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Intervista con l'Art-Director di GSC Game World, Ilya Tolmachev

is completely translated into Italian, the GSC-Fan.com recent interview that he conducted with Ilya Tolmachev, artistic director of GSC Game World. Topics include, among other things, the history of Ilya, the artistic fields of STALKER and the inspiration that gave birth to the environmental factors, techniques for construction of mutants and PNG.

GSC-Fan.com How and when did you start to become part of GSC Game World? What projects have you worked?

Ilya Tolmachev : In 2004, when I had finished my studies at the Art Academy of Kiev, someone in my class told me that my drawings had recalled the computer game STALKER I said do not know anything about this game, and he suggested I join the developers. When I got home, I plugged in the browser bar words such as "stalker, the game" , and the first site was a video review of the game. This video was shown the location "Pripyat" with music "anxious" and comments submitted in English. I watched this video and then I thought "It 's something new and very serious. I want to work with them" . From that moment I knew I wanted to work for GSC Game World, STALKER, and then the graph I prepared a portfolio, I posted examples of their work at the GSC, and I was invited for an interview. The next day I worked in GSC Company, but, unfortunately, not for the project for which I came (I worked for many months the game "Heroes of Annihilated Empires" ). I drew a lot of Characters for the fantasy world, to which I had always been indifferent, and I have periodically tried to persuade to move the project Sergy Grigorovich STALKER It was impossible to concentrate on the design of gnomes and elves, in the next room when the monitor showed photo-realistic landscapes of the area, which literally felt the ' "smell" wet and rain. Time after the project STALKER Shadow of Chernobyl " had been virtually completed, all the graphic content of the game were ready, and was no longer possible for me to take part in the development. But I soon began designs for the prequel "Clear Sky" , Sergy and suggested I take the place of art-director for that project, and I gladly accepted.

GSC-fan.com : How and where you worked before di venire alla GSC?

Ilya Tolmachev : Prima della mia entrata nella GSC, ho passato molti anni lavorando nella pubblicità. Ero impegnato nella stampa, nel web-design, ho creato identità aziendali, loghi, packaging, ecc.. Ho lavorato come illustratore per creare il Visual di Eurovision-2005. Tutto questo era interessante da fare, ma, naturalmente, non interessante come i giochi.

GSC-Fan.com : Qualè il ruolo di un Art-director?

Ilya Tolmachev : L'Art-director è la persona che definisce e dirige lo sviluppo di un contenuto grafico del gioco cosi che la forma finale del progetto appears stylistically complete and harmonious, it uses the style of previous games in the series, but at the same time create visual features that are unique to that project. In addition, my responsibilities include:

- Design of locations.

- Control of the template design.

- Fill the locations. with objects.

- Control of the creation of the game and promotional videos.

- Control the creation of the user interface.

- Control the creation of marketing materials.

- Jobs with external sources.

GSC-Fan.com : How does the working day at GSC staff, and as the distance myself?

Ilya Tolmachev : Normally, we organize a meeting in the morning, where we report on the work done the day before, and determine the priorities of the day. Then begins the work.

My day usually starts with coffee, check e-mail and the organization of the work day. To produce such a plan, I start to draw something in a hurry. I walk through the office with sketches on paper and a pen in his mouth. Do signs models and people that create the texture. Discuss something with the game-designer. The sketch of an abnormality, for example. Dirigo some texture (because without that, modeling of an object is important to stop) and then painting and drawing sketches. If at the end of the day, or almost all the points of my plan have been implemented, I am pleasantly pleased.

GSC-Fan.com : Tell us something about those breath-taking footage of "Shadow Of Chernobyl" and "Clear Sky" . Who created them? Because there are none in "Call of Pripyat" ? E 'due to the saving of time and money?

Ilya Tolmachev : The script and storyboards for movies "Shadow Of Chernobyl" and "Clear Sky" were prepared by the team at GSC, then the clips themselves were created in an animation studio Australian "Plastic Wax" , which specializes in creating video for games on our order.

In "Call of Pripyat" were limited to a relatively small budget, in addition, we have had criticism for the quality of video "Plastic Wax" did for "Clear Sky" . Therefore, we decided to make our own video "Call of Pripyat" , which was drafted in the manner of "reportage" that did not additional resources required to create it, and we wanted to add novelty in the field of view in the project.

GSC-Fan.com : How does the GSC to organize trips in the area? What allows you to visit the key areas of the Zone, where tourists are not allowed? you're not scared?

