### 현대 게임에서 픽셀 아트의 변함없는 매력
* 🎮 현대 게임에서 **픽셀 아트의 향수와 단순함**을 느낄 수 있습니다.
* 🖼 하이퍼 라이트 드리프터와 데드 셀 등의 예를 통해 게임플레이와 예술성에서 **픽셀 아트의 기술적 용이성과 장점**을 설명합니다.
* 📈 셀레스트, 페즈, 마리오 오디세이, 옥토패스 트래블러에서 볼 수 있듯이 **오늘날의 기술을 혁신적으로 사용하여 픽셀 아트를 향상**시켰습니다.
* 🧠 소설을 읽는 것처럼 상상력과 창의력을 불러일으키는 **픽셀 아트의 지속적인 매력**과 게임에서의 **밝은 미래**.

픽셀 아트는 기술적 용이성, 게임플레이의 장점, 현대 게임에서 향수와 상상력을 불러일으키는 혁신적인 잠재력으로 인해 오래 지속되고 있습니다.

[Music] When Nintendo debuted this footage of the remake of the '93 classic Link's Awakening earlier this year, and something awoke in the dormant frozen heart of this aging millennial. Though much as I'm ready to buy into this glossy anime bobblehead Toy Story look, which is of course simply an evolution of the camera shot in the original game, there's something about the rough pixely simplicity of '93's Awakening that I will always love. Whilst Nintendo moved further from their 8 and 16-bit aesthetic origins to Flossie 3D, increasing hordes of indie devs are returning for the nostalgic simplicity of pixel art work. But why is it purely a nostalgic cash grab, perhaps a cost-cutting technique, or could it actually be an artistic choice that will continue to blossom in its own right because the generation younger than me who grew up in the likes of Super Mario Galaxy and Halo 3, pixel art is some dusty relic of an ancient past before.

they were born like VHS tapes, Blockbuster Video, and dial-up internet, yet pixel art prevails. So I'm gonna check out why. I'm gonna look at innovative uses of the form and at what makes it so timeless. Let's begin by looking at Hyper Light Drifter. It has this unique saturated neon 80's pixel style. Initially based on paring back technical ambition to a level that a one-man band could realistically work on. Alex Preston had started out actually working on a