How the “atmosphere” in video games works?
Many people outside the online battles and session gacha-a-fir-farm at least once asked the question, but what is the atmosphere in general? Why, in general, certain sentiments laid down in the work (whether it be games, films and books) began to simplify to words about the atmosphere?
This topic is complex, in my opinion, the most subjective, but at the same time very interesting. Therefore, I decided to ask questions and not so much to find an unambiguous answer to them, but to lead to a discussion, during which, maybe we will get to the bottom of the truth.
Many have already analyzed this phenomenon, so I decided not to stay away and conduct my own investigation. After all, the atmosphere is primarily emotions, and emotions are generally the main leitmotif of my life.
Approaching such a monstrous topic, I initially did not know where to dig, but as you know, it was worth starting from the very beginning.
Part I
Attempts to arrange a phenomenon “Atmosphere” In a full -fledged concept were undertaken Walter Benjamin In the essay “A work of art in the era of its technical reproduction” 1936. True, he used the concept of “aura” instead of the “atmosphere” there. The aura of Benyamin is understood through the involvement (absorption) in the “strange plexus of place and time”.
Having concluded on the basis of Benjamin’s statements, as well as several more cultural figures, a German philosopher Boehme Gernot summed up that
The atmosphere is that which connects objective factors and constellations of the environment with my bodily sensations in this environment. This means: the atmosphere is what is between them, that which is an intermediary between the two sides. Hence the two main features of the theory of atmospheres. Namely, firstly, this atmosphere is a cross between the subject and the object, and therefore it can be approached in two different ways: either from the point of view of the aesthetics of perception, or from the point of view of the aesthetics of production. The atmospheres are quasi -objective, namely, they exist;You can enter the atmosphere and you can be surprisingly captured by the atmosphere.
Boehme Gernot
I understood this dubious set of words as follows: there is our environment and we are, what emotional response causes the environment in us and is an atmosphere. Roughly speaking, the environment creates a mood, and we pass it through the prism of our perception, which gives rise to emotions that in turn create an atmosphere. The discovery for me was the fact that, according to the philosopher, the concept of the atmosphere is not subjective, but are quasi -objective and pseudo -objective.
Quasi -objectivity there is a compromise between objective and subjective, in fact, as I expected. If you develop the topic in the context of the atmosphere, then I understand this: there is space around us, let’s say this room and let the srach be in it, it is cloudy outside and it pours rain. This objectively carries a “depressed wybe”, however, someone can perceive it as a cool, melancholy environment in which the most buzz is dissolved and reflected. But your mother, for example, will go into this room, express his “fu” and experience a bouquet of disgusting emotions. And all this will already be subjective sensations.
In principle, having read that philosophers, artists and other strongly thinking people spoke of this very “atmosphere”, it seems that the atmosphere can be caught from everything. After all, Boehme himself described the term “atmosphere” in aesthetic way, to describe just the same art objects.
Be that as it may, many note that during the emergence of this aesthetic atmosphere, we feel our involvement with the objects that surround us, we enter the unconscious Stream state.
And this is already damn close to video game experience, which is almost completely built on the state of the stream, that is, in a sense, the stream and the atmosphere are interconnected.
Part II
Here we move to the state of the stream and on what it, in fact, depends. In my life, I most clearly notice this state in two things: during reading and during the game, for some reason, watching films or TV shows, I do not cause such a trance state, apparently, again, the matter is again in use. During reading, the pace of the narrative, environment and other details, we create ourselves. Meanwhile, films show and tell us someone’s story, already written, strictly, leaving you as a spectator beyond what is happening.
The situation is even easier with the games, because in them, you literally become the hero of the work, the plus is a ton of the text that you have to read if you want to plunge stronger. Yes, no matter how the industry suffers from this notes-talkative trail, in good projects with an interesting lorne core, even notes are joy. So it seems to me that games are hungry with books to no less than films. More details about this will be discussed later.
So what is the state of the flow and what it depends on? The term itself means the following: the mental state in which a person is completely included in what he does, which is characterized by active concentration, complete involvement in the process. If we are talking about games, then here you have immersion and atmosphere, respectively.
