Mirror's Edge Catalyst: Evolving and Creating a Style

[Music] okay hi my name is Johnny junked adulterated ice and I'm here today to talk you through a journey I was to make a start as edge Starla's game like mirrors edge and everything from an idea to help us conceptualize and how we done it crated and refined to start and then how them ended up in the game so it's not going to be technically talking anyway it's gonna be purely focus on the aesthetics and the design process around this and how we were thinking about making the universe and if you want to know more about the technical aspect then you can listen to five and Christine's presentation he held earlier this year in San Francisco so first short about me than I've been now in gaming industry for 15 16 years and actually most of those years have been here at ice so great company can highly recommend it I guess I've been doing the most things you can do as an artist I start as a 3d

modeler and actually the first game I'd made was a game called legacy and Rosman held that was a horse game for ten-year-old girls and don't ask me why we did that one but I was a game actually the first game made for dice was a game called Shrek it was down to the Gamecube um few young people here maybe don't know where a Gamecube is but let's suppose a console existed a long time ago and actually that that game actually scored three out of ten by IGN so maybe not my proudest moment in life but at least now it gave me a chance to work with games I was getting understand it for how it is to work written it gives me some really nice no I just wanted to learn more about it so no I learned a level art and then moved on to the effects did the lighting character art then became lead artist on bad company to Vietnam and then after that

or director on Medal of Honor some battlefield expansion packs and now or director on Mirage catalyst so that's on my journey so feels quickly can raise your hands I mean you actually played the first me research game okay great and I mean if you have played in the research catalyst okay great so actually I can see that you already know a little bit about this universe already but let's just do a really quick recap and so the first message came out in 2008 and it was quite a chronic quite distinct you know with a white city and bold use of accent colors it was the first person parkour game we have we focus on the movement and that game were actually done in unreal and there did pre-baked the light maps which should help to create this really really interesting and stylish game in terms of light bouncing color bleeds but that was

a man that you know their level was gonna be static and their level design approach was more directed it was more linear as well whereas what we wanted to do with me research catalyst was there in the window damn together Dogen sends his best enjoy your freedom faith counters wherever I turn anymore [Music] the only language to win your kind speech it's destructuring it's good to have you back girl [Applause] I heard some runner got out of juvie today what are you gonna do next we're gonna run [Music]

I'm gonna send out your message to Kruger and you'll have to shoot me too come on girl [Music] see the song [Music] what is that that is your future so as you can see research capitalists came out in June in 2016 and also down in

frostbite in our own engine so this was actually reboot you know we want to read telophase origin story wanted you to give his sons chance do not know more about faith than her friends and his universe and was that we wanted to create a more immersive storytelling and that's why we moved away from 2d cutsies and then we made ingame renders instead and we also want to give you the freedom of choice and the female choice of traversing the space the way we wanted to you had to do and your cell phone and its massive city so that's we open up to city much more for you as a player and we also wanted to create sit there was dynamic and full of life that's why we investigated Laura technology and time in developing the Samba day systems crowds traffic LMS anything this will help us make in this city feel very rich and very vibrant so that meant that you know we couldn't and pre back the light map Stafford did in the first game so even if you want to turn we couldn't

just no recreate they look from the original game that's why you know we had to do is something different so we knew from day one that this game was gonna be different then I had to service tablished not the what from a visual perspective but what's gonna be different or why they know how she will think about we were creating this universe and what we desired go for was to create a very distinct style and tone and in style and tone was solo gonna be affecting everything we do fan art animation design and this was sort of being you know the glue for this experience and I guess series was the first lesson I learned that is when you are working with a solid game it's really important you create very simple clear design rules define strong keywords you know you stand over and over again on a team it was all about you know exposing them to images and mood boards anything this all affected nor decide and the vibe that you were going for he has you know filled their visual areas with these images because essentially I just wanted

the teams were live and breathe you know this disturbance on and the key was we decided to use for our cell and so on I was believable he was elegant and it was acted [Music] [Music]

so ordered to create a believable world a world that the player can accept again or later so he was just immersed in such an in the fiction and in the story so it was an important for us to grounder in something the play can recognize otherwise you know we would risk a great incentive it feels real or artificial and what do you think about it now it would be impossible to keep a white

