Three years before publishing Ghost of A Tale in 2016, his developer gave an interview with Game developer. Lionel Gallat, nicknamed Seith, had behind him a prominent career as an animator in Dreamworks, having worked on modern classics like The Prince of Egypt or The Route to The Dorado, and had passed to video games after being one of the Main responsible for gru, my favorite villain and lorax. In search of the Lost Trought, both from the same Estudio Illumination Entertainment that today monopolizes holders for taking over the next film by Super Mario Bros. According to Gallat then, spending the animation cinema to videogames was the logical step, By both industries had come to seem in recent years. Nowadays the knowledge and equipment necessary to make a game and a film are practically identical, he explained. I have witnessed the diffusination between the two means that has gradually occurred over the years.
Gallat was going to highlight the facilities he had found in this new medium. I love your flexibility, he said in reference to the development of this Ghost of A Tale that he was in an independently, without hardly help. Ghost of a tale was settled in a medieval world populated by anthropomorphic animals, being a playplay mouse, linden, its protagonist. Beyond the great visual result obtained by Gallat, this work stood out for the oppressive atmosphere – supported by a succession of dungeons guarded by evil rats – and the disturbing of his designs, the latter of a translation of the animal he had preserved A light blade of realism. Such a combination of elements forwarded first to a film very celebrated during the last years of Gallat in the cinema, as it would be rango and its terribly dirty and realistic animals inhabiting the Wild West, but the developer s references were somewhat more aged. The fierce violence of the game, thus, was transported to a cult film like long, where some scarcely humanized rabbits led a war tragedy with all of the law – and, above all, to nimh, the secret world of Ms. Brisby, starring a widowed rat that did everything possible to save his children, in tune to that jackplayer of fearful eyes that was trying to rescue his wife at Ghost of A Tale. Nimh was the first feature film directed by Don Bluth; An artist who is going to be the first to have warned how fruitful it can be to communicate video games with animation cinema.
The iconic dragon s lair came to laserdisc in 1983, a year after the premiere of nimh, granting the opportunity to control the becoming a cartoon film marked by eroticism and a parodier impetus that erected the adventures of layer and sword as a goal. The Bluth seal in his designs was unmistakable – for more than this filmmaker he highlighted not because of his mood, but by works of high tear potential – and had ended up phagocitizing a first exploration of the playable possibilities, earning early the label of interactive cinema. The animation, thereafter, continued influencing the evolution of the medium through the progressive creation of characters and pets, without we running up with a true inflection at the expressive level until the consolidation of the shading at the beginning of 2000. called flat shaded, which starting from illumination without a photorealistic dependence had been previously grown in numerous Disney productions, achieved from games like Jet Set Radio or the Legend of Zelda: The Wind Waker A Adorably Analog Appearance in 3D designs, and boosted an artistic style first exhausted by the corresponding fashion and then reduced to more strategic and careful jobs.
The main advantage of l shading, beyond the caramel for the eyes he supposed, was on a promise of null aging, even if it was soon being clear that not to mediate a powerful concept – or at least, consistent with the language he was brought – I was abounded at anecdotal. The Ni No Kuni series, inaugurated in 2010, did not deepen too much in its possibilities but it was accompanied by a height godfather: the role played in its production by Studio Ghibli, perceptible in the design of the world and characters and in Joe s music Hisaishi, he legitimized the proposal and appointed the l shading as an ideal material so that the animation cinema permeate the medium, even though the influx of proposals marked by this pattern were making it clear that the matter did not give more of itself. A possible reason was his forced link with the two dimensions, standard of this cinema during most of his story that jumped to the videogame as a mere wrapper, without affecting the volume or the movement of the subjects who disguised.
The cel shading, go, is a cosmetic element, which can undoubtedly lead to artistically very stimulating horizons-from there that, dissipated the avalanche of the first 2000, has never stopped using-, but whose dialogue with animation cinema is About the sterile.
The l shading also realizes that most of the time the video game has only wanted to link to this film by the striking of its aesthetics, without ever giving rise to great changes in its articulation and even exercising mere advertising claim. The Kingdom Hearts saga in both Disneyland is a good example, but the case of Ratchet and Clank is especially clamorous. With the passage of generations, both the people of insomniac and the press and users have agreed to relate each delivery with pixar, assuming that the fusion of characters more or less cartoon with the turn s graph enough to bring back to the magnifying glass company, And on the road, how the characters were moving in their world, how they related and what their actions expressed. The freezing violence of Ratchet and Clank, with his pornographic vision of the harm and his nihilist humor, had absolutely nothing to do with wall · E no matter how spaceships also appeared, but the name of Pixar continued to be invoked by how he could involve One jump forward in strictly visual terms. Illustrating a collective disinterest to create a world whose grammar parties, in a univocal way and mediating a deep understanding of these referents.