The immersion in games is based on three things – gameplay, visual, plot and all these three pillars are intertwined with each other by another important element – sound accompaniment (during the investigation, I generally came to the conclusion that the sound is almost all that the game needs to create an atmosphere, but, all in order). In a gameplay, the sound affects the impact received by the player, whether it is hit markers in shooters, the sounds of pudding, even clasping the menu with a pleasant sound signal injects a portion of endorphins into the brain. The visual component is brightened up by well -chosen music, or a insinuating embosses and even the correctly left silence. Sound affects the plot and narratives through the game of actors who immerse them in the world with their remarks and make you believe in the events that are taking place.
For centuries there have been debate about what is still more important in games, plot, gameplay or visual, we will also talk about this a little later, but for now we will consider the main features that mean that we are currently in a state of stream.
1. Clear goals (distinguishable expectations and rules).
Everything is clear here and already in the first paragraph a curse of the current songwriters is visible, where you are thrown into Openvorld and say, “Well, the Cheshi where you look”. A striking example for me is the beginning of Far Cry 5, after the prologue. All the strict segments passed and the game began directly. You start on the island and at some point tell you: “All BB, before communication”. And the whole game card is spread out before you, which you need to explore without any clear reason and purpose. It can be very subjective, but in my opinion, it is mega artificially, stuffy and not catchy so that I was just confused. If I hadn’t played in past parts before, I would probably not have understood what to do and why.
Do not understand the wrong thing, immersion, which is not made on the dump, is a good, which, unfortunately, few can achieve ..
2. Concentration and focus of attention – a high degree of concentration in the limited area of attention (a person engaged in activities has the opportunity to concentrate on it and immerse it deep in it).
This item also refers to video game experience. This includes the player’s involvement in the events and natural progression. And not 45 ships in the inventory that need to be sorted by suitable and consumer goods (here you have the whole gameplay). You can also recall the “40 seconds” rule for games in the open world, where the distance between points of interest should not exceed, in fact, 40 seconds to keep the player in good shape all the time. The event can be any: new location, NPC, random event. Of course, in many games this indicator will vary, somewhere larger, somewhere less, it is due to the scale of the world, as well as the pace of passing the players themselves. But one way or another, the indicator is dancing for about 40 seconds.
3. The disappearance of reflection of a sense of self -awareness is the merger of action and awareness.
This is already directly the trance that we feel during immersion in the game. For me, a striking example of such instant absorption and dissolution will always be Survival Horror’i, they completely capture your attention, with their gameplay and a viscous (sorry) atmosphere. Over and over again we get to a large location, study puzzles and solve puzzles, find plot objects, open the Kata shorts, think through the optimal routes, engage in equipment management and just fly into this rash with two legs.
I think here all sorts of comments are unnecessary. This is how time works, mercilessly and hopeless ..
5. Direct and immediate feedback (successes and failures in the process of activity are obvious, so that behavior can be changed as necessary).
These are already those hooks that are not the most clean in hand, the heads are trying to catch the player, showering him with rewards for any sneezer, while selling us the most artificial and sterile ecosystem that does not require a deep study and immersion. Of course, this can and should work in a positive direction, not necessarily turning into “Press X to Win”, but most often an example is more likely.
6. The balance between the level of the subject’s abilities and the complexity of the assignment (activity is not too light or complex for the subject).
It is precisely for this that the levels of complexity must exist, so that each player has the opportunity to get enough of the experience that he deserves. Yes, “Miyazaki”? Okay, without negativity. Of course, you can make the most balanced and single level of complexity for everyone and this will be cool experience. But with a non -estate, if the game is too easy, it simply will not involve the player, but be too complicated, it will pretty much increase the threshold of entry. The result of these fatal mistakes will be the emotional lubrication of the player when he ceases to perceive the game as a work that should be imbued. The game will become for him, either a hated home, or a traction dushnilov, with whom he just wants to finish as soon as possible.