world white the whole time because the forces of nature of pollution mankind all of these things would affect it in some way that's why in order to keep it real we'll have to make sure that who did add some wear and tear in there you need to use different tones of whites and also we have to have a great understanding of materials reacts to light that's why we know people are helped us a lot another fiction is also taking place somewhere in the near future so even though this world was gonna feel fit eristic it was still important that he felt recognizable so he's gonna be a high-tech world but we didn't want to push it so far so we can something that was sci-fi and that's why I used this quote to sort of reinforce that and I was something Steven Spielberg said when he created his fiction for a Minority Report that too was something I was taking place in the near future and he said you don't have to reinvent society in order to portray society and that was exactly the mindset I want to ascribe where you create in this fiction and this universe you don't have to reinvent

and redesign everything in order to make it feel like a stylized me research game I was really important for everyone to understand as already raised us between believability and futuristic sort of 70/30 so that meant that you know 70% that we create becomes base or precedent today neviah supplied the other 30% it's gonna make it feel like a stylist research game it was want to create an elegant world in the world that is bright pristine and exclusive this is like a world take it to a perfection so elegant France means is white names to beware you know all the details and all done is there noise to take away know the grace the Browns and the dirt so by default no our game is gonna feel elegant it is gonna feel the mighty and well against four means us as well its minimalist me and I'm pretty sure all of you heard expression less is more and if

any game would follow that you know this would be that game was you don't understand you know this society it's all about control and at the conglomerate you know controlling the media the broadcast its cameras aware they tell you what to eat what to wear how to behave and for me I mean a mystic arch Italian reflects that sense of control was about to controlling your design control in space removing all done in steroids yes you know focus on the core your design and don't hide the flaws but in more and more detail in there like you do in other games and by removing all this unnecessary noise as we're going to make something the feels very exclusive and very expensive would you think look at the battle for instance look as simple and clean that is and the only concentration of detail is around that logo then that makes that Louis turned out and read as important and as it sectors can happen everything we put in our game everything is going to read

everything is gonna stand out and that's what is so important that if you play something in there it needs to be there for reason in each time a purpose I also wanted to create a world with attitude and will add to the means for us this contrast learning from open to enclosed not large to small want to call etcetera as were wanting to use the attitude to balance back some of the elegance which everything is going to be elegant white and pristine and exclusive then you would grace co-creating something that feels really artificial more like a dream world and they will break the believable group an athlete Francis was an angular so you can see that we use a lot of angular cuts and force and lies in everything from chaotic character design architecture and even on faith for instance an attitude for us this was about being confident you have to

understand you know these people this society is all about climbing the corporate ladder is about betraying us up that somebody's successful and strong and I was recreated certain manner so you know the way you would talk and more move would have some sort of sense of control in it but you still have to make sure that was relaxed and natural because we didn't want to have was something of a clumsy or tense yes over exaggerated fidelity will break the elegant rule in conference for you as an artist you know being confident in your design is about controlling your shapes controlling the details and their to be bold and they are to stay minimalistic no don't clutter your space just because you feel that it feels like it's empty always remember less is more so be the what you know what we want this universe to feel like and what we want you to think about me you're designing it then the how how is this interpreted how is

this translate that into something that we can use and no base this Universal and that's where the concept discovery start so now it's about you know interpret in style understanding the universe in standard the characters Noah sought to look at references and how to use that your involuntary creating this universe and this was like a really long journey for us thunder in the beginning i kept it fairly open nothing is important in a way in designing something especially that early that you really push it too far then we feel that okay now is too far let's finish thought about it back don't do like small intricate steps or in designing something new i think that's really important to remember and you can see here in hobby store a lot of architectural details of the shapes and for softness diagonalized patristic and so on in this year now we try different occasions like no city even like how it would waste our look Le'Veon in the research world and this

was a opportunity for me as an art director to see you know how would the artist interpreting his styling and tone what happens you already become Stalag and believable and futuristic another thing is important to sometimes to stop and start questioning yourself and question your design like and Oscar said look why does it look like that but sometimes you know we tend to shake tend to create shapes and forms just for the sake of creating shapes and forms they enter in the wrong way it is not loose on somebody function a little bit and the believability in his place hmm it's noise when you're done to find what you like but more important we don't like and why and when you know that why that's when you can start creating guidelines a rule since around that that's why you know concert discovery is so important are necessary for you to go through and at the same time you're doing this you know we would explore things in a game as well you know everything from shapes and forms same things so well terms of his images lots

of interesting spaces but still felt that it wasn't grounded enough it felt a little bit too experimental it's hard to sort of define what it is we actually are doing and that's why I think I learned my second lesson here was that by keeping it to open to interpretation it was really hard to define something concrete something that would say you know this isn't uni research side and that's why Israel had to stop stop and analyze get a better understanding of the translate not interpret his style and here is also where I felt that you know I had to narrow it down a bit I needed to give us something more concrete to base this on that's when I took the team to Tokyo so we needed to give us a chance to experience something different than something here and for you haven't been in Tokyo I would really recommend it to go there because it's really interested in space with architecture and

infrastructure even the culture is very different from from Europe and the West and the reason why I chose talking was because you look at this image here to the left you can see the smaller scale buildings no cluster against the large master contemporary structure that for me is Erick recognized symbol is for how this society functions which others is strong the powerful conglomerate traveling about the small the rest of the mass so visually this was like a nice echo you know all the society and you can see as well the Toki has a lot of contrast in terms of large and small and but also from all the new you can walk along like it is really nice fast commercial discreet and all the building for sales in structure in there which really DEET and knives and polished and clean but soon use that in a little bit then was really old indirect and badly maintained and I really like that contrast and talk yourselves at all

organic and unsymmetrical architecture you can see here you know it is very playful the way to use the shapes on the force so felt that you know if we know how to look at this and analyzes and you know take away the or all the things that we don't need that we this would give us a really strong foundation and creating something very distinctly unique of course you know we took tons of these images on facades rooftops a pattern anything is that we help us visualize at this new style so now we have all of these references but what would be the difference now versus before was you know before we did do the concert discovery we did use tons of references there as well big difference now what's okay now we said let's narrow it down let's you know let's hook it be our foundation let base it on that and then we apply it into the right 30% top of that and also now I actually wanted to show people how they

could interpret references and how they can use that to their advantage when a dollar designing the research with what was about you know making people understand and and I appreciate the shapes in the form in his face especially talk in this case I remembered that you know you don't have to redesign and reinvent everything in order to make it look like my research and it was important to show them that you know you don't funky stuck in a detail especially not that early in the process we were but when you can't see past the theater and you can't see past the noise just analyze the space itself and look at the big structure in the big reforms maybe not really see that like I said before not take away the dirt noise and all the unnecessary detail make it white then you're gonna have something this feasible elegant so you can see that you know if we wanted to be casually as copy talk it won't work but for me that is me research world but of

course you know we have to push it further than this because you know yeah you needed to give it a little more edge to it but still though it was important to show the people that you know you don't have to reinvent and redesign everything you do because Tokyo has so much things to offer for us already as it is which we can see past holidays and all the noise just look at an image for your shapes and all that functions you can actually see you know that what a building really is it's just a containment for the details so now the distance the search is gonna make the space look interesting if you want to have an interest in space do you need to think about the big picture need to think about composition and if those two are not strong enough and doesn't matter how much data you will throw in there is that still gonna make the space look weak because if you think that you know you can create an interest in space by throwing a lot of detail needs to integrate other games for doing it here

is the way we should think about this like take very as much as you can and still make it look interesting but if you look at this image is analyze it you can see that this image actually kind of flat you can see like the billionaire's the building blueprints almost the same size and the silhouette is actually cannot know everything's sort of feel the same so sure yes telling us yes the believability doesn't had attitude you never had a contrast I remember I said before about Tokyo and the other large contemporary structures they are the smaller structures just next to it what happens you know if you would throw some of that in there what does that do it to your space and only here you know you can start to see the Crescent draw my some tension between large and small and was about no telling a story with your space not just you know randomly throw Dita's in there in order to try to make it feel interesting there was the new style

meaning and everything needs to have a purpose behind it for instance you know the story here Caribbean from new to old you can see I kept like the more dead cleaner structures close to the camera that goes will be you know only way to may be commercialized fancy area then I kept entry image the small intricate details that go sort of beyond wave maybe to an older residential space so there we will have this journey for the players to go through a modern clean something that's going to get dirty and old and to residential space that would be like a nice journey for a player to experience and then you can turn a big structure in the middle to a landmark cover that will help you really readability our navigation so you can see I really that you know you very little effort you can actually create the very entrance space without have to redesign everything you marry or understand you know take away the noise take away the detail add back the right

