Since it was just us at this time and we did the job in our spare time, it really freed me of any potential pressure from others. In August of 2018, me and my wife Maria Brunsson started a game studio and our Lead Animator Olle Engström joined the project. It really just continued from pure joy of creating these images. I just pushed on drawing more of these "style frames" of how I envisioned future screenshots from the game. So basically, there weren’t any iterations. Which definitely is not always a good thing. So my issue is that I can’t really sketch, I almost always end up continuing until it’s a finished artwork every time I put pen to tablet. From there we are still trying to carve out a unique style, with stylized flat-shaded characters, and this black foreground which adds the feeling of looking into a set-piece or theater stage which I really like.Ĭould you explain how you iterated on some of the earliest character design and environmental concepts? What informed your decision making as you refined those initial ideas? Especially Spirited Away and My Neighbor Totoro but also bits and pieces from other great artistry as well as Zelda games such as Breath of the Wild and Wind Waker. Studio Ghibli is a big inspiration, which came naturally since I’m a huge fan. That image has been our guiding star style-wise since then. And when it was done I knew that I had to try to bring this game to life. So with that idea formalized, I painted this image in Photoshop. A planet that reminds you of your own experiences in nature on earth, but still is a vastly different place in terms of its creatures and other surprises I’ll keep to myself for now. I envisioned a colorful sci-fi world that still had a serious, grown-up tonality. And for the world, I wanted to create something the complete opposite to the dark and gloomy backdrops that are so prevalent in many game experiences. I wanted to take good bits from those games and add the mechanic of a dog-like companion. I loved Inside and Limbo as well as older platform adventure games like Another World (Out of this World) and Oddworld Abe’s Odyssey. It came to fruition when I experimented to find a game idea that I could believe in because I knew I wanted to switch my career into game development and to try to create a game that I wanted to play. Some things have changed since then, Lana's clothes for example, but otherwise it’s the same image we still use as our main key art. This whole project really started with this image that I drew back in 2017. Gamasutra: Why did you opt for such a lucid visual style in Planet of Lana? Can you talk us through some of your inspirations?Īdam Stjarnljus: To answer the question I need to go back in time a bit. It's a blend that feels both familiar and fresh, and if the early trailers and footage are anything to go by, should look damn beautiful in motion.ĭespite being a work-in-progress, Wishfully creative director and lead game designer Adam Stjarnljus agreed to chat with us about how Planet of Lana's visuals were conceived and eventually implemented, charting an aesthetic adventure that began four years ago with a single image. The dreamy project, currently slated for release in 2022, features a hand-painted aesthetic that combines the whimsy and verve of Studio Ghibli pictures with the slick stylings of modern classics like Limbo and Inside.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |