Mood and Tone in RememBear

This blog contains some thoughts about about mood and tone. In games, I’m arguing that mood is mostly created by design, whilst tone is created by art. Both have to be interpreted by a player.

For me, RememBear is mostly about mood. The feeling of being in a forest, the feeling of being creeped up on, and the reaction of being attacked. Panic.

The creeping feeling is perhaps the most important. Like creepy old fairytales that seem so sweet but quickly become so sinister. This is the mood that takes the lead.

Faye Simms drew RememBear and had to carry this mood across to tone. She got this spot on. Take a look at her work in action, and then we’ll have a look at how the bears came into being!

To look at the mood to tone journey, let’s take a few steps back and look at the early ptototype. The mood of the game comes through, even with coder art. You probably won’t get the from a screenshot. The game already has a creeping mood, but the antagonist is only menacing after I’ve told the player that they are being hunted by a bear. The tone is pretty much up to the player’s own fantasy.

The mechanic was there, and the feeling of creeping panic came as the game progressed. Adding the art, giving a form to the bears, defining the terror, is what brings the game to life.

Faye sent some early sketches to get a feel for the kind of bears I wanted. The bear needed to look cute and cuddly, but have a vicious side too. The transformation is important to the tone and it reinforces the mood.

Moving from cute and cuddly to big and imposing…

This shape shifting creature fits the mood perfectly. The contrast in the shape outlines is superb. The noses keep the continuity but the creature has transformed. The mood of RememBear is of sweet characters turning sinister. Uncertainty. Fear. Panic.

The tone of these characters matches that.
I’m speaking in general terms, of course. Mood can be set by elements of design outside of the mechanics, but the tone has to come from the art or audio - from the actual assets. This is part of creating a good ‘game feel’, identifying your mood and making sure the tone you are setting fits. I know I’ve made mistakes with this in the past and I’m sure you have too, if you’re honest. I encourage you to look over your project and check that everything - everything is building towards the correct mood.

anonymous asked:

*Necessary obsequence* As a writer, I often have difficulty with tone of voice, I find it hard to get the necessary one across and often rewrite paragraphs to fix it. My question is how do you deal, and how many of your edits involve tone?

*Curtsies* So, I think you might be jumping the gun a little bit. This is just my personal take, but I have a really hard time writing any significant part of a story if I’m not comfortable with the voice and it’s not coming naturally. What this means is that I spend a lot of time before I even really start writing experimenting with voice and tone and fleshing out the character (if it’s first-person narration especially). This usually includes writing a lot of ‘headcanon’ scenes that won’t actually be included in the book, but will serve as a kind of trial-and-error to figure out the sound. It takes time, for sure–especially when I’m starting a new project and I’ve been cozy and comfortable in one character’s head for the better part of a year and then have to switch to another. 

For example: My MC from my first novel and the MC from my WIP are wildly different characters. The first is a little clueless, unobservant, slow on the uptake, totally naive. The second is sly, smart, mean, and sharp as a tack. That can be a difficult transition to make, and I eased myself into it by playing around in the new MC’s brain for a while. I wrote ‘scratch’ scenes and ‘what-ifs’ and dialogue and drew timelines and mined details about him–and all the other major characters–until I felt confident and comfortable with his voice. (This is a great way to use all those ‘imagine your MC/OTP/favorite character’ things. Why not? How does your MC react when the toaster catches him off-guard? Might seem silly but even little things like this will help to make him three-dimensional.) I can’t recommend this strategy enough, because in the long run your story will be more coherent. Not to mention, when you spend enough time on the ‘voice’ that it’s second-nature, you don’t have to think about it, and you’ll spend a lot less of your revision time going, “This doesn’t sound right.”

Okay, that’s a pretty good one.

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took this the night before the first day of school, I’m obsessed with these kind of tones.
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#tones #cloud #clouds #night #sunset #tone #beautiful #photography #explore #natureporn #nature #instanature #naturelover #natureaddict #filter #cloudporn #puffy #love #igtexas #instagramtexas #backtohogwarts #magic #amazing #madmax #sky #sun #skypic #picoftheday #summer

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etsyfindoftheday 1 | 8.27.15

theme thursday: unique canvas bags and totes

oaxaca tote in earth by scoutandcatalogue

on thursdays, we do themes ;) and this theme thursday will focus on three radical canvas bag finds, starting with this ‘earth’-hued hand-dyed bag from longtime EFOTD fave scoutandcatalogue. i love the multicolored ‘pastel earth-tone rainbow’ look of this organic pattern, inspired by oaxacan textiles.

The soul starts to talk to itself in the deep sleep of summer.
Under the light-flocked, mismatched spruce boughs,
It begins to know each other.
                                              The lonely half looks up at the sky,
The other stares at the dirt.
Who knows what they have to say,
                                           their voices like just-strung electric wire,
Constant, unhearable, but live to a single touch.

Charles Wright, from “Buffalo Yoga,” Buffalo Yoga: Poems (Farrar, Straus, and Giroux, 2004)