Above: Downward Spiral: Horus Station After working on triple-A blockbuster games, virtual reality experiences, blockbuster VFX films, digital TV, and feature animation, I wanted to share what I’ve learnt along the way. In particular three elements I think great stories all have and tools to use in your stories.
With that though, people often say games, movies, animation, TV, and VR are opposing mediums. I’d argue they’re all same — bar the audience’s participation with each medium. Here’s how they’re similar, and how they’re different.
My perspective started in Sydney, Australia, where I joined the animation teams for Zack Snyder’s Legend of the Guardians: Owls of Gahoole and George Miller’s Happy Feet 2. On both feature animations, the story was paramount, driving entire departments and productions of hundreds of talented artists and technical directors.
Shots were prevized, reviewed, updated, and tweaked endlessly to capture the storytelling beats. After learning this in Sydney, I moved to London, England and joined Prometheus, World War Z briefly, and Gravity’s VFX teams, and all of these films had a huge attention to detail and once again focus on storytelling.
After London, I moved to Helsinki, Finland, where story in my particular became even more critical as I joined Quantum Break, eventually rising to senior narrative designer, and now leading my latest project Downward Spiral: Horus Station, a VR optional zero-gravity thriller. All projects had their ups and downs, but the goal has always been the same: to tell a great story and make the constraints of the medium the advantages. Read more from venturebeat.com…
thumbnail courtesy of venturebeat.com