill 2 are amazing.
So we definitely wanted to keep them."
"And the only changes that we introduced were dictated by trying to telegraph certain things more, especially for the people that didn't have a chance to play this game when it's released.
And with other puzzles, it kind of was dictated by us changing the scope of the entire game.
So we had more spaces to fill with gameplay elements."
"And we wanted for the, let's say, smaller puzzles to kind of be this brick in a wall to correspond with everything that we wanted for those main puzzles in the game.
Coming back to characters, we also have two other characters showing up in this area, which are Eddie and Laura.
So again, looking back at the original source material, how did you sort of design their coming back into the remake?
Well, frankly, we didn't want to change anything because the introduction for both is just great."
"And it's really a big part of those characters' story.
So it's more of finding the right place to do it with the right spacing between each event.
So it was more of a level design thing to secure that spacing.
Because events themselves kind of are already there."
"Now that you mentioned this, sort of respecting the source material, is that true that Ito-san wanted to change a lot of things and you really wanted to keep the original things?
Or was there any type of different balance to it?
Okay, so to be honest, I think that it's my personal..."
"The biggest take for me was kind of seeing how this amazing artist Ito-san works on several things.
Because he's like, literally, he's amazing.
And he has amazing art skills.
He has amazing thinking of visual thinking."
"And I don't see, you know, we didn't have...
We all worked on the same vision, on the same game.
So we're on the same boat.
And I think that he was like, literally, this big part of the project."
"So I don't see any differences here.
We were all speaking the same language.
We were on the same page.
That's beautiful.
We were kind of..."
"We were exploring certain aspects of visuals.
Well, it's not my story to tell.
It's more of how our creative director talked with Ito-san.
But from my standpoint, that was one of the biggest peaks in my career."
"To have an opportunity to see how such an amazing person works.
That's beautiful.
Okay, and also, I've read your profile.
And you started with game design."
"Then you moved on to level design.
And now you're also experimenting with combat design.
Can't you stay still at all?
What can you tell me about that progression?
And what sets your interest as of late?
Okay, so..."
"Well, at first I was working in a small indie studio.
So it's kind of common things.
What way of doing things to have game designers that do also level design.
Although level design is something that I love."
"And I feel that I can put the most there.
Because I kind of feel that field.
So that's why it was my main focus for most of my career.
But now with the combat design, it was kind of accidental at first."
"But I started to be deeply interested in AI design.
And I was doing a lot of things for Silent Hill 2.
There was opportunity there to develop on that field.
And I just said, why not?
And now it's kind of a new challenge for me."
"Because I learned a lot of things during the Silent Hill 2 production.
And I feel that this whole knowledge combined through those years.
Can hopefully serve to the best on that new position that I now have.
And of course we're in Poland."
"So I have to ask you what it is like to work with Bloober Team.
Well, I've been there for over six years.
So I think it says a little bit for itself.
As I mentioned, you asked me what was the important takeaway for my job."
"And I couldn't feel more in the right place, in the right time.
That's fantastic.
I really love the atmosphere in the company.
And we are really supporting each other."
"We are amazing people and very talented ones.
No one is judging.
There is no need to be cautious because you don't know something.
You can be very open."
"You can learn from others.
It's a very open and inclusive atmosphere.
It is as misty as it is here in Gdansk?
Sort of.
Although my friend who is from Gdansk and lived for several years in Krakow said that Gdansk has worse weather than Krakow."
"But I cannot speak from my experience.
All right.
Closing one.
And I don't want to get you into complicated territory.
But we got the announcement the other day that Bloober Team is going to work with another game for Konami."
"For a Konami IP.
So my question is, is that Konami IP Pro Evolution Soccer or Contra?
Okay.
So in Polish, when we cannot comment, we say like Tomato."
"Tomato?
Really?
You have to say that in English and in Spanish as well.
So yeah.
I will say tomato as my answer."
"Tomato to me?
Okay.
As an answer to your question.
Okay.
Thank you so much for your time, Monika."
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