Frozenbyte Wiki - User contributions [en]

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Level Art: Environmental Storytelling

2021-11-23T12:28:08Z

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{{:Public Level Art}} 

= What is Environmental Storytelling? =

* An environment is an imagined space where the player moves inside.
* Even though the environment is virtual, it creates boundaries and limitations for the player and guides them through using tools such as lighting and art.
* As the player moves around in the virtual world and passes through the different rooms and scenes, they're given context through carefully placed props and objects.
* Every asset in a scene has a purpose, every character is placed there for a reason and every piece of background art has a history.
* Environmental details mirror and expand the lore of the world, offer additional information about locations or characters, and deepen the player's understanding of the story.
* In other words, the player's view of the world and understanding of the narrative is shaped by where they find themselves in that world.
* The rich environmental details supported by the narrative and supporting the narrative help the player see the game world as one whole (even when it's separated in levels like in Trine).
* To achieve immersion careful planning and much work are needed: placing all props carefully, designing NPC looks and locations to reflect their personalities, occupations and residence, creating areas where the mood and the atmosphere complement each other - essentially, making all the elements of the game work together.
* Once the immersion is achieved, everything seems in place, and all things belong. The player can't help but to feel that things make sense, however curious or outlandish the various elements might be.
* In an immersive game, barriers in the environment need to make sense within the game world - to the point that players will never even question why they can't get past an obstacle.

= How does Environmental Storytelling work? =
* It's a mixture of direct references and more vague things.
* When inserting an apparent story reference, you should always consult the writer to ensure the environmental storytelling aligns with the screenplay.
* Environmental storytelling works better the more freedom the player has. Trine is usually focused on linear exploration, but that doesn't mean it can't benefit from environmental storytelling.
* Each and every scene is distinctive while at the same time retaining the style of the level, both design- and art-wise.
* This makes it easier for the player to build a mental map of the level and imagine how things work outside their immediate view.
* When building the levels, you don't need to think about making them more realistic, but simply remember how Trine's fictional world works and use it as a springboard.
* Things that don't make sense in real life could make perfect sense in Trine's land of fantasy.
* The exploration process wheels more organic when a player receives the expository information through their eyes and ears and via the world itself (as opposed to just listening and reading it from text boxes, dialogues or cutscenes).
* When the story is perceived through observation, the narration is reinforced. The game world feels more believable and alive to the player.

== Examples of Environmental Storytelling ==
* How environmental storytelling translates to both the environment itself and into gameplay:

<gallery widths=500px heights=500px mode="nolines">
File:ES_astral_nightmare.png|
</gallery>
* This scene set in The Astral Nightmare is a good example of successful environmental storytelling.
* On one side are the wizards, scared and angry. On the other side, there's the true form of The Nightmare Prince.
* Even though the player hasn't met the Nightmare Prince, they have a clear idea of what the wizards were like towards Selius. The scene also foreshadows what will happen later, namely the Selius transformation during the game finale.
* It serves as a sort of an Easter egg for those people playing the game a second time.
* The visuals connect nicely to the main narrative, showing us Astral Academy (Selius's personal purgatory) and the main character

<gallery widths=500px heights=500px mode="nolines">
File:9P_elves_hotpools.png|
</gallery>
* Elves have never been mentioned in the Trineverse, but this level has statues depicting them.
* Players noticing the statues and other remains of the elvish culture learn more about the Trineverse world & can immerse themselves in the world.
* The elven statues aren't connected to the main narrative itself, since the elves play no role in it. Their "presence" in the environment, however, helps to develop and expand the world and lore.

<gallery widths=500px heights=500px mode="nolines">
File:T4_selius_nightmares_es.jpg|
</gallery>
* This scene shows a family portrait of the Heatherwood family, but it's been ruined by one of Selius's Nightmares.
* A book found later in the level reveals that Selius was bullied by his brothers. Players probably see the painting in a new light, especially since the part of the painting depicting Selius's brothers is badly damaged.

== Environmental Storytelling and Design ==

* It's crucial to communicate constantly with the designers. When creating level art, the gameplay and design aspects need to be considered. Sometimes it means trying to match far-out and crazy gameplay ideas to the overall visuals as seamlessly as possible.
* Due to Trine's 2.5D nature, players don't have a lot of freedom deciding where to go and what to interact with. It's the level artist's job to make sure that the only route the players can take feels like the obvious and tempting choice and not a forced necessity.
* That's been achieved by making the background and foreground areas (where the players can not move) seem uninviting, too hard to navigate, or outright dangerous.
* It's also very important to add art assets to puzzle elements to tie them together with the surroundings and the level.

