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The Kid Asks About A Typeface

Bastion is a game that feels a little torn between time periods. On one hand, the game is a veritable shrine to the roleplaying and adventure games of the 16 and 8-bit eras. The isometric camera view, the varied level design, the strict adherence to playing in two-dimensions, and the cohesiveness of its unique “western-punk” fantasy aesthetic all recall a myriad of the best moments from best games of the early 1990s. On the other, the game benefits from things that only exist in the current generation: online distribution, the relative ease and availability of developing games on a small budget (with a small team cramped inside a single house), and most importantly the advent of high-definition graphics.

It’s this last current-gen advantage that really enables the world of Bastion to come alive and be realized to an extent that its pixellated forefathers could only infer and hint toward. With Bastion , the ability to include high-resolution textures and art assets allowed its creators to really imbue the world with a rich history and meaning. As I’ve noted in previous articles, I’m a big proponent of world-building. The practice of fleshing out the virtual universe of a game (or games) with information that taken alone may seem trivial or irrelevant, but collected together into a package of sight and sound really inform both the game and the gamer and provides a richer experience.

Posted in Art & Design, Bastion, Games, Typography

Tu Vuò Fà L’Helghan (Part 1)

THE ONE ABOUT THE HELGHAN ALPHABET.

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Posted in Art & Design, Games, Killzone, Typography

Outlandish Adventures

THE ONE ABOUT OUTLAND’S VISUAL STYLE.

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Posted in Art & Design, Character Design, Color Theory, Outland

Millions dead; posters ruined.

The one about the posters in Halo: Reach.

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Posted in Art & Design, Games, Halo: Reach, Typography