30% they're gonna have something diffuse very stylish very interest so we did these concepts as to show their artists and remember the quote you know don't reinvent society in order to portray society no you don't have to reinvent and redesign everything you do in order to make you feel interesting and there's edge as you can see you know our world has so much to offer there's a matter but you understand you know take away the detail take away the noise now that back to right 30% they're gonna have something to face very interesting for instance what happens you know we change up the rooftop month here not on here what is that to their experience or you know how much teaser can you strip away before you start loosing the believability in space or weapons you throwing some candle in there what is that to it or when you push it really for maybe create like a fancy rooftop or a restaurant out there and

for me I read believe it believable I see you know how the big structures or supporter and relate to each other Agassi you know they're part the pristine elegance not gonna means he's not still in there let's install in town now we are the keywords and obviously showed you how you can interpret references and how you can use them to your advantage we are designing something and then now that let's see what that happens we applied it on your concepts and then in something are actually used in the game so now you are very context and if you don't know your city is called city glass and we want to each and every district in in city loves to have his own signature in terms of atmospheric colors and their life and even the or escape would change so depending on where you are in the districts so you

like look like in downtown for instance and the whole idea Downton is does Downton is this hip and cool place is very loud is very busy this is gonna be like you know the heartbeat of of glass and architecture language for downtown would be organic so we wanted to use learn our own anger streets you can see we worked with a lot of intricate ethos Aradia shapes just to create some nice tool in silhouettes and we also need Alton to feel retrofitted and remember I said about Tokyo you know like you would have like four say it's facing important commercial streets look pretty nice and pristine a very exclusive but as soon as you get on the rooftops and in the back alleys those gonna look less maintained and darkly I also want to work with a lot of contrast in in Delta saying well again like Tokyo medium small scale buildings just against large massive contemporary ones anything select great so nice tension in space and we also

wanted out them to feel a little bit older it was what I wanted to give it some more history that's why here you know you would see more wear and tear I hope you can see there because sometimes is hard to see because of all the whiteness I mean yeah you can see you know if we wanted to use at all into the theaters and noise just to create an interesting space and the reason behind that it's because I remember everything is the reason the reason behind that is that you know their society and doesn't really care about maintaining these rooftops because the citizens they're not supposed to be up here anyway they should you know be out and the food goes into factories and working hard or you know down on the street spending their money that's what he does leave this as it is but this is faith song and his Russia knows so you can sort of see you know that this beautiful picture a society is trying to paint you just false it's literally just a facade and of

course you know the people who lives on high repair meters or reflect this kind of vibe so we wanted to keep downtown quite busy and quite noisy our theatres you see we use some exposed machineries cameras and stuff then to contrast that we would have anchor and all of the anchor here is that you know these rooftops you should almost feel like you are supposed to be on them does we want to feel very nice and clean and and reflective and all that they will anchor is that you know here you would come to do some expensive exclusive shopping and go to fancy rooftop Bars so and only like the selected elite are allowed entrance into anchor so if you are an anchor then you need a lot of money and architecture language for anchor would be vertical so when it's great you know believable space is very high up perceived when I was a Morrison's wait no towering about it

and was all about making anchored field very exclusive so use clean and simple forms a lot of vertical lines and concealed or reflective expensive materials anything so I'll make anchor field very expensive and very pristine and of course not the people who lives in this area needs to reflect that kind of vibe so you become you know to anchor to spend money and enjoy yourself and go to clubs than to contrast that we would have the view and all other is view years is to make it feel very soft and very inviting and the view is my manager considered to be like the fun a stepping stone before you get elevator invited into Sky City in Sky City that's very like this daily flips so if you get to review then you have to see it in this universe so you wanted the view to feel very very calming that's why we put it very close to the water they definitely

read nice no change in the orders kept as well I almost wanted to view to feel cultural so you know you can experience art installations museum scope rouses and so on and I also wanted to view to feel very soft that's why use the soft interior spaces here and here you can also enjoy nature for instance cherry trees I remember what I said before about minimalism and about control for me like the ultimate power or control is very controlling nature and of course not that's what's this society does so for instance if you're in downtown we're out in the low cost the mid cast working and living over there you know you're not allowed to enjoy everything but here in the view now you have to see in this universe here you know you can enjoy everything the city has to offer so you get this really nice contrast and tension between the spaces you would have liked a control and sterile downtown versus the

