PJ Richardson

that warps their perception of even an abnormal screen to begin with.

It was a lot of thinking about how to use that as a box, as a screen, as a surface.

It was definitely like, this is not how we normally work.

How do we do something with that?

But I kept coming back to how can I get this identity, this beautiful mold idea with From Uncommon.

And we're still trying to give it a good old college try with some of our 3D experiments.

And it looks like little kids toys to the beauty of what they're making.

But we're still trying at the same time.

The left side is from the Uncommon team that literally grew that with real mold, a real mold artist and all of its beauty.

And the me is on the right with the team trying to recreate it in 3D just because we wanted the control and sort of line it up.

But it just wasn't good enough.

So we started to respect the...

Let me see if I can explain this the right way.

We started to respect that this was really ambitious and got a little scared, but it also lined up with this idea of anticipation.

We're like, okay, the first chapter, let's test out technically what our systems can even do.

So we started to explore this cube voxel world because we're like, okay, this is going to be a lot lighter on our CG and see what cool stuff we can do.

But it also became this really interesting aesthetic that represented the early idea that hasn't formed yet, the anticipation and excitement, but this very basic thing that is very analog and frankly,

imperfect.

But at the same time, I also started to see like, hey, this is our first status quo breaking moment of using flat bricks on the wall of the front and starting to warp those with field effectors and stuff in 3D that makes it kind of breaks your perception of what a flat surface is.

And then from there, you know, as you're going through it, it's really messy, but you start to be like, well, what about this idea?