With honorable exceptions – beyond the famous Cuphead, a more felt letter has never been signed to Belladonna of Sadness as the one who presented gray in 2018-, the relationship between animated cinema and videogames has accustomed to following these ungrateful channels, marked by The superficial and the frivolous comparison. As a study that had been dedicated to the animation previously, it was possible that Ember Lab defending a breaking point.
The name of Ember Lab began to become known thanks to the virality of one of his short films, Terible Fate, who honored The Legend of Zelda: Majora s Mask. It happened in 2016, and although obviously his fame was due to what was respectedly folded into the iconography of a specific video game, his connections with Kena: Bridge of Spirits are as abundant as to almost talk about aesthetic and conceptual concerns. Terible Fate introduced us a world in full collapse, textures and shadows extremely careful, where terror earned the departure to the adventurous sense from the use of masks as manifestations of a trusted suffering in evil. Reached a moment, in fact, the mask Susodicha channeled all this discomfort in the creation of an engendro, which spurred by pain was equally became an expression of that devastated world. No dialogues or narrations were needed in off. On the one hand, because it was already the prior knowledge of a story. On the other, because the image communicated by itself.
Josh Grier, Co-founder of Ember Lab and co-director of Kena: Bridge of Spirits with his brother Mike, echoed the words of Lionel Gallat when he explained that doing a video game was the logical step after having dedicated himself to animation. And Kena: Bridge of Spirits began to be gained as the Magna Work of the Study, endowing a considerable economic and artistic investment. His first advances conquered the users for the look : one very thoughtful, whose planning seemed to come from the same creative breath that had driven therable fate and that, in his creation of a new world, he knew how to admirably choose the referents. Apart from the prominent Japanese influence, those responsible for Kena: Bridge of Spirits studied the culture of Bali, province of Indonesia, and this immersion in its significants ended up being vital for the project thanks to the figure of Dewa Ayu Larassanti: The Die Members of Gamelan Çudami, a group of traditional Balinese music that the dessert was the highest inspiration for the composer Jason Gallaty. In addition to advising Ember Lab team, Larassanti put a voice to the protagonist, enriching the interpretation of it with occurrences originated in his knowledge of this culture; Note the paused tone that Kena employs when she goes to elderly people. Earj s first video game was born as a cultural immersion as a respectful as a respectful, using the imaginary Balinese to develop a geography, a music and a costume of enormous and genuine beauty.
However, the one that Kena: Bridge of Spirits has called both attention in the months prior to its launch has not been due to the inspiration in Bali and the way in which this inspiration has been translated. That is, the grammar it has used to profile the tribute of it; One that certainly is far from exclusive, and drinks from two fundamental sources that have assaulted public conversation and texts destined to assess the work. First of all, of course and now yes, it is pixar. The movements of the characters, especially in the kinematics, are characterized by a calculated resting resting of the plips of the Genndy Tartakovsky of Hotel Transylvania or from the extended DreamWorks / Illumination production desalination, while the design of the characters themselves drink Of the Animated Disney Canon, which pixar replied instinctively when he began to place human beings as protagonists of his films. These are stylized features, of great debugging, which convey a fiercely western spirit in franco contrast to the landscape that envelops them, highlighting especially the appearance of children whom Kena helps in the first act of the game. Interestingly, and without stopping being pixar the primordial broth, the exotic scenario and vaguely postpostpocalipty of Kena: Bridge of Spirits more remembers the Walt Disney Animation of recent years, which moving away from the progressive Intellectualoide on Pixar has been able to surrender to visual debauchery And the great story, as demonstrated wonders as vaiana or raya and the last dragon. The latter, with its own pairing of cultures of Southeast Asia and the wandering of a solitary heroine, would be to be the great reference of Kena: Bridge of Spirits if it were not because both works developed practically at once.
Understanding that Pixar / Disney has exercised from repository to dump Ember Lab s findings – and overlook how much they remember certain reasons to avatar: the legend of Aang and the Legend of Korra -, would be necessary to clarify which discursive framework Chosen the study as inspiration for narration. The identification of this falls by its own weight: Studio Ghibli, specifically the films directed by Hayao Miyazaki. In fact, it is advisable to limit the references of Kena: Bridge of Spirits to the creative corpus of the latter, because the first film that comes to mind with a somero look at its images was not even produced, in purity, by Ghibli. The Japanese study still did not exist when nausicaä del valley of the wind premiered in 1984, and the bond of this classic lively with the Ember Lab videogame is inexcusable. Here we return to meet a lonely heroine – with a pet on the shoulder that in the cinema was a squirrel called teto, and in the videogame is replaced by a affable rot-, and with a world devastated where humanity tries to survive Fenced by a contaminated forest of toxic gases and spores, similar to the rosacea rot that invades the world of Kena: Bridge of Spirits. Kena, like Nausicaä, is a diplomatic agent, who observes the conflict between humanity / nature from a distance and is capable of mediating and sustaining Miyazaki s concerns about our position before the environment.
