I’m calling it now.
I see great things ahead for this guy.
I cannot stop reblogging this.
pity he announced that he is quitting acting. but yah know, whatever makes him happy.
Please help with a question for people from ethnic minorities:
Early concepts of the lead character for Infamous Second Son show him with much stronger ethnical signifiers (skin color, hair, facial features), while the version they went with could as easily be seen as a white person.
Also the way he wears his hair together with the bandana makes him in the concepts identify more with native american iconography, while the final version hides his hair under a hat, only revealing some tribal tattoos on his arm.
He is native american, but I only found that out after seeing the concept on the left and googling for the characters backstory to confirm if he still is of native american descent or they completely went with a white person. I did not see his ethnicity in his design.
Do you – as a non-white person – agree with the designers way of removing ethnical signifiers from the character? Would you be comfortable being represented with more signifiers – like on the left or would you appreciate being more ethnically ambiguous presented – like on the right?
I know, that being from one ethnic minority is not the same as being from another, so I understand, that my example is specific to native americans. But the representation problem affects many ethnic groups and I’m looking for opinions from everybody.
Thank you very much.
i am a POC (southeast asian descent, born in the USA). i can probably identify with the lead character: he’s a person living in dual cultures (mainstream america and his own ethnic culture), and i think it’s pretty important to show that.
i know zero about the game, but here’s my take: will his ethnic/cultural background have a strong, important presence in the story? then yes, the ethnic “signifiers” probably could be stronger—like ethnic dress or the way he wears his hair. but it’s not completely necessary — it can end up in stereotypical tokenized imagery if the designers overdo it, the way black people —or any nonwhite person for that matter —were portrayed in old racist cartoons (just to exaggerate). context and story are always always important when designing a character no matter what their ethnicity.
also, the way you approach the term and concept of “ethnic signifiers” is a little problematic for me: it’s as if there is a slider scale of “white” to “ethnic,” or that the default is white, once you remove the “ethnic signifiers.” it sounds too simplistic. thinking of how a character should be designed should be less of that and more of what serves the story and the character (and the audience if the developers want to stay “safe” and keep that mass market appeal, whatever that is. kidding!)
but yeah, at the very least, he just kind of looks mixed race in the final version. it’s somewhat easy to tell that he’s not white. as long as the designers do proper research, find “what feels right,” and listen to tons of feedback from all different kinds of people, then it’s all good. i personally like the character’s final version. his ethnic ambiguousness IS still a signifier. it should be seen the same way as someone who looks “very white” or “very exotic” (that’s problematic too) or “very ethnic.”(this response got a little long, i hope i made sense!)
Yes, you made sense. Thanks for your input.
The only way to respond when someone asks you “why do you write strong female characters.”
The last one.
"You write such strong male characters, why is that?"
"How is it that you’re able to write the male perspective so convincingly?"
"Why do you feel drawn to creating male characters?"
- No reporter to any female writer or director ever.
To steal a music term, the hook of a song is that thing that, well, hooks you in and makes you wanna remember the song. So how does that pertain to design you ask? Well early on in the DA:I project I decided to treat the appeal of the characters I designed not through the eye of the beholder, compiling massive reference sheet of beautiful people and picking features I found appealing. Instead I decided to look through the lens of the narrative, and find their hook. I just found beauty too subjective, too mushy too, too, well lets just say I didn’t find it adequate. Luckily for me a lot of the talented people at Bioware believe in narrative so it wasn’t a hard sell to change the thinking and discussion away from “do I like what that looks like” to “does that visually say what we want”.
In the above example of Cassandra. Her hook is her power and authority. So then the trick was merely to use visual language to tell that story. I no longer had to justify what I thought was attractive. Her face became all about her aggression. Through the angle of her facial structure to the angle of her ears. It all became about giving her a strong aggressive forward visual flow.
— Casper Konefal (x)
Working beside this man for the last couple of years has been a highlight of my career. His insights, creativity and artistic integrity have been such an inspiration. He takes this approach to everything he does and his influence permeates Inquisition. Edit: and I should add, EVERY party member and many key NPC’s have received this treatment and I believe the results speak for themselves.
Restored dress as worn by Ellen Terry in her 1888 portayal of Lady Macbeth.
"When Ellen starred alongside Henry Irving in Macbeth in 1888, there was not a wide choice of fabrics available in England, and Alice could not find the colours she wanted to achieve her effects. She wanted one dress to ‘look as much like soft chain armour as I could, and yet have something that would give the appearance of the scales of a serpent.’ (Mrs. J. Comyns Carr’s ‘Reminiscences’. London: Hutchinson, 1926) Mrs. Nettlship found a twist of soft green silk and blue tinsel in Bohemia and this was crocheted to achieve the chain mail effect.
The dress hung beautifully but: ‘we did not think that it was brilliant enough, so it was sewn all over with real green beetle wings, and a narrow border in Celtic designs, worked out in rubies and diamonds, hemmed all the edges. To this was added a cloak of shot velvet in heather tones, upon which great griffens were embroidered in flame-coloured tinsel. The wimple, or veil, was held in place by a circlet of rubies, and two long plaits twisted with gold hung to her knees.’