soft and inviting the viewer so we have these different locations each and every one of them has the own signatures in terms of charter shapes for atmosphere life is very create like this really broad palette for for artists and designers to use and for you as a player to it'll experience and of course they're much more Harris than this but I can just not fit more moon person-years to agrestic you had to buy the game and play it if you want experience and more stuff so these are rich and vibrant you see the glass can look like when we apply the style and tone to it so then what happens when applied his talent on then on character design I think it's important you know when you are designing characters that he needs to reflect who they are and what the purpose is in the universe in the know and the function behind the design and behind it and Rhys and behind it and I think is like I like to challenge the

artists a lot and also like why is nothing there if they could not give me any good answer I just take tell them to take it away no she should let me know less is more so what believe in means on characters I means and natural border proportions strong material definition they're gonna be field high-tech and advanced obviously wanna make sure that his face we didn't push it so far so it became sci-fi and elegance here it means form before function so we are actually I'm not Qing some of the believability in order to create stylus interesting designs I mean I do it for reason I do a bit of purpose you know some more practice out I'm allowed to you know break more roots and that's it of course this posture you know the way these people more mood where he still walk and talking and so on this doesn't some sort of sense of attitude and control to it and you're gonna see that you know we

use the Laura generalize the folds to make them you have to get in somewhere to edginess as well and for me also add to its material separation for instance you can have like a cotton shirt they may put something reflective and leathery on one of the artists and the way those two material meets for me that's the Skokie best attitude that's what we used a lot in our carried in science so you can see how it looks like maybe pilot to crew basic any crew is that carry bad guys you're gonna encounter this a lot in this game so the high level idea is high fashion meeting militarized tactical Dita's let me merge the together through this talent on any think about you know military clothing and place outfits and those tend to be a little bit loose you get a big long draping folds and for me

it does not elegant so we designed something we look more at an Armani suit the feels very tight and very slim then we applied the tactical Dita's and then you get the design look straight up you can see you know how to use some diagonal lines on the sleeves and on the leg style skills match to you especially see that from the hunted drone and the veto no armor plating has lurid analyze anything so make the field really aggressive any other runners and the high-level idea is high fashion meeting sport occur and the runners know the need to look like people they can take the fight against the surprise society and Krug is like that's what we get is pretty strong conference athletic look exam language again the Laura generalize instigating some attitude and of course you know runners need to feel agile and movable that's why you hear we work more

alive der and similar materials and what you can see here as well is that you know we never exaggerate like the body proportions especially not the female and that's thirty tend to see a lot of other games and the signs that you need objectifying and sexualizing the female body and for me that's not elegant we don't do it here you know I stayed wanted to read as confident and strong and beautiful we always need to remember deadliness then we had the black november and the idea here is high fashion meeting all the worn sticker materials it was black November believe deep on the ground in the tolerance of reasoning and down there is gonna be very cold and very wet that's why you know these people who need more leisure clothes Sigma tears keep the warm and in our world these people would be considered as bombs for people to live on the

street so you know if they you know live on the very harsh harsh circumstances on the border to starvation and these people are fanatics I still didn't want it to be an ugliness in this world and that's what we gave them this is very cocky confident look with we're a lot of attitude so we have many different shows the closest in this world and each one of them has own signature into the materials colors and so on and we're all gonna turn to go through all of that today because I need to cover and the next part that is I would actually created his universe so now I'm going to talk about you know our different production phases and how then the ended up looking in game so our pipeline was divided into four phases and phase one would have been and when your reverence grad ring put you in a mood board these are simple concepts phase two is when you get to get something you can play on them so now we're laying the

foundation puts it at last so now it's about you know you showing me that you can create a believable space you understand composition you understand how to create strong framing you know what to scale them a portions of building and how to relate to each other and also you have to understand how you create can create three instances base with very simple shapes and for me this was was important part of designing see the glass and because if you don't know how to create a strong foundation with very simple shapes and forms then doesn't matter you know how much data you are going to throw into dust and this was a very difficult favor for some people who say guess yes here is the third lesson I learned that this face was a bit abstract it was hard for some people to understand the space it was hard to sort of visualize you know what what the final product will look like so in the end we ended up throwing in more details to help with the scale proportions from depth then for Phase

three and now it's sort of I'm starting to be more creative so now you started seeing more architecture Theatre in spaces and actually at this face we had the whole game up and running which meant we can play the whole game from the beginning to an end and that's what help does not says if something needed to change or removed or even delete that before we move on to phase four and phase four is when you know we apply start now reason about the details what are you doing you're right time in the right context so now is when everything I'm saying light colors atmosphere and face whereas consider as done at this point you know your area would be ready for shift essentially and we had roughly around ten months to take the whole game from phase three to phase four so there's a lot of work coming in there and we had to push really hard and off