7. A feeling of full control over the situation or activity.
Again, if you bring Survival Horror’i as a standard capable of captivating the player, I just love to keep the situation under control in the same “residents”. Save cartridges, competently destroy the enemy or completely successfully avoid a fight. But this works in the opposite direction, the loss of control throws the call to the players and greatly resonates with the usual experience that we get from games. This is already a little masochism, but it takes place when the game clamps you in some framework, creates more context, here it is not by will that you should turn on your head with will and come up with the optimal strategy. Here, probably, the pursuit of this very control is a valuable element.
8. Activity in itself is perceived as a reward, so it is carried out without effort.
What can I say if we love to play video games or read books, then the time spent behind them in any case will be a joy, even if the experience itself is not as good as we would like.
Part III
So, well, with the state of the flow, we figured out. Back to my comparison of books with games. Here, the Games genre come to mind immediately, which are neglected “Walking simulators”. Although, of course, it depends on intonations, but how often do you hear this phrase in the context of something good? Usually, it is used in a negative way, talking about some projects, with a sagging or too measured gameplay. Either they say so condescendingly, they say “well, for a walking simulator is not bad” that it becomes quite sad. After all, walking simulators are absolutely not damned genre. Remember any moment when you caught the very “atmosphere”. It is more likely that you remembered the moment at which you did nothing, at best you simply watched what was happening, and so, you could go from marker to marker, from the corridor to the corridor and so on.
Just these moments of respite and contemplation are the most important in a sense of ownership. And here are the most classic walking simulators, these are really audiovisual, interactive books. One of the main ones, and as I understand it, the first similar projects were Dear Esther, A game that was originally a mod for Half-Life 2, without an interface, without enemies and without a combat system. Just picturesque landscapes of the island, a melancholy vaib and an announcer, which very beautifully reads the letters that are folded into the plot.
Speaking about Half-Life, I have never passed it in my life. But the second did not start at all. When he was small and played in the first part, he reached some point, somewhere in the middle or already in the second half of the game and threw it there, I don’t even remember for what reason. But I often started the first part and you know why? The first 15 minutes of the game, up to the “cascading resonance”. It’s just gorgeous instantly catching 15 minutes in which about nothing happens. We just stay in Black Mesa, look around, communicate with the staff and wander around the complex. But at this time, this magic of immersion, a smooth entrance to the ecosystem of the game, is just taking place.
And now it’s time to remember what is still more important. Gameplay, plot or visual? But what if I say that everything is important and at the same time nothing of this. Take away one thing, but leave the beautiful different. And this will not really hurt the game to become a cult or at least controversial, promising to discuss.
Remove the plot, get Hotline Miami. In isolation from the second part, where the players were literally chewed, we have an almost plotted adventure, connected only by short briefings and stuffing at the end that everything is not so clear. But in addition to history, we have the most beautiful acid 80s and hurricane gameplay, which is simply impossible to get enough, and, of course, music, which is almost the main character in this brutal story about ultranasilia.
It is problematic to remove the visual, because if the https://lucky-pays.co.uk plot and gameplay are sufficiently subjective things, then the graphic component is generally subjectivity in Cuba. The same Hotline Miami, I think, amazing visual, stylized and very nice, but we have a halter under retro. If the visual is considered exclusively graphics, then all the wonderful games of past decades can fly to the furnace? Here, indeed, everything becomes more complicated, since under the trend of fashion we had a sudden Renaissance of the PS1 era and what seemed simple and unpretentious is now a stylish chip that gives tribute to the past.
Yes, and in principle, conduct some serious talk about visualization without an ausion of Digital Foundry, this is some kind of collective farm and Moveton, well, seriously. Well, in fact, there were a lot of projects and there are projects with simple graphics and may even terrible, but they can stand out in them, either a strong gameplay, or an exciting plot.
If you remove the gameplay from the games, then we return all to the same walking simulators, where contemplatively interactive experience is above the game. But you know, if you remove the sound from the game, it will be very difficult to pull the game with other aspects ..
