![]() ![]() ![]() Also the S (starting panel) as a slightly different set of animations. Notice that there are actually 2 panel types, A and B, depending in they are back facing or forward facing each other. These were a very unique challenge! Not only coming up with a feasible reason for how they would work, but figuring out the folding and unfolding, the bones and the animation system.Īnd videos like the one below. Or if they control something specific, like the boat: Just like the normal panels, they can have variations, when hanging to a wall: ![]() Very early on you actually had buttons you would press for certain actions, but Jonathan eventually unified the panel language to also do this.įor the controller I tried to get a feeling of something bulkier, like a refactored factory console that would feel distinct from a puzzle panel: They are puzzle panels, but used to control objects like doors, bridges, etc. The forest for example required them to be camouflaged:Īnother type of panel, are the controllers. Eric ended up designing some cool variations for these. The attachment system on the back evolved, to show they can rotate. In the desert ruins for example, they needed to be bigger while still feeling feasible, so the framing became very thin: When the puzzle concept changes, it usually required the panels to change too. Using the same principles when in a row: Unique Panels Or if needed, a complete new type of technology but still using the same support: Maybe these were designed first?Īs you go through the island, the same model has attachments or modifications. It can also appear in a row, using the same design with just added pillars for support.įor variety, and to help distinguish certain types of puzzle, there are sometimes variations on the frame. In this example, it isn’t attached to anything. It’s clean, detailed enough to read as metal but simple enough to let the screen stand out.The white borders allow for the panel to still call attention to itself if turned off. It’s a basic monitor, attached to a sturdy metal pillar and a metal base to make sure it doesn’t feel like you can move it. Just like the Entry Area wasa testing ground for most art, this first panel ended up being the lab rat and the starting point for the other panels. With that in mind, I started simple, looking at real world monitors, see how they are assembled, what are the details that give a sense of scale, etc. Whoever created them would not be making a unique one every time, he would re-use as much as possible. A fter some interesting discussions with the architects, I approached the problem in a realistic way, trying to imagine how these would have actually been built. The bulk of the work became the frame, matching the utility of the panel itself. The panel itself was kept as simple as possible almost unchanged from the original design, just slightly more elegant and refined. If a player is stuck on a panel for three hours, and might start questioning everything, the last thing we want is to make him start paying attention to non important details. I realized that the added complexity was interesting but was mostly ‘noise’. My first step was to try and understand all the symbols, the colors, and how much room there was to change them. Jonathan was pretty open about it as long as it made sense, so I decided to just try stuff, share with the team and see how they reacted. ![]()
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