[[File:T4_enchanted_vines_es.mp4|550px]]
* Here's how the environmental storytelling translates to the gameplay: instead of having a wooden gate the slides to the side, a strong grip of the enchanted vines has been chosen to break the stone wall.
* This doesn't seem out of place in the context of the level and makes both the story and the gameplay more coherent.

<gallery widths=500px heights=500px mode="nolines">
File:T4_seal_es_example.jpg|
</gallery>
* The Seal in T4 is a fantastic example of the art, story and gameplay blending together.
* It appears throughout the whole lake level and helps the heroes. In return, the heroes assist The Seal. Later, it's mentioned by Elodea when we meet her.
* All pieces are connected and work beautifully together, giving the Seal a greater purpose in the game world (rather than being just a bouncy gameplay prop).

= In Conclusion =

* Environmental storytelling is a great way to make the game's story more interesting.
* As there is a whole Trineverse world featured in several games, it's important to make the games feel connected, even if each entry to the series is a stand-alone game.
* The players are already familiar with the world and its characters, so adding emotional impact will make them even more immersed in the game world.
* With future projects, we can revisit the old Trineverse locations, creating a wonderful sense of nostalgia (art, music, feel), while keeping things new and fresh.

[[Category:Art]] [[Category:Level Art|Level Art]]
[[Category:Level Art|Environmental Storytelling]]

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Level Art: Color and Lighting

2021-11-23T12:13:25Z

SaanaFB:

{{:Public Level Art}} 

= Color is a combination of value, hue and saturation =
* Color is made of three things: '''VALUE, HUE''' and '''SATURATION'''
* Color is always relative and the context determines how colors are interpreted
* The most important aspect of color is the value of color, meaning the darkness or lightness of a color. This attribute will be seen even clearer if the image is turned into a grayscale mode
* Hue means the actual color, for example the hue of the color can be red, yellow, blue, orange, green, purple and anything between those
* The hue can be cold or warm, so there can be warm or cool temperature for the hue. This, as everything with colors, is always relative and depends on the other colors around the color in question. Colors always exist in some environment that affects them
* A hue can look warm next to a cooler hue or cool next to a warmer hue. A value can look darker next to a lighter value and lighter next to a darker value, and this is true for saturation too
* Saturation determines how vibrant the color is. A very saturated color is vibrant and desaturated color is muted and closer to gray
* Lighting and colors are always tied together. When designing a lighting, first determine what you want to achieve with the color choices and keep your intention in mind while building the lighting
* It's best to always think about the contrast. Where do you want to add contrast and guide the eye to look at using value, hue and saturation? And where do you want to keep attention away from with low contrast? Usually the answer is simply that we want to guide the player to the right direction and highlight important gameplay objects while fading the irrelevant things to the background. For transition areas between the puzzles we might also want to create beautiful visual focal points where the attention is completely directed at the art.
* We never want to create confusion or frustration by guiding the player to an area with nothing in there: For example by making an area that is difficult to reach look like there is an entrance to a secret and cause the player struggle to get there only to realize there's nothing in there after all.
* Here: [[Public Level_Art:_Level_Art_Related_Gameplay_Issues#Distracting_Level_Art|Level Art Related Gameplay Issues: Distracting Level Art]], are several examples of the issues dysfunctional colors and lighting can create for the player

[[File:color_wheel_hue_saturation_value.jpg|350px]]

== Gamut masking ==
* Gamut masking can be used to determine a color palette for a scene
* [https://www.youtube.com/watch?v=qfE4E5goEIc James Gurney: Gamut Masking]
* KGamut is a software that can be used to check the gamut mask of an image
* With KGamut you can for example compare the gamut mask of your level art screenshot with a gamut mask of a reference image to get closer to the reference image's lighting
* [http://cr10blog.blogspot.fi/2013/02/kgamut.html KGamut: a digital gamut mapping tool for Windows]
* [http://gurneyjourney.blogspot.fi/2013/02/digital-gamut-mapping-tool-for-windows.html KGamut info]
[[File:Kgamut beach 01 wide gamut.jpg |500px ]]
[[File:Kgamut beach 01 limited gamut.jpg |500px ]]

