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A Few Thoughts on Wii Graphics

Posted by Amber Ahlborn



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Right next to whether a game “sucks” or not, graphics is probably one of the most contentious topics in gaming and a typical source of pot shots aimed at the Wii. I recently wrote about my own feelings concerning the importance of graphics where visual quality is concerned, ultimately concluding that “it's the art, stupid!”. I might be biased.

Today I figured I'd explore the topic a little further in regards to my favorite current generation system, the Wii. Yes, yes, we know the Wii lacks the raw graphic power of those other systems, let's move on shall we?

I blame the current infatuation with photorealism for the Wii's graphic woes. Well, that's not entirely fair but it does feed into my point. When working with an artistic medium, and for now let's consider a game console a sort of medium, you play towards the medium's strengths. Oil paints are not superior or inferior to water colors. They're simply different. However, I would not choose water color if my goal was to paint a photorealistic portrait.

What is true in traditional media is true in digital form. Photorealism is easily the most technically difficult and graphically intensive art style. Read my Uncanny Valley series to see why. In order to come close to capturing reality in a game, a lot of the console's resources must be used. Everything from the interplay of light and shadow, to texture and mesh effects need to meet specific true to life qualities. This can be done on the Wii if the developer keeps tight reign over managing resources, such as in games that move on rails or exist in small arenas. These techniques function to keep the player's view within a limited area, and so the visuals in those areas can be at maximum detail without bogging the game engine down. Regardless, producing photorealistic graphics is not a strong suit of the Wii's more limited hardware. Yet, many developers seem intent on playing to the system's weaknesses when making a game not explicitly meant for general or younger audiences.

Assuming anyone listens to me, here's a little advice: pick an art style you can make look really good instead of one you can only half-ass.

There is more than one path to capturing a feel of gritty reality than copying Hollywood's take. The comic book industry has been doing “more real than real” visuals to tell adult stories for decades. The clean cartoon (yes, I said cartoon) visuals of classic anime like Akira certainly do nothing to diminish an intense, mature story. These are the resources best delved into when working in a medium not friendly to photorealism. Plus there's an added bonus. Nobody will ever confuse the likes of MadWorld or No More Heroes for the bazillion reality clones out there. Even the most random screen shot will stand out.



Related Links:


No More Heroes’ Suda 51 Writes About Action Figures. I Can't Stop Reading.

Abominations of Technology: Pre-Rendered Graphics

Two Years In: The Wii's Feats of Strength and Its Disappointments


+ DIGG + DEL.ICIO.US + REDDIT

Comments

Derrick Sanskrit said:

I wholeheartedly agree.  Many of my favorite games graphically this generation are on the Wii because the development teams focused more on the artistry that the texture mapping and hair physics. I'd argue that de Blob, MadWorld and Zack & Wiki all look better than FEAR 2 or Soul Calibur 4. They're more fun, too.

March 23, 2009 11:10 PM

LBD "Nytetrayn" said:

*applauds*

Indeed; realism is overemphasized, I think.  I remember when the most realistic games you saw were Ninja Gaiden and Contra on the NES, and those suited me just fine.

March 23, 2009 11:58 PM

Al3xand3r said:

Not every Wii game has to go for cartoony. Uncanny Valley effect comes when some elements are more off than others. If everything is on the same level, then the game looks great, if not extremely realistic. Ie, Doom 3 had seemingly more detailed characters and environments than Half-Life 2 due to the extreme use of normal maps, and of course the incredible for the time real time lighting. But, Half-Life 2 had far better, far more consistent art direction. It just looked better AND more realistic overall despite having shortcomings with its BSP levels, minimal use of normal maps, and no dynamic shadowing to speak of.

Games don't have to always be cartoony or stylised on the Wii, they just have to have proper art direction whatever style they go for.

Just look what Resident Evil 4 achieved on the Cube. That game looks far better than most third party Wii efforts still. What about Silent Hill on PS2?

Also, stylised looks don't instantly make incompetent developers great. Just look how horrible those cartoony boxing Wii games look. Face Breaker and Ready 2 Rumble Revolution. HORRIBLE cartoony art in both. Then you look at Punch-Out!! and your jaw drops, it looks like it's a generation ahead, yet it's on the same underpowered little system that could. It isn't even in-house Nintendo, it's some Canadian studio.

Bottomline is, you need  developers to do proper effort on the Wii, and on any system for that matter, whether they want grim realistic or stylised cartoony looks. Both are achievable on the Wii, and on any system even.

Also, their biggest problem is the gameplay not the graphics. Few seem to grasp the awesome possibilities of the remote, proper "mouselook" style controls on a console is such a breakthrough, yet almost nobody can comprehend it, it's like they never made PC games or something. The few that get it have awesome results, even the  shoddy no-effort port of WAW on the Wii has incredible controls. And with the sales surprising the company we'll hopefully see better effort in terms of content for the next Wii COD game. Anyway, rant over.

March 24, 2009 1:13 AM

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About Amber Ahlborn

Artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

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John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Hooksexup, Pitchfork and MoCCA, among others.

Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia prizes the certificate from the Ministry of Health declaring her tick and rabies-free.

Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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