There is an absolutely beautiful to the Moon, there are no voiced dialogs, there is no gameplay, because these “blunts” are difficult for me to count for gameplay. And yet, there is a rather peculiar graphics made in the RPG Maker, but there is a plot that again has to read, and not listen. And there is also the music written by Ken Gao, almost the only developer Freebird Games, which from time to time asks someone to help with graphics, or with vocals. He prefers to do everything else himself, including music, and she is so beautiful here that every time I hear her, I have a lump in my throat. But Gao does not even have a musical education, but the sincerity with which he makes his games – penetrates very deeply and affects such notes of the human soul that the heart is simply with blood.
Unbearable universal sadness, and at the same time hope for the best contain the games of this universe. No matter how it sounds, but they are really touching. And they say they are with you, just through music.
And that is, I am a sensitive bun, but if you introduce something like to the Moon Reaction, then you will find a giant number of completely different people, different sexes, nationalities that cry over a handful of pixels. Here is so great the power of these games and the power of music.
So, of course, it is important that the game has a plot there, gameplay, the picture is pretty, but if all this is just at some level, then we get a video game chewing gum, which has been feeding us in recent years.
Despite the fact that on the other hand we have some Fallout New Vegas and let’s be honest, the picture was poor there at the time of 2010, because Red Dead RedMption, Mafia 2, Bad Company 2, well, Just Cace 2 at that year, was released there.
Touching on the rest of the aspects, we will make sure that there are also our nuances there. So, for example, if we talk about gameplay, then in New Vegas it is mostly comfortable when it is absent.
The last remains the plot, and it is, this is probably its main advantage.
But finding himself on the “wastelands”, having heard the radio, keeping the way to the next settlement, you do not even realize that all the magic is happening at that moment. Here you have the “damned walking simulators”, which in fact, in a completely magical way, give the very state of the stream and give time to penetrate what is happening.
Part IV
I noticed that earlier the games boasted much more this very “atmosphereera”, unlike the current generation projects. Why so? Is it all the damned nostalgia and all the gamers who grew up at old games will forever remain mentally beaten by life due?
Here’s the case, I love old games and try to fill the gaps in my game life to the maximum, that is, many projects that I touch now, I did not play at the exit, however, I am still penetrating some, as not into myself. Then nostalgia does not roam
The phenomenon of “Dimaikov” and Sumps under the early 3D in modern projects tells us that we love and miss not for some separate projects, but simply for all the games that surrounded us when the grass was greener and that’s all this
That is why some Signalis is a new game, it becomes a t virated by the lovers of classic Survival Horror, simply because it looks, sounds and plays like something that happened to us more than 20+ years ago. The times when it was very problematic to delight with a wrap and had to throw players with tricks and pleasant trifles and now on this pole I will stop in more detail, since it is the thing because I cannot say
“Yes, all the garbage, we love old games, because it used to be better”
For obvious reasons, before the technology was not so pumped as to issue a photorealistic visual, therefore, the developers were constrained in their Wishlist and they had to cling to the players differently.
“Here we will have a mega pumped sound, here is a crazy level of interaction, here we bell cool light, reflection and so on”. What is the creation of a physicic Havok engine, which just saw the light in 2000. But over the years of the technology, the developers have allowed the developers to work on the visual and now we have okhorantly beautiful, but absolutely sterile games where objects are tightly nailed to the floor, where you can look at everything, but nothing can be touched and where the main feature, perhaps, will be the absence of a sewn luterschuteric mechanics with a colored shmot.
Of course, I have a little exaggeration of the problem, especially in the context of recent years. Now the graphon is resting in either technology or that optimization that corporations with a huge staff of employees and many years of work cannot be provided. Because of what we are again remembered by all sorts of small details, what are the last games Naughty Dog and Red Dead Redemption 2 from Rockstar. And if we look at the VR with one eye, we will see there the game industry of the beginning of the zero. “There is no grafon, but we’ll like an interactive to the eyeballs”
The conclusion suggests itself that before the game, they allowed you to feel Flow, with some fischets, using technical restrictions on your hand, or they did other things for two, or even three heads higher. And now they are trying to forcefully shove this state of the stream, throwing you with markers on the map and shmot, while somehow without a soul, or something.