= Value =
With values you can create contrast or unity by using '''light and dark''' colors
* Some vocabulary:
** '''Value''' = the darkness/lightness, can be most clearly seen in a greyscale image but is present in a full color image as well
** '''Contrast''' = Relative difference between different values in an image. For example: there is a big (the biggest possible in fact) contrast between black and white and less contrast between gray and white
** '''Noise''' = small details with strong contrast that create visually noisy feeling
* With values (as well as other aspects of color) it is crucial to remember everything is relative! A value can look bright or dark depending on what value it is compared to
* When simplified, each image is just a bunch of different value blobs arranged into a composition
* The relative difference in the values between these blobs can be used to make things blend in or pop out
* To make things pop out doesn't always mean to make them super bright, because this won't work in a bright environment as everything else is bright as well. It's all relative to the surroundings so it's all about values and contrasts in each different context.
* If the difference between the values is big, then there is contrast which means that those things stand out more
* If the difference between values is small then there is no contrast and the things don't stand out but blend in instead
* Adjusting values in level art can be achieved with lighting, fog or albedo color or all of these
* In games we can guide the player's eye where we want, for example to concentrate on beautiful visual details or to important gameplay objects. At the same time we don't want the player to concentrate on irrelevant things.
* Irrelevant/background objects/areas should blend in
* Important objects/areas that need to be highlighted have to pop out by either being a dark object on a bright background or vice versa, simple as that!
* If the important object is surrounded by noisy irrelevant visuals it will be lost in the visual noise. So it's good to have clear surroundings for these important objects. That way the contrast can be controlled and adjusted to highlight the important objects and blend in the irrelevant things.

[[File:Visual noise contrast theory.jpg|400px]]
* A) The same level of detail and contrast everywhere creates a noisy feeling and it's hard to figure out where the focus should be
* B) Less detail and contrast in the environment and a higher level of detail and contrast in one area makes it much easier to decide where to focus

== How to check the true values of an image in Photoshop ==
* It's not as easy to see the different values and their relations while the image is in full color as the different hues and saturation can complicate things a lot
* It is crucial for any artist to be able to check the values of an image and the best way to do this is to look at the image in a grayscale mode
* The areas with most contrast between different values are the areas the eye catches first in an image
* If an image doesn't look good and clear in grayscale, it will not work in color mode either
* You might think that the hue/saturation adjustment or some other Photoshop grayscale adjustment works just fine but actually they don't

* To see the true values of an image in Photoshop use the proof color setup
** Select View -> Proof Setup -> Custom...
** "Device to Simulate: Dot Grain 20%", "Render Intent: Relative Colorimetric", "Black Point Compensation" checked
** Now you can switch between the basic color mode and the true greyscale mode to check the true values colors using CTRL+Y any time
** You can for example check a screenshot's values in Photoshop with this method when designing the lighting and colors or trying to find out how to make the scene clearer
[[File:True values.jpg|800px]]

== Guiding the player with values ==
* Simplify how you see forms and value. Everything you see is just blobs of value, it really isn't more complicated than that.
* It's either light or dark. A light colored thing pops out on a dark background, but blends in into a light background
* This is true for anything, any theme, foreground, gameplay area and background, for landscapes as well as characters
* What is the area with the most contrast in the scene? Is that where we want the player to look? If not, then the contrast is in the wrong place.
* Does the important thing lack contrast and blend in? Create contrast: if the thing is bright in value, put dark around it, if the thing is dark value, put bright around it.
* How to make the route clear? Guide the player with the values, have darker areas on the edges where the player is not supposed to go. Make sure the right path is clear and pops out.
* Pay attention to values and contrasts and use them to make important things pop out and unimportant things blend in

<gallery heights=400px mode="packed">
File:Owls dream overpaint 01.jpg| The gameplay route is same material and value as the background so it's hard to see the gameplay route
File:Cornelius dream overpaint 06.png| The background has noise so important things aren't highlighted enough and they are lost in the background
File:Gislans dream overpaint 11.png| The values are flat so they don't guide the player to the right direction
File:airy_fairy_overpaint_78.png| The values are random noise so they don't guide the player to the right direction