The title of mi neighbor totoro is also very relied when it comes to drawing a parallel with the ROT, as useful as the Suwataris of the soot or the minitotors at the time of giving it a alibi kawaii to the spirit spirits. While, finally, The Princess Mononoke offers a more appropriate landscape than the distopia of nausicäa of the Wind Valley to reflect analogous concerns. The work Summit of Miyazaki infiltrates in Kena: Bridge of Spirits not only for the replica of his ecologist postulates, but also by rural location, masks and, above all, the concentration of ambivalence on how to relate to nature in a leader Called to perdition. In The Princess Mononoke We had Lady Eboshi, in Kena: Bridge of Spirits we have Toshi, who unable to assume that the ruin that threatens the people of him has a natural origin and omnimode will worsen even more. Everything begins and everything ends in the work Miyazakiana, limited Kena: Bridge of Spirits to deliver new aesthetic vehicles for his reflections and, consequently, facing resignant the accusations of being a work totally drowned by his referents.
Nor does it serve anything to deny it: Yes, Kena: Bridge of Spirits is drowned by his referents, which for not being precisely unknown – and having argumental ramifications – they struggle to absorb any autonomous identity that intends to embrace the Ember Lab game. The question is, However, if Kena: Bridge of Spirits is really interested in this autonomous identity, or on the other hand, it is clearly assumed that the resonance flow can be offered by itself as a legitimate engine, which uses public recognition in its favor. That is exactly what he does.
Kena: Bridge of Spirits tells the adventures of a spiritual guide, in charge of offering comfort and understanding those deceased people who are not yet prepared to leave behind, who still feel that they have something to do. Depending on the single synopsis she could remember SpiritFarer, but whoever hopes a work as sensitive and worried about the particular thing as the game of Thunder Lotus will be quickly disappointed. While the errant souls consume their transit through the collection of masks that inspect their past and errors, which each trip culminates with the deceased of turn become a Boss alienate that you have to defeat denotes the lack of conviction with which Ember Lab has vertebrate this concept, or that it is even nothing more than an excuse on which to place other elements than those responsible deserved more interest. For example, the world in which these trips are located. Kena: Bridge of Spirits develops in a paradisiacal purgatory, marked by the absence, where we arrived without knowing exactly where we come from. Something that surprises in the first minutes of Kena: Bridge of Spirits is the scarcity of explanations; The game does not lose a second in putting us in this purgatory, already armed, and facing us at interchangeable spectra while the sleek strip pulls us in a concrete direction. It is a spurred adventure by the inertia, developed in a scenario so sweeping that ends up confusing with this inertia.
It is the world of Kena: Bridge of Spirits, so to speak, the motor of the plot. A moment in time where more biographies do not matter than those of those who have to help – and even these, with the exception of Toshi, matter too much-, which in the most inspired segments gives a purely visual narrative, almost abstract. Of course, Ember Lab s game does not have as much confidence as not to bring concessions to the player, understood as eminently poor dialogues and verbal exhibitions outside the eloquence with which the world expresses itself, but that they do not attach to ill Very meditated effort. Everything is in Miyazaki -and in the Zen doctrine, already post-: Our salvation lies in being at peace with the certainty of being the small part of a whole, assuming that nature is as it is and we must respect it in all its extension. Responding to its violence inherent with human violence under a hypocritical civilization, as Toshi tries, can only lead to a much more harmful contamination type, and is in the hands of Kena exercising as a referee and recovering the natural order with the help of Some beings, the Rot, in which the Ember Lab game deposits a good part of its successes, both mechanically and conceptual. It is extremely satisfactory to use the ROT to resolve puzzles and fighting; Almost as much as we use all our money to buy them hat, it is kawaii – or eventually discover that they can also be terrifying. Like, well, nature itself.
If Kena: Bridge of Spirits manages to address these complex priori thematic with so much simplicity is because he is aware that there is no more suitable language than the animation to reflect them. There is a film by Ghibli, which does not direct Miyazaki but Isao Takahata, who previously achieved a similar communication, beyond the script and what the characters from him defended. Its title is The tale of Princess Kaguya, and on the middle of her footage takes place that is possibly the most beautiful sequence of all the history of the medium: the flight of the princess to the forest, in pursuit of returning to the natural environment where she was born, It ends up causing your body to decompose on wild, impressionist, indomitted strokes. Stratches that readjust to an alternative and totally free reality, which sublies any artistic discourse. The great success of Kena: Bridge of Spirits lies, finally, to follow the prints of Princess Kaguya scattered around that forest.