![]() ![]() Yeah, we're doing a lot of interesting stuff at the moment. Film has, but in interactive media, or in virtual reality, mixed reality spaces, every single direction you look is kind of a different story, so we have to think very differently about the ways in which we seed stories, and the ways in which those stories emerge from the fertile clay of the world you build, and so this notion of world building as a foundational design practice is becoming, I think, almost essential for the future of storytelling. Very few of the areas that we're working in have a single linear narrative anymore. It's highly volatile, it's very adaptive, but it gives very accurate context for stories, and I think that's the other big part of what's changing about what we're doing, is that narratives are multiple. So I think I very much talk about world building now as this very large, horizontal if you like, slice through a world that gives context to the world, and then every specific problem you have within a certain kind of world allows you to dive in vertically, go deep into that problem, challenge the way in which you investigate the fine detail of the world, makes the entire world more robust. So it was clear that there was something in this idea of building a world, building a large kind of horizontal context between all of the components of a world: the politics, the society, the terrain, the landscape, the weather, the transportation systems, infrastructure, education, all of these different parts became influential on each other, and the system of logic developed across the world, and then we would take that. From those relatively few prompts, we built out a really rich world to the point where, not only did the story find its place, and specific sequences of narrative existed that could not possibly have existed if it had been scripted in the beginning, but also we realized that there were layers and layers more storytelling in that space that the film didn't necessarily tap into, but that we knew that we could've gone back in and told 100 more stories in that space. So, in simple terms with Minority Report, we realized that with very few initial triggers, very few prompts from Steven Spielberg originally, so we knew we were in 2050, we knew it was Washington D.C., we knew it was apparently a benign future, and we knew we'd had a major disruption at the center, called the Precogs. And the fact of having no script, and having to develop a contextual framework for the story, to develop a contextual framework within which the linear story would ultimately find a place, meant that we really had to build out the world. It was a disruptive space to begin with, because there was no script. I think for me, world building started with a film called Minority Report. And then I run a studio called 5D Global Studio, which is kind of a design studio for the 21st century, looking at all of media as our landscape and using storytelling as its base. And I run an institute called the World Building Institute that gathers large groups of people around the problems and the outcomes of the ways in which we're going to tell stories in the future, with very much a design base. I run a lab there called the World Building Media Lab that looks at the future of storytelling. However, the PC version is also getting its own improvements, including ultrawide monitor support for both 21:9 and 32:9 aspect ratios, 3D audio support, and can even introduce haptic feedback if you’re using a DualSense controller in wired mode.- Hi, I'm Alex McDowell, and I do a couple of things, I teach at USC, I teach a class called World Building at School of Cinematic Arts. The Last of Us Part 1 for PCs is porting over the many improvements featured in the game’s console release from September, including its new graphics, better performance, revamped AI, and more, in addition to a host of accessibility options. ![]() ![]() The Ultra presets are looking to be particularly demanding Image: PlayStation / Naughty Dog However, regardless of the games graphical fidelity, you’ll still have to set aside 100 GB of hard drive space for the game’s weighty install size. The recommended specs for keeping a relatively stable 60 FPS at 4K resolutions with “Ultra High” graphical presets include an Intel Core i5-12600K or Ryzen 9 5900X CPU in addition to either an RX7900X or RTX 4080 graphics card. While not quite as demanding as Returnal, the last PlayStation exclusive brought to PCs, The Last of Us Part 1 will test the abilities of even the most modern rigs. The Last of Us Part 1 is finally coming to PCs on March 28, and PlayStation has just released the new features we can expect in addition to its system requirements.
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