![]() Then the panel moved on to the other guests. It was a pretty elaborate timeline utterly packed with text, so you can be sure there was some serious work put into this universe. He showed a visual aid in the form of a chronological timeline where events were depicted in color-coded font according to Dead Space, Extraction, the comic, the animated film, and so on. Before they went about spreading the story into various forms of media, they wanted to make sure they had a consistent timeline and that none of the various Dead Space projects would conflict with the others. Definitely a very scientific approach to the art of storytelling.Īfter that, Papoutsis talked about the process of creating the Dead Space fiction. He then showed a graph that depicted player tension within the game, showing a steady upward trend with noticeable peaks for each of those four segments. From the very outset, Dead Space Extraction was mapped out in the traditional three-act structure of setup, confrontation, and resolution, which can be further divided into catalyst, turning point, climax, and finale. Papoutsis gave a general overview of the sort of effort that’s gone into creating a vast fiction and the painstaking way they go about relaying that story in the game. What They Talked About: The main theme of the panel was storytelling within the Dead Space universe. Joining them was Ben Templesmith, the artist on the Dead Space comics. ![]() Who Was There: From Visceral Games there was executive producer Steve Papoutsis, dialogue writer Antony Johnston, and art director Ian Melham.
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