Ilya Tolmachev : The GSC team and Alexander Novikov, deputy technical director for nuclear safety of the Chernobyl nuclear power plant, are friends ( about him is the "prototype" of the mechanical Novikov of "Clear Sky " and" Call of Pripyat "). He has always helped to organize trips to the area, and regularly provides us with new photographic evidence of the most inaccessible. Probably a good relationship with Novikov and administration of the Chernobyl nuclear power plant is our ticket to visit the places closed to tourists.

management requests for photos of reference "Call of Pripyat" occurred as follows: we first decided what we wanted in the project locations. Then, using Google Maps, I have noted on the map the most attractive architectural objects from a visual point of view, trying to avoid those that had already been photographed before, and then I sent the paper with the notes to Novikov. Alexander, who knows the area like a stalker, specified the route for our trip, avoiding the places most affected by radiation. The day before departure we organized a meeting to define goals for the upcoming photo shoot, taking into account the characteristics of our cameras. For example, a machine with a wide viewing angle is best suited for buildings, but with less viewing angle for photographs in the street, cars with high resolution textures, low resolution for small objects. When we started, everyone knew exactly what deovevano photograph, were all employed in their respective sectors and not mingled with others. As a result of 5 hours of continuous photographs, filmed in detail the whole "first quarter" of Pripyat and the Jupiter system. We took 17 GB of photos in Kiev.

is not very scary to go in the area, the background radioactivity is slightly higher than that in Kiev. The nuisance of the area, is similar to that of watching TV for 10 hours.

GSC-Fan.com : How many times the GSC Team visit the area to collect material?

Ilya Tolmachev : It depends. For example, the creation of "Shadow of Chernobyl" has required more than 3 visits. for "Call of Pripyat" one was enough, and we have no organized visit to "Clear Sky" . Everything depends on the concept of each project. If the script involves a bit of scripted scenes and, in part, linear steps, design "from scratch" is more suited to that task. So come out places like the Red Forest or Limansk. If you want the classic "freedom of action stalker" is better to play every piece of the area closely.

GSC-Fan.com : Have you ever been in the area? what are your impressions?

Ilya Tolmachev : Yes, I was in the area once. I have already described the trip was a mad rush to Pripyat with a camera. I have not even had time to get me the impression of the area, there was no time. I just remembered an unusual clean air, and a bottle of yogurt Soviet open in a dorm (in the game we can go inside the building of the hostel and organize a round-up of mercenaries).

GSC-Fan.com : Why is the prototype of the city of Limansk in "Clear Sky" was taken from an old neighborhood Kyev? Where's this? Now you can visit? You are about to be demolished ...

Ilya Tolmachev : All'inizio dello sviluppo di "Clear Sky" davanti a me c'era un incarico: disegnare un tipo di location urbana. In quel momento si sapeva solo che il gioco sarebbe diventato con una trama sviluppata linearmente. Dovevo trovare le immagini di una città da poter inserire dentro la Zona, e allo stesso tempo che fosse diversa da Pripyat. Cosi ho scelto il prototipo di Limansk, un vecchio quartiere di Kiev vicino alla metropolitana Chernihiv. Questo luogo dava uno stato d'animo diverso da quello cupo di Pripyat. Una piccola e deserta città, ma che ancora manteneva le sue comodità. Tuttavia Limansk appariva accogliente solo negli screenshot, il folle gameplay ha completamente privato questa località del suo fascino.

The district, which has been copied Limansk, has already been demolished. A month ago I discovered the Internet photos of the ruins of the houses, but I have not copied, and now, unfortunately, I can not find them.

GSC-Fan.com : How does the development of STALKER at the beginning?

Ilya Tolmachev : A group of developers will meet the large round table, and once again poses this conundrum: how to satisfy the fans to turn new ideas + + + does not meet the technical delay + release all without bugs. The development of a game is un processo che risolve questo puzzle.

GSC-Fan.com : Perchè avete fatto le texture in COP scarse, se comparate con quelle di CS?

Ilya Tolmachev : In "Call of Pripyat" abbiamo aumentato l'area delle locations. Questo comportava un incremento del numero di oggetti nel livello. Il volume di texture che sono state usate aveva superato di molte volte il limite consentito. A un certo punto dello sviluppo il livello era cosi "dilatato" che non potevamo compilarlo. Per far fronte a questo problema, e trasmettere ai giocatori luoghi come "Creek" e "Jupiter" senza dover tagliarli metà della geometria, avevamo fatto una speciale restrizione al gioco con la possibilità di una scelta opzionale di qualità delle texture. Se la memoria video non era sufficiente ad una stabile operazione del gioco alla massima risoluzione delle texture, il gioco si aggiustava automaticamente le texture a metà della scala di qualità.

GSC-Fan.com : Nella serie di "Stalker" molti personaggi sono delle "reali" persone. Come avete "trasferito" le facce umane al gioco?? Chi sono le facce di quei personaggi in realtà? (Sidorovich, Saharov, Barman, Doctor (SoC), Scar, Lebedev, Holod (CS) Beard, Degtyarev, Zulus, and others (CoP)? Who was taken Strelok (the mark)? It 'similar to S. Grigorovich.