Fortunately, not all and not always do this with us. The same indie segment is directly strewn with deeply personal stories, where the emotions that we, as players are absorbed, come to the forefront.
Returning to the atmosphere as such, where it arises to read emotions, which causes us a work, most often those games that want to scare you are atmospheric. And this is not sacred, because fear is one of the strongest, if not the strongest feeling that a person is able to experience.
Therefore, horror in their video game form, this is the abode of the atmosphere, where every turn is waiting for a danger, where pitch darkness forcibly covers your eyes and where widespread loneliness makes you feel devastation and despair.
But, this is still a game? This is a challenge that you accept and instantly catch the Flow, penetrating the environment to the maximum.
That is why games like Silent Hill are immortal in their atmosphere, because they combine everything that causes us an emotional response:
This is an old game, so many generations that grew in approximately similar scenery will be close to these visual images.
Here is a simple, but absolutely understandable plot, because almost every game of the series gives a specific motivation without knocking the player out of immersion.
It’s worth saying just two words about music: Akira Yamaok and everything will immediately become clear, even this video began with his stunning compositions.
I’m not sure what this speech about Silent Hill was going on, apparently I accidentally proved that this is the best game in the world xs ¯ \ _ (ツ) _ / ¯
Although here are the gameplay of the “hills” by many people, it seems very mediocre and outdated, so we will be deputy and move on.
But still, the horror elements in various games are perfectly remembered and give a tangible boost to involve. Forms come to my mind F.E.A.R., which is a shooter with the elements of the horror, and they fit perfectly on a dynamic gameplay. And the industrial industry from the neuton Grigga makes as uncomfortable and uncomfortable as much as possible.
Well, by the way, Fear, at the time of exit to this day, is famous for the worked out artificial intelligence, excellent shooting and even look even today with pleasant contrasting lighting.
And also, for example, Suicide of Rachel Foster, although it carries an unfriendly wyb, at first does not position itself as a horror at all, I want to say the same thing about Firewatch, structurally are very similar, even though the last and more gameplay will be. But still, we find ourselves alone, where we can only keep in touch with a person in a walkie-talkie, penetrating sincere dialogues, between the GG and his invisible companion.
And at some point, the Saspiens is so fastened that each subsequent step is hardly allowed to overcome. Imagination draws the most disgusting and unpleasant pictures of the development of events, and rare bo-subsidiaries are damn well. Because because of such a dense involvement and mood close to despair, the player seems to sit on a powder barrel. They describe it, show it, they say that she is about to tear, maybe after a second, maybe two and then it remains only to wait.
As a result, catharsis occurs, we understand that not alone in this place and this, hell, is scary … All this time we got used to and settled in this ecosystem, and the rules did not say that somewhere, someone is following us.
I am not trying to say that funny and easy -to -mood games are not atmospheric, but just minecraft most affects us when it turns on the calm slightly melancholy music, or when we shy away from the mines and hear the same evil sounds.
What comes to mind when I say: “Atmospheric game”?
Metro, Stalker? Inscryption? Alan Wake? Inside? Max Payne? Silent Hill’y, “Rubber”
I have about such an associative series. Thinking about something less gloomy about something, only Far Cry 3, Bully, well, lis, and then, if you think not the most rainbow examples.
This suggests that people, and in particular, players by nature of their slightly broken personalities, who vital a little escapism, reflection and the opportunity to survive those feelings and emotions that they are overwhelmed and not in vain more copyright projects consist of some unbearable pain and burden, which the developers are in a hurry to share with those who can understand them.
Such a kind of mutual therapy in which many of us need. Today, a certain number of smart thoughts and conclusions sounded, and during the time of work on these material, I discovered something for myself and understood something and this is important. And cool if you also lit up in you, which should be considered, supplemented and expressed
The best comments
In general, the final thesis about the “atmosphere = negative” of course, well, very stretched. The Stanley Parable is a wonderful atmospheric game. There are notes in it gloomy in some “routes”, but in general – she is not about this.
Little Orpheus – literally recent: beautiful, wildly atmospheric and at the same time – nowhere is not about the negativity of Waibes.
