"Regression" Progression: Non-Photorealistic Rendering Choices in Game Design "imitation of reality was not the Holy Grail that I had previously perceived it to be. Instead, it struck me that any visual artist, CG animators and artists included, must strive for deeper meaning. Style (impressionistic, expressionistic, photorealistic, etc.) and media (watercolor, charcoal, photochemical, etc.) are secondary to this goal, and, in fact, meaningless without such motivation. What affects viewers are not solely the images — fresh or exciting as they may be — but rather the ideas, emotional content, mood, tone and timbre of their contents." - Michael Arias Tom Hurlbutt March 16, 2004 STS 145: History of Computer Game Design: Technology, Culture, Business Professor Henry LowoodThe Legend of Zelda series is one of the most recognizable and popular computer game series to date. Every time Shigeru Miyamoto has stepped up to design the latest installment of the series, he succeeds in adding a unique twist to the game, differentiating it from those of the past. Each game provides a fresh, new look for the series, and occasionally for Link, the protagonist, every time the series jumps to the next generation system. In 2001, when the ninth game of the series debuted, both the game and Link had an interesting twist: they were completely cel-shaded1. Using the emerging non-photorealistic rendering (NPR) technology available, Miyamoto had managed to make, what seemed to be, a living, breathing cartoon. Never before had a Zelda game taken such a radical turn, and never before has such a loyal and dedicated fan base risen up and revolted over such a change. Since the late 1990's, NPR has slowly been working its way into computer game designs. While the inclusion of the technique provided an intriguing look to games, it never really had a significant impact on the players' experience within the game. With the release of The Legend of Zelda: The Wind Waker in 2003, the standard was set for NPR games to follow, as Shigeru Miyamoto embraced the NPR technology and utilized it to produce a highly emotional and immersive game. The significance of the game would not only solidify NPR as a legitimate choice in game design, but also affect and influence the inclusion of NPR in future games. The considerable negative reaction emitted by the loyal fans of the series over the graphicalrepresentation of the latest game raised interesting, yet important, questions about NPR's place within game design, questioning whether or not there exist certain situations where it would be inappropriate to use this visual style. This case study aims to explore the development of NPR during the 1990's, how it was first used in computer game design, and the impact that The Wind Waker had on defining the elements of a true NPR game. Using this evidence, and the evidence from the reaction from the Zelda community about the game, the case study also seeks to draw conclusions about the future of NPR in game design, seeing whether or not there are implicit rules future game designers must consider when seeking to design a game with NPR graphics. The Drawing Board: The Development of Non-Photorealistic Rendering "Photorealism, like pornography, leaves nothing to the imagination" – Cassidy Curtis2 When computers were first equipped with the capacity to translate bits and bytes into a graphical display, the results were very simple and primitive in comparison to today's standards. In addition to only having two colors (black and green,) early computer graphical outputs could only produce ASCII text3. The best that computers could do in regards producing graphics was to arrange the text in rows and columns in order to produce crude, two-dimension images. When computers were finally programmed to have the ability to manipulate individual pixels on the screen, the advancement opened the door for computer scientists to develop ways to render more complex images on the screen. Since then, computer graphics have jumped in leaps and bound, moving away from the early black and green ASCII art to near perfect renderings of realistic images. For the past thirty years, computer scientists have strived to develop and refine algorithms and models for the development of photorealistic renderings, or output that resembles 2images created by a camera4. Photorealistic renderings are based on the laws of physics, as the rendering software considers physical factors such as camera view, light source intensity, and actual items within the environment, in order to recreate the results of the physical interactions in the final image5. The progression that photorealistic rendering has made during the past 30 years is not too difficult to perceive: all one needs to do is compare computer graphics from five years ago to computer graphics today to see how much progress has been made in such a short period of time. The rapid progression of graphic development is due, in most part, to the rapid progression of computing power. As more and more transistors can be squeezed onto a processor, computers have been able to do more calculations faster than ever before. This capability allows images to have higher resolutions and clarity, thus making it harder for the naked eye to distinguish reality from virtual reality. Figure 1 Though this picture looks as if it came from a camera, it is actually constructed using photorealistic rendering. While photorealistic rendering is impressive with what it can do in terms of generating visual realism, there exist limitations to the technology. Ironically, the biggest limitation of photorealistic rendering is with the realism of the image itself. Amy and Bruce Gooch point this fact out using a photo of a boat to point out the limitations of the image: Imagine a photograph of a sailboat out on the water on a fall day. From such a photograph a viewer can infer a vast amount of information such as time of day, the weather, wind direction and speed […] However, such an image would be of little use to someone building a sailboat. A sailboat builder would certainly prefer technical drawings or blueprints, while someone who simply wanted to communicate the idea of a sailboat may only need to draw a shape representing the boat and a triangle representing the sail.6 3They are implying that photorealistic rendering can only provide static information about the image it is
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