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‘s art director, and then given to the concept artists. Under the leadership of senior concept artist Clint Young, the artists would then give life to the worlds, and the two teams constantly exchanged feedback and information throughout the creative process.Before actually adding details to the worlds, the artists completed a series of color studies—often over a dozen a day—in order to determine the color palettes for each world. From there, the artists gradually added details to each successive sketch until they finally decided on a final version.
For familiar worlds such as Tatooine, Hoth, and Coruscant, the artists worked to stay true to the established visions of the planets but also give the players new content. Brand-new worlds allowed the artists more freedom, but often meant that the team had to spend more time on making sure that the planets felt like they belonged in Star Wars. The completed concepts were sent to the writers, who added additional details such as the lightning towers on the storm-shrouded world of Dromund Kaas, and such additions occasionally led to the creation of new missions based on those details.
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When concept work began in 2007, Korriban was the first planet to be designed, and Jorgensen’s first paintings of the Sith Academy and Korriban’s sunset led the artists to decide that each world needed strong and specific lighting. As a result, time-of-day changes were eliminated, and each planet received a specific and distinct look that was unique.
The second planet to be conceptualized was Tython, and the artists were forced to develop it completely from scratch as the planet had not been depicted in any previous Expanded Universe source by that time. Tython was intentionally designed to convey a mixture of beauty, awe, and fear, but the planet’s mountainous terrain proved difficult for the artists initially. In early 2008, the artists began work on Ord Mantell, another planet that had very few visual appearances for the artists to reference.
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Ord Mantell was originally chosen based on the writers’ desire to have a planet with a corrupt yet Republic-allied government. The artists initially began with an endless sea dotted with numerous craggy islands, and then applied bomb scarring to the terrain while also adding broken ships and damaged structures.
The team’s intention was to display the effects that war could have on an environment, but also to show that small pieces of beauty still existed within the region.Nal Hutta proved a challenge for the artists, as it had been consistently depicted as a vile and disgusting environment for anyone but the Hutt. In order to make players want to be there, the team mixed the imagery of Jabba’s Palace with a color palette that was described as “pea soup and barf,” and the addition of factories and sewage pipes highlighted the Hutts’ disregard for the environment while also giving players recognizable geography amid the swamps.
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Hoth was another challenge—in all previous sources, it had been depicted as flat and inhospitable with little to no life. As that would have been unappealing to players, Jorgensen’s first concept design featured an expansive starship graveyard, and the artists soon added other features such as military bases, mountains, and pirate outposts. Further additions included volcanic mountains, based on established continuity that stated Hoth was heated by internal volcanic rock, and geographical features to break up the endless snow. The selection of Hoth was influenced by the writers’ desire to showcase the Empire’s efforts in draining the Republic’s resources for war, and the planet presented a proper environment to do so.While designing Tatooine in early 2008, the artists relied on the significant visual content from the films, but also drew from Expanded Universe literature to add oasis and patches of fertile vegetation.
The artists also worked to ensure that Tatooine incorporated the game’s specific aesthetic style, resulting in a world that was not quite as bleak and gritty as the one that appeared within the films. Dromund Kaas previously appeared in the 1998 video game Star Wars: Jedi Knight: Mysteries of the Sith, and the planet’s historic ties to the dark side and the Sith led the writers to select it for the Sith Empire’s capital. The concept artists approached the design of the planet with the idea that the Sith had subjugated Dromund Kaas, and the planet was actually rebelling against its inhabitants.
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Clint Young intended to showcase the fact that Dromund Kaas was originally lush and beautiful before the arrival of the Sith, and he twisted the shapes present within his reference imagery of canyons and forests to create a planet that was not completely corrupted.Young’s concept art for Taris featured a post-apocalyptic world that was strewn with wreckage and the remains of the buildings destroyed in the bombardment three centuries earlier, but the design proved unwieldy for members of the design team. Andrew Collins described Young’s design as being similar to a floor upon which a child had dumped a bucket of LEGOs, and when the designers complained about their inability to create it in three dimensions, the planet artists responded to the critiques by scaling back the destruction and trying a new tactic.
The artists and designers treated the playable environment as the basement of Taris’s city, building a series of pylons and plates that had originally supported the enormous buildings. However, Taris seemed incomplete to the designers, and was therefore set aside until later. When they returned to Taris, Collins, Dobson, and Jorgensen once again started from scratch beyond that first version, shutting down their other projects and spending six months working on new terrains and textures for the world. Jorgensen added vines and foliage to the plate structures in order to show that the planet was creeping back to life, and Collins varied the architecture and added new layers to make the wreckage more real. The final touch to the design was the addition of enormous, twisted metal beams that showed the ruined city-world’s superstructure, and the artists then felt that they had captured Taris correctly.
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For the planet Alderaan, the game designers recognized the importance that Alderaan’s destruction played in A New Hope, and so they sought to create a world that would show the wonders and beauty of what was lost to the Death Star. Taking inspiration from Alderaan’s depiction in Revenge of the Sith, as well as from the Swiss Alps and Scandinavian countryside, the game artists sought to create a crisp and bright planet—though the amount of snow that was used came as a shock to the world designers, including director Brad Prince. However, Prince quickly relented on the issue when he saw the finished product.
Alderaan’s castles, with their seemingly impossible architecture and soaring spires, were meant to create a medieval but also fantastic feel, and the designers chose to include the Killiks—an insectoid species native to Alderaan that originated in the Expanded Universe’s The Dark Nest Trilogy.Coruscant, the capital of the Republic, was the first city-world that the team attempted to design in late 2008, and the planet’s unique environment presented a challenge that the designers were unprepared for: as Coruscant was a ecumenopolis built from enormous skyscrapers, the designers were unable to shape the planet by lifting and manipulating the digital terrain before placing objects.
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Coruscant was therefore entirely created using objects, and the team developed a workaround for the major rendering cost of such a technique—they created a small of set of reusable objects and set pieces which had wildly different looks on their sides. The technique, which was also used by Industrial Light Magic to construct the Death Star in A New Hope, allowed the designers to build a city using only a small set of objects and maintain the variety expected while keeping framerate low.The planet Voss, which was created for The Old Republic as an entirely new world, was developed in 2008 in order to give a home to the Mystics—a potential Force-using character class that had been discarded during early production as too alien and requiring too much explanation. The writers asked the artists to place the Voss, the Mystics’ species, somewhere isolated and overwhelmed, so the artists developed the mountaintop city of Voss-Ka as the single settlement of the Voss, surrounded by ruins left behind by the Voss as they were forced back by the hostile Gormak species.
Ancient Sith and Jedi ruins dotted the far reaches of the planet, and the artists were proudest of the Nightmare Lands: a corrupt region of the planet where a darkness was spreading throughout the area. The designers developed the technology of the Gormak specifically to contrast with traditional Star Wars technology, giving the Gormak tech a molded and precision-cut feel that differs from the more machine-made technology of the galaxy.The artists first began visualizing the moon of Nar Shaddaa in early 2009, and they based the world off of the numerous depictions that Nar Shaddaa has received in various LucasArts video games. Nar Shaddaa was designed as a mixture of Coruscant and a seedy Las Vegas, with holographic signs, neon advertisements, extravagant parties, and floating casinos and pleasure barges.
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The planet Balmorra was used by the art team as a testing ground w
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