Morrowind, excuse me, with its legendary music (and in principle TES III – V). And let the one who say that these games are not “atmospheric” abandones me.
GTA – almost any – wildly, too, also atmospheric games that recreate the “atmosphere of the era”. And some Vice City for his atmosphere and cult, and not because there are the best mechanics or the plot of incredibly-indivisive.
In the compartment of the Rockstar games – in my beloved Red Dead Redemption 2, the atmosphere is such that it is not just a spoon, but the whole glass rinses and spreads around the room, which is filled with the aromas of freshly problematic rain, the cries of birds in the distance and the pianine ragtime from the town nearby.
For each crushing brain and other Fear & Hunger nerves, there is a frameless and perky Flatout 2 or flexible in the rhythm of the 20-xx Mafia: City of Lost Heaven. There is Duke Nyukem for each chew. On the next story about depression – Little Big Planet, which is about an ultimatic creative.
In general, I once had a similar one, I don’t know, a delusion or what to call it-it seemed to me that “beautiful music = sad music”. Like when the melody makes Tin-Dilinka and a heart in the chest is “uh!”And somewhere on the heels-this, such as music, it is beautiful. And when the music of the tutz-tutz and all that you want from it is to dance, it is not beautiful, because “but I do not experience emotions!”Because emotions are a heart in the stomach. And the rest is not, thank you, I’m not hungry! Well, for a couple of years I broke my head over this, and then I realized that I only call one “emotion” “emotion”, and I classify the rest as a falsificant. Although, in fact, emotion makes me dance from that music.
And then it was done that the emotions are different-and there are a lot of “beautiful”: it is on the Nature of Daylight Max Richter, and Autumn Leaves Ryo Fukuya, and the Gogo Penguin all resista, and OST and OST did not go out of SpaceBase DF-9, and incredibleEnergy Music from 1nsane, and even Wild Zarubov from Hotline Miami. And I can list for a long time. And he is ready to fight to the bloody snot with those who believe that it is just a “tuts-tuts” (in fact is not ready, because it is a counter-productive waste of time, but that’s not the essence of that now)
“He exists without you” but it is. When they talk about the atmosphere of the games of the Fromomes, they usually mean the dying world, a hopelessness, where everything has either died, died and rebelled, or will die soon. Gloomy Gothic architecture, crazy design of monsters, a bunch of nightmares, a constant feeling of tension due to understanding that everything wants to kill you, and if you relax, you will definitely die.
I also looked at the video and did not quite agree with the ending. I understand that I missed it through myself. For me personally, the atmosphere is a set of associations that cause one or another aspect of the game. I agree about visual and music, but I am not sure about the gameplay. The gameplay just introduces into the stream state, but and here he did not understand. There was a good example with a room and rain. For the most part, people have similar associations, many are associated with sadness and melancholy, and for example, if you take not a sad atmosphere, but say “summer” that comes to mind? Beach? Palm trees? Sea? Freak? Watermelons? Bright sun in the sky? The picture is folded in my head. Or an atmosphere of some specific place. Let’s say take a bar. There is a bartender, rubs glasses, cigarette haze, bottles, regulars, something plays on the radio. If we take and throw something out of our associative series, then a place or feeling will cease to be atmospheric. Why RDR2 is so atmospheric? There we know from films and books about cowboys, about the Wild West, erected to the Absolute. I think my thought is clear)
In truth, the best blog of the week!
So, well, let’s start with the fact that these are still very subjective things regarding the perception of one or another media. The final thesis about the “atmosphere = Negativ”, I did not assume, at least, non-specialized hehehe
I think The Stanly Parable is specially made so that everyone already decides for himself what kind of waibs she carries. And just because of the deliberately light tone, these very notes are gloomy especially remembered.
Into many of what you mentioned, I either did not play, or I do not grieve with the desire of t.To. Not my aesthetics (as in TES, for example). But this is the whole point, in different experience that we pass through ourselves.
