While those moments do happen, they’re not terribly common because these levels are designed very well. Just starting out I also passed up some collectables because I thought they would kill me and I died at least a few times because I thought an object was safe. For example, you’ll need to hop on some bouncy platforms to progress, and these are also white. The player and hazards being white is fine, but it can be difficult to tell what’s safe to touch at times. It’s very pleasing to the eye, especially how the levels make use of negative space to give detail, but I think the color palette is just a bit too limited. The lil’ guy is essentially just a stick figure, most environments are made out of a single color, and hazards and collectables are colored white. Speaking of visuals, as mentioned before LOVE has a minimalist aesthetic. It’s incredibly helpful when you know you can navigate a section, but are overwhelmed by how much is going on visually. Finally, as a nice accessibility option, you can press any of the shoulder buttons to slow down the game speed. You can even use this strategically, like when you need to backtrack after hitting a switch, if you’re looking to speedrun. By pressing B while standing on solid ground, you can set your own checkpoint to return to when you die. While you can finish the game with just these, LOVE 3 has some very unique mechanics that allow you to make the game as hard or easy as you want it to be. You move with the left stick or D-Pad and jump with A. Instead, the focus is entirely on the gameplay, which is also pretty simple. This is a very minimalist game, and while it seems to have some environmental storytelling there’s no traditional narrative here. In LOVE, you play as a lil’ guy trying to get to the end of the level. LOVE is the third game in a series of like platformers, but unlike those, it’s a surprisingly chill time. That being said, I do really enjoy a few of these games, such as Super Meat Boy and Dustforce. Because of this, I’m always wary of games that describe themselves as precision platformers. However, I think the genre has gotten a bit mixed up with the troll platformer, games like I Wanna Be the Guy which are essentially cruel sequences of trial and error where your suffering is the butt of the joke. Games like VVVVV challenge players to perform a series of flowing, precise jumps to reach the end of levels and grab hidden collectables. If you are interested in 3d animation, making business with art projects, or just a fan of sci-fi series on Netflix, Disney+, HBO, or other streaming platforms of your choice, you will find this episode insightful and interesting.It may be a niche genre, but there are quite a few precision platformers out there. Digressing to topics like remote work and the pandemic, the crucial importance of storytelling or unusual merchandising ideas. In the podcast episode, we also discuss the pros and cons of using Unreal Engine in animation productions and the future of offline rendering. With the funding they had, they’ve prepared a lot of high-quality concept work (which they agreed to show on-screen to our beloved podcast audience) They knew no one would buy the idea without any substantial pre-production work that could pitch the project. They decided to search for an investor willing to bet on the project. ![]() Achieving some success in that field they quickly realized that doing client jobs takes away their focus and effort from the big goal - which was their own original animation project called Artificial Detective. Ilya Kuzyuk as the business brains of the team based on his rich entrepreneurial experience knew exactly how crucial it is to secure proper financing.įirst, they did some contract gigs to raise some money. Long animation projects are no peanuts and require a lot of money to make. Their plan was to hit big time from the get-go. Their dream was clear - to create high-end animation for adults (a whole new generation raised on animation and video games which they are a part of as well).īut why make something great, just for a few people to watch. They met together as a very unusual combination of artistic and business talents to break straight to the first class of ambitious animation projects. Ladies and gentlemen, please welcome Ilya Kuzyuk (CEO) and Ilya Mozzhukhin (Animation Director) from VIVIX studio. Our special guests in this episode have a lot to tell you on how it can be done (and actually is). The next thing you do is find the perfect business match and team up with the best 3d artists you can find to establish a high-quality animation studio. How can you build a company, find financing and make your big dream animated series project a reality?įirst take a part in a worldwide animated project like “Love, death + robots” that made a smashing success on Netflix.
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