Ilya Tolmachev : To play the faces of the men in the game, we need seven photographs from seven different angles. We need to take pictures with full uniform lighting, the shadows to a minimum and below the maximum increase possible in order to reduce perspective distortion. For this we use telephoto zoom and multiple photo from a distance. With these photographs we build a low-polygon model of a person with a special topology of the grid to work 3D sculpture with the program and produce a detailed model of the face based on this grid. From the resulting geometry we obtain a normal map, and then build a low poly mesh, but with a different layout suited to the game engine. Next, sketch the seams at the junctions of the projections and obtain photorealistic textures.

Cold, the bartender "Clear Sky" and compartment "Call of Pripyat" were created with the appearance exterior of the same person - our animator Eugene. Cold is stato riprodotto quasi "pari pari" dall'originale mentre l'immagine bonaria di Vano è stata riprodotta modificando alcune caratteristiche dell'originale.

Sidorovich, Saharov, Barman, Doctor e Il Marchiato sono personaggi immaginari, non hanno prototipi nella realtà. Per Scar è servito come prototipo l'attore Alexander Kaidanovsky. Lebedev è la guardia dell'ufficio della GSC. Cold è stato preso in prestito dal nostro animatore Eugene. Zulu è fatto con le sembianze di un fan e anche giocatore di airsoft, soprannominato Tour. Alexander Degtyarev è copiato dalle sembianze del mio amico Alexander Poshtaruk.

Degtyarev and Cardan. The actual prototype of Cardan is Konstantin Stupivtsev - very nice and not inclined to drink, the UI designer of "Call of Pripyat, the artistic decorations on the box of the game and many other beautiful things.

Professor Ozersky and Cardan.

GSC-Fan.com : Where were they taken pictures of the monsters (Bloodsucker, chimera, fracture, burer, controller)?, It is true that the Snork è un'invenzione dei fans del gioco?

Ilya Tolmachev : Molte delle immagini di mostri sono state create da un'artista soprannominato Lukash. Lo Snork, invece, è stato creato da un fan del gioco, più precisamente, una fan chiamata Sveta. Il suo cognome. sfortunatamente, nn l'ho capito. Ma ho trovato la prima immagine dello snork che lei ha fatto. E' davanti a te.

GSC-Fan.com : Da dove avete ideato le immagini e i meccanismi delle anomalie, oltre che da "Picnic sulciglio della strada" , dei fratelli Strugatsky?

Ilya Tolmachev : Something from the film "Stalker" and something from the imagination of developers.

GSC-Fan.com : What else is in groups "Duty" and "Freedom" ? How do you get the idea of \u200b\u200bmaking "Duty" as a group "intransigent" and "Freedom" a group "freak" ? Some fans see the hostility between "Duty" and "Freedom" in the area an ideological confrontation between the Soviet Union and NATO in the real world, right?

Ilya Tolmachev : The opposition between "Duty" and "Freedom" we have not put political allusions. The groups were created differently from each other in the emphasis on the contrast in images.

GSC-Fan.com : Why do we have the opportunity to play with only "Freedom" and "Mercenaries" in multiplayer?

Ilya Tolmachev : Only for the reason that their customs are quite different from the others by the color, which makes them recognizable in a multiplayer battle. In fact, you're not playing for "mercenaries" or "Freedom" , but for "Blue" or Verdi .

GSC-Fan.com : How Ilya Tolmachev like to relax after a stressful day at work? Why do you dance? I know you like the sauce.

Ilya Tolmachev : I like going to nightclubs to drink some shots and dance with pretty girls after work. I like the sauce because it's a completely different world to what I do at work. This does not mean that I get bored with STALKER, I love this project. But after working for weeks in the dismal, and humidity in the area, you feel literally wet from the rain, it is very pleasant to relax, embrace a pretty girl dancing and "bugs" with her. I recommend it.

GSC-Fan.com : What else is with your head?

Ilya Tolmachev : A cucumber grows on my head. The same cucumber that is sold in the grocery store, only bigger. It could also be edible, but I do not know. I did not pay attention, I have more important matters.

Limansk seemed comfortable only in screenshots, the gameplay has completely denied this crazy town of its charm.

soon began designs for the prequel to "Clear Sky", and Sergy prompted me to take the place of art-director for that project, and I gladly accepted.

The creation of "Shadow of Chernobyl" has required more than 3 visits. For "Call of Pripyat" one was enough, and we have no organized tour for "Clear Sky". Everything depends on the concept of each project.

If the script involves a bit of scripted scenes and, in part, linear steps, a design "from scratch" is more suited to that task. So come out places like the Red Forest or Limansk.

Author: Kozlovsky Andriyash

Italian translation by Randy_Stalker (TGM Italian Stalkers Zone).