</gallery>

== Bring out the important gameplay objects with values ==
* Examples of situations where the gameplay area and objects aren't visible enough due to the value issues
<gallery heights=400px mode="packed">
File:Cornelius dream overpaint 04.png| The important gameplay items aren't clear as the values don't bring them out enough
File:Rudolfus dream overpaint 03.jpg|The spikes, the platforms and the gameplay area poles don't stand out enough. It could also be made clearer that the level doesn't continue to the left here.
File:Rudolfus dream overpaint 04.jpg|The chest and the gameplay area poles don't stand out enough. The background structures make the scene less clear.
File:Rudolfus dream overpaint 05.jpg|The lever, the platforms and the gameplay area poles don't stand out enough
</gallery>

== Create depth with values ==
* With values and contrasts you can create a sense of depth to a scene. Adding depth will make the general feeling less flat.
* A simple rule of thumb is that the closer a thing is, the more contrast it has and the further away it is the less contrast it has
* This is because of the atmosphere, the further away a thing is the more air with all sorts of dust particles, moisture etc. there is in between and they'll create "fog" that makes things blend together more and more the further they are. This fog can have its own hue too depending on the colors of the scene. For example if the sky is blue things get bluer the further away they are in the background.
* This is a powerful tool to create depth and separate the different layers of depth: foreground (can be several layers), game area and background (can be several layers) in the scene
* It's a common problem in level art that some things on the background appear as if they were on the gameplay area and this can be helped with clear levels of depth
[[File:Level art guide values and depth.jpg|1200px]]

= Hue =
With hues you can create contrast or unity by using '''warm and cool''' colors
* The understanding of the contrast between warm and cool hues is a great tool when building the color scheme of a scene
* For example The color of the light can be warm orange while the color of the shadows is cool blue, this creates an appealing contrast between the light and shadow areas
* The hues of the sunlight will change depending of the time of the day and also different seasons throughout the year affect the colors as well as the humidity or cleanliness of the air
* Do use real life as a reference for creating different lighting scenarios. Even though Trine world is a fantasy world we want to stick to believable real lighting scenarios that people recognize.
* We can take real world lighting and emphasize and exaggerate it, but everything should start from a deep understanding of realistic lighting
* Different light sources have different hues in them, normal fire has orange tones but different magical elements can turn lights into all the different hues. Magical mushrooms or crystals for example can glow in any hue!

[[File:color_theory_hue_temperature.jpg|1300px]]

== Hues Indicating Emotions ==
* For example many movies use a certain color to communicate a certain mood, you can observe this yourself though often it's done in a quite subtle way
* The different hues of colors can be used to create different types of mood and to communicate a certain emotion visually
* Any color can be chosen to communicate any mood as long as the colors chosen for the specific moods stay consistent throughout the game
* There are certain hues that tend to be used for certain moods more often depending on the cultural environment so using those stereotypes as is or turned on their head can be ways to use hues to indicate moods
* Here is just one example how the hues could work consistently supporting the mood and emotions of the story
[[File:Environment_design_colors_and_emotions_example.png|400px]]

== Examples of using hues to determine the mood ==
<gallery heights=200px mode="packed">
File:Trine 4 screenshot 01 1080p.png| Light pastel colors to establish a calm environment
File:Trine 4 screenshot 02 1080p.png| Warm and welcoming feeling with yellows and oranges
File:Trine 4 screenshot 06 1080p.png| A warm and cozy color scheme for the friendly Badger's home den
File:Trine 4 screenshot 05 1080p.png| Lush green calming environment
File:Trine 4 screenshot 39 1080p.png| This environment is meant to be uninviting and menacing so pale cool greenish blue hues are used to achieve that atmosphere
File:Trine 4 screenshot 20 1080p.png| Menacing mysterious feeling created with purple tones
File:Trine 4 screenshot 23 1080p.png| Calm and more friendly mysterious feeling created with blue tones

</gallery>

= Saturation =
With saturation you can create contrast or unity by using '''vibrant and muted''' colors

* Saturation means the purity of the hue
* With maximum saturation the color is purest and most vibrant and with less saturation the color turns more towards gray
* Just like with values and hue you can also use saturation to guide the eye of the player
* In a desaturated environment a saturated spot will grab your attention
* Trine series is known for its colorful environments but being colorful doesn't mean that every color has to be at the maximum saturation
* If everything is very saturated it can become visually overwhelming quickly so generally it's good to be mindful when deciding which areas should have a lot of saturation
* The saturation can also be explored using gamut masks mentioned earlier in this article

[[Category:Art|Level Art: Colors]] [[Category:Level Art|Colors]]

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