their face ward I've actually had some polish and some bug fixing and so some areas got some more love and attention to them but an area off the face for actually it did hold up the ship so was a really good work by the team so that's where their production pipe lander we went through creating sit there last let's look at them who looked in the game so you can see you downtown it is in Phase two nothing this was probably one of the most successful ones in terms of composition you can see has a really nice tension and contrast between large medium small scale shapes Chris a lot of interesting around the centerpiece and overall this would like a really strong foundation then through phase three no when we start applying the theatre's knows where I started to get an

understanding for how the game looks like so it feels like a residential space so no yeah the play first order two people understand that you know how it's gonna turn you into later on and then for phase 4 you know when we practiced I in this case this study style of downtown and I'm not gonna be more visible noisier had more wear and tear and I looked at my sphere then they're not looking like this but you can see though if you compare that to phase two the nothing really changed in terms of composition all the big shapes all the big structures were in place and then hold up all the way through the production pipeline and that's what is so important for people to understand you know that you need to create a strong foundation but then you just apply you know the D test and within those shapes here an anchor at phase

three and quite rough but still you see the big big structures I remember anchor was going to be very pristine or exclusive the rooftops here should almost feel that you're supposed to be on down and there is an interest there in the center in the middle some sort of precise rooftop so the big structures are in place then for phase 4 when you're practiced I ended up looking like this so now you can see you know the shine in their reflections and stuff and we tried to hide away some of the unnecessary noise as much as you can you can see how we use the color to sort of guide the player and the AI in goes towards the residential space men in the air also be throwing some Sun ice water and ice water force just to make it feel really expensive here here you have another area in downtown in phase 3 and actually

you know not all these spaces were at phase 3 at the same time you can see this one for instance is very rough only like the big structures are in place but at least you know you can see through the lies sort of points inwards into image then for phase 4 when we apply the style you know ended up looking like this and this part of downtown was going to be a little more industrial so we worked a lot to be smaller intricate eat that I sort of create some nice in silhouettes and you can see you know the way we use the colors this place got its attitude this is not the area in anchor its phase 3 at one point in time no we did a determine the upper running it were actually didn't have time to delete the space or sometimes you know they're the artist we actually break enlighten the neighborhood gets turned black so it's quite hard to read and navigate and sometimes but if you look at the picture

and just look at the big picture in the structures you see you standing on a platter looking down into space using shapes down there on the right this year as long structures going along road and then for phase 4 we apply this tile ended up like this and again nuria's applying the right ITA's we right context a lot of vertical lines we clean up the space make it feel very nice perfect your higher end you can even see you know how you get some some of the rooftops power up there to the left and then you cry you know little anchor and then I ended up looking like this here is another fancy rooftop or an anchor and doesn't he just read a reflective and expensive and luxurious I just want to be here with your France maybe not for phase three but for phase 4 you know when we're done with it the ended up looking like this nothing

here is perfect example you know how the artist translated the style and tone I can sort of see you know the soft elegant curves I can see the diagonal lines you have to add to your a nice tension in this place at night time you know these lights would actually pulsating make this space feel really vibrant so we're all this was a really good interpretation from noticed a casino the area front of you at phase three and remember the view was but making feel very soft and very inviting and over here so you would enjoy nature so you can see the big structures are in place so now you're supplying the distillate tone and the deep does they end up looking like this you got to understand that you know it's a lot of thought process if I'm going in behind taking something from phase three to phase four and maybe you think you know how hard it is to to create a minimalistic space you know take away or 80% then you have it

but believe me it's really not that simple argue to say that is probably more difficult to make in the allistic space well like I said you know he's but understanding the shapes and the forms taking away the right detail and then back to right and then also but you know this space also needs to be traversable and the readable and it's be fun to run around it and in a game that is so focused on movement you know every square meter is super important that's why it's so hard to balance this component against each other so in overall I'm really happy to see you know how all the people on the team that translated is Stalin Thorin yes being fun be creative with it so now you guys can end the whole presentation but showing you some more dislocations and yeah actually I'm not gonna talk more I just gonna let you enjoy it [Music]

so there's actually a hat so I guess that's it and I said thank you for coming and enjoy your day thank you all right [Applause]