When I remember GTA, then the cold streets of Liberty City from the three and four come to my mind first, then Vladivostok FM. And only then the sunny Vice City. Which, so, is a flalor of mafia showdowns from the “face with a scar”-which is also not very fun. From the similar Dexter-also Miami, Latin motifs in music, and some kind of dissected corpse in the sun. Here is another cool game in contrasts that emphasizes gloomy.
About Hotline Miami, I just mentioned the music in the context of the fact that it creates a very cool atmosphere of that rave of the 80s and under it, as you put it “to bloody snot” generally want to do anything, even in five to go out for bread.
Skillful Tutz Tutz affects the atmosphere simply frantically, the same title topic of trandting Danny Boyle, which abruptly conveys the spirit of Britain of the 90s, for example. But just for me, these are all not very rainbow things, they are rather angry and melancholy.
I do not deny that a light flalor of melancholy flashed through all the material, but this is already purely my perception of life in general. Plus observation from the side that people are more often trigger. But as I wrote above, the topic is very subjective. And this, in fact, is fine that you can weave two different perceptions and postcatters on this basis.
I do not deny that there are exciting things that do not try to squeeze tears, fear and other gloomy things out of you. Literally, shocked psychonauts just came to my mind, a very positive example, but at least I had to get very upset to remember about them.
And if under the Carpenter Brut I from time to time go to the Magaz for bread, then under the east of the psychonauts, somehow even thought did not arise. Although the music there is quite creating an atmosphere
Yes, I understood about the snot and I completely agree with this, I just liked the expression)
In general, I agree. Here, in general, who pays attention to what. I have something completely similar to a feeling of a “bright atmosphere” appeared in Far Cry 6. Firstly, we have a sunny a la cube there, and secondly, I rode by car, played radio and GG completely suddenly began to sing along. I have such a trifle, for some reason hooked.
It’s a pity, of course, that otherwise, in the game, everything past the cash register.
Useful video on the topic (in English).
Description of the situation that you gave is objectively, and what kind of wybe she carries (depressive, melancholy, nasty, etc.D.) already subjective.
And so the article is good, but the mistakes interfere with the fucking of the most comfortable reading)
An excellent blog, it’s a pity that there are so few views on YouTube, it deserves the best.
Well, philosophers used the concept of “atmosphere”, describing actually any thing that is not even directly related to art directly. It’s hard for me to talk about Fromov’s games, because I don’t like Ahah either.
Souls topics are generally far from me. Purely because of visual aesthetics, I can endure only Bloodborne, but yes, coupled, all the dive is as if dispersed, not my topic.
No, I did not say about the bloody snot that the music from Hmm acts on me like that, but its unfair description, as “well, just makes a retime arc,” although she is structural-dynamically awesome in the first place, the dutz-bats will make any little-Maly composer, and then it is straight-Vuh.
But, yes, I’m not so much pointed as in general the thesis I wanted to say that somehow you have a skew towards the darkness, although the atmosphere can be sunny, creative and smiling, and not depressive and destructive (at least I think so).
Duck, after all, space-time in the world of Elda is destroyed)
Well, in fact, like the atmosphere
This atmosphere is ruined by the non -pains I mentioned, which in the midst of this “dying world” feel quite normally and generally understands that they forgot here.
For example, the chief of security from the Castle of Morne in Elda. In the castle of the Bund, the beasts crap garrison, the garrison cudples, they are crap together for no reason. And this person sits in a couple of meters on the bench and Chillit, and is quite adequate to you as if you had just not cut all its people. What is the atmosphere?
Now the word “atmosphere” is called everything that came across, even what is not related to the atmosphere at all. For example, when they say about the atmosphere of Dark Souls (well, where are I without criticism of the games of the Fromoma, in the end), I don’t understand what we are talking about, because there is simply a cardboard world with characters who do not do anything and exist only for the main character to listen to their remarks or as stores.
For me, this is when you play the game and feel that the world works in it, that it exists without you and something always happens in it both before your eyes and behind the scenes. ENVIRONMENT STORYTELLING is also important, and a ton of notes can only complement the atmosphere, but not create. Typical examples in the form of Fallout, Stalker, TES, RDR2 are not in vain typical steel.
