Today in North America – Friday in Europe. Go pick it up for Xbox or PC!

This is the launch trailer, and I count some 75% of the shots here were done by the Montreal Cinematics team. So far the reviews have been overwhelmingly positive, but I still nervously await the ultimate litmus test – the ever-critical girlfriend…

In December over on the Left 4 Dead blog, Valve’s Jason Mitchell posted an insightful look into the making of the Left 4 Dead intro movie, arguably some of the best acting and cinematics done to date in videogames. It appears to have been an incredibly iterative process, with the animatics rigourously playtested in the same manner as the rest of the game.

Over the course of the next couple of weeks of refining the story, we found that the romantic tension between Zoey and Francis that you see in this version did not playtest well, as it proved to be a distraction from the gravity of the Survivors’ desperate situation. As a result, this was dropped from subsequent versions. Later in the piece, when the hunter pounces on Louis, the timing of Louis’s line and the hunter’s pounce consistently came off as comedic, which was certainly not the intended effect.

Of interest, the initial animatics appear to have been knocked up quickly in a “machinima” manner via the Source Filmmaker, which wikipedia describes as:

…an application that runs inside the engine. It allows users to record themselves many times over in the same scene, creating the illusion of many participants, as well as supporting a wide range of cinematographic effects and techniques such as motion blur and depth of field.

This, the final talk I’ll post from GDC’08, centred on the development of the first company-wide technology platform (or engine) for Square Enix. Despite the heavy tech-focus, this was the largest lineup I attended at the conference due to the chance of gleaning any information from these Japanese RPG masters.

Square Enix: The Technology of FINAL FANTASY

Taku Murata – General Manager, Technical Research Division

Traditionally, a new platform was created for each title, with the game first made in Japanese and translations following much later. This looks set to change with the latest upcoming releases which will be very exciting to many western fans, and the target platforms (for the engine) are PS3, PC and XBOX360.

Murata’s history reads like something of a chronology of technological breakthroughs in Japanese game development, with much of his work driven by animation – in particular facial animation. Of interest most of all was the admission that several of the driving forces for this new engine centred on displaying characters’ faces to a very high fidelity in close-up.

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