VANE – PlayStation Experience 2016: Livecast Coverage | PS4

Hello, my friends,
and welcome back. We’re still streaming
live from PlayStation Experience 2016
in Anaheim, California. I’m on a couch right now,
joined by Rasmus from Friend & Foe.
That’s right. I mispronounced it earlier,
I got in way trouble. We are going to be
showing off Vane on PS4. Now this is a game that just
made it’s huge debut at PlayStation Experience
here in Anaheim. We have the great pleasure
of showing you a little bit more
about it. Thank you for joining
us today.
Thank you. I’m sorry I can’t
offer you a drink.
I’m good. Maybe some popcorn.
Let’s do that later. Do you wanna just dive
right in to the demo? Yeah, why not. Sure.
Okay, great. Then maybe as we do
you can tell me a bit about your studio and also
what Vane is all about. Sounds good. Yeah.
Here it is. Already gorgeous.
Already something I feel is right up
my alley. Tell me a little bit
about– I know you don’t wanna
spoil a lot, but tell me a little bit
about what Vane is. Sure, sure.
What you guys are doing. RASMUS:
Vane is an adventure game about
exploring a strange world. It’s a pretty minimalistic
experience, but we’re trying to tell an epic
adventure through exploration and environmental storytelling,
essentially. This is really a story
about a place more than it’s a story
about any specific character. And so, at this part of the game
we’re starting out, and the world is in a very calm
and innocent state. Where it’s mostly a desolate
desert place. And you can see some– Some traces of… …civilization or ruins
that used to be here. And you’re free to just roam
as you please. Investigating or exploring,
to check things out. RYAN:
And how does your team,
in something that’s so vast and so open, kind of direct
a player’s attention? Okay… Sorry, folks. We’re just shifting down
the couch. [BOTH LAUGH]
RASMUS: Sliding back and forth. RYAN:
Anyway, as I was saying,
tell me a little bit about how you guys kind of direct
a player when you want to tell a minimalist story.
RASMUS: Right, right. That is a good question. We’re basically… …trying to let the player
find things on their own
in the open world that tell him more
about the story of the world through the environment
and events that he comes across. And then escalating those
and underscoring those with, like,
musical cues and, and all sorts of things to,
to kind of funnel and bring the story forward. So in this scene here,
let me get– I’ll take you on a little– You’re gonna take me
on a tour? Tour to something, yeah.
A little guided tour. It’s gorgeous. I love– I love, love, love
the detail of the feathers rippling in the wind.
I feel like that brings such an organic quality
to the bird. RASMUS:
Right, right. RYAN:
And this is a great time
for me to point out that Friend & Foe is… How
many, eight people right now? RASMUS:
We are eight guys in Tokyo. RYAN:
In Tokyo, no less. RASMUS:
We have one guy in Sweden,
but seven guys in Tokyo. We are four Swedes,
two Americans, and two Spanish guys. So–
[RYAN LAUGHS] –it’s a…
It’s a mixed bag. RYAN:
It’s a mixed bag,
and it’s a team which has many years of
experience underneath its belt. RASMUS:
Right. Most of us have been
in the game industry for quite a long time.
RYAN: Long time, yeah. RASMUS:
We come from all over the place.
But, you know, we– Another one of those bunch
of guys that wanted to do our own thing,
so we started doing that and this is our first game
together. RYAN:
Wow. Is it– Yeah,
please go ahead and keep– You can interrupt me any time
to show me stuff, but… RASMUS:
So this first part of the game
is pretty meditative. This is about being a bird
and being free and enjoying that, and also
hanging out with other birds. Which is basically all– All that exists in terms
of other life forms in this strange place. Maybe there’s some birds
hanging out here. I’m not sure. I guess not. Anyway.
Well, we tried. Yeah.
We can’t say we didn’t. You can hang out
with other birds, and you can pick them up
and they’ll follow you. You can take them
to points of interest. As we know,
birds are pretty attracted to things that shine
and glimmer. So here’s this…
old crusty thing that looks like–
RYAN: Hm, I wonder. RASMUS:
–it’s not too steady. But…
RYAN: Here we go. RASMUS:
Yeah, see. Even just
some birds perching on it basically causes it
to fall over… …or to crack.
RYAN: Just gorgeous. Can you tell me
about the technology that’s running underneath Vane?
RASMUS: The technology is– RYAN:
Is it your own engine
or an engine you guys are–? RASMUS:
This is running on Unity. We’re crazy enough
to do massive worlds and stuff in an engine that none
of us have really worked that much with
before. So… RYAN:
But you have the years
of experience. RASMUS:
So there’s headache involved.
Right. Let me move ahead there. But, basically, that’s
an artifact of the past, that– Through using the birds
you can do something with. But I’ll… RYAN:
You’ll save that for the player. RASMUS:
Yeah, exactly. There’s also a lot of stuff
that doesn’t quite work the way it’s supposed to
so I’ll try to cherry pick– Of course. Of course.
I’ll show you. You have time to work
on the game– Yeah. –continue polishing
the vision. Right.
Speaking of vision, tell me about where something
like this came from. Years of experience,
a very culturally diverse team, working in a foreign place? You know, tell me where
this all emerged from. Right. I mean,
we all, I guess, wanted to do something
that wasn’t very game-y. Something that doesn’t
explicitly tell you what to do or where to go all the time. You know, and lately
there’s been a lot of games that do that successfully,
and, I think, they’re gaining appreciation,
you know? That maybe didn’t used to exist,
before. So we felt that
there was something that you could viably do. It’s really difficult to do.
The easiest thing is to make a very game-y game–
Sure. –that has
all the explicit info– It’s familiar,
comfortable. There’s a lot
to fall back on. A lot of tried and tested
formulas for doing things but for me,
I really like to just let the place
speak for itself and just have the atmosphere
be the main draw. And you mentioned that
there is a duality to this game. I don’t know if you wanna
go into that in this demo. We’re gonna get to that shortly,
but both the gameplay and narrative
basically pivot around this transformative
catalyst of– There’s a strange material
in the environment that… Oh, my God.
Look at this environment. This is beautiful in here. There’s a strange material
in the world, and the story pivots around
how that changes both the inhabitants of
the world and the world itself. And that’s also what… Let me see here. RYAN:
Yup, you gotta focus. RASMUS:
It’s also– Yeah, exactly. It’s not that taxing at this
point. It’s not a– It’s not a difficult game
in that sense. Oh, so here’s something
really weird happening. Right. So at this point,
we cut it short here. Then it’s gonna skip ahead
to something else just to show you something
completely different. Okay. Now for something
completely different? Indeed.
Okay. Tell me a little bit more about
how your team came together. Such a diverse
group of people.
Right. Well, a lot of us were
already living in Japan– Yeah, yeah, yeah.
–and working in Japan. So– And, you know,
working with games, separately. Some of us knew each other
from before, some of us didn’t. Some people we hired once we got
the company off the ground. So it’s really…
Oh, here’s– Now this is a different
look, by the way. Yeah, this
is something else. Sorry to cut you off.
This is a pretty… Let’s see here,
what happens. Oh, my gosh. RASMUS:
Oh, shit. That’s not good.
Okay, let’s go the other way. RYAN:
Holy smokes. The direction you guys have
taken this is just beautiful. It’s just really striking. RASMUS:
We just wanted to show
that there’s more to this game than just desert.
The desert part is really
the first part, and then as the bird,
you know, just like how birds are drawn
to glimmering, shining things, the narrative
kind of picks up once you’ve found
something of interest and that kick-starts
the narrative. And it could end up
in places like this if you’re not careful. I mean, how much man hours
and energy goes into creating something
that’s so– I wanna use the term
“organic” because it’s constantly moving
and it’s very layered, but it also has
sort of a inorganic quality. It’s very angular,
and sharp, and jagged. Right,
right. So how many–?
How many man hours? Countless.
[BOTH LAUGH] You don’t have to give me
an exact number, but how does such a small team
wrap their minds and their time around something like that?
With great effort. It’s– I don’t know.
It just takes a lot of time to, first, figure out
what exactly it is you wanna do and try to…focus all your
ideas in the right place. And once you’ve done that,
I mean, we’re all– We’re all really good
at our own specific things. So once we’ve settled on
a goal, we can move pretty quickly
towards it. That said, there’s a lot
of challenges still to overcome. There’s still some ways to go
with the game, but… RYAN:
And your experiences– RASMUS:
I feel like we have a really–
A strong narrative going here that we told
in unconventional ways, but… RYAN:
Absolutely. Would you say that
your sort of minimalist style was inspired and/or
informed by either other games, or film,
or music? RASMUS:
All of the above, I guess. I mean, we’ve been looking at
a lot of crazy Russian movies, or Polish illustrators,
or French stuff. You know, there’s a lot of–
It’s a grab bag of influences. RYAN: Perfect timing too.
Yeah, yeah. Isn’t it? RYAN:
So thank you so much
for joining us. Thank you.
Thank you. This is, of course,
Vane, Friend & Foe.
Right. You planned this all out
just perfectly in timing. I’m so glad that you could be
here to talk about Vane. Which is coming to PS4
next year.
That’s right. I’m glad you guys were able to
have a moment in the spotlight here in Anaheim, California.
Thanks for the opportunity. Of course, thank you
to everyone who’s watching us at home.
Thanks a lot. We obviously have
a lot more coming to PlayStation Experience 2016
so do not go anywhere. There is a little bit more left
to this show. So thank you so much
for joining us. Stay with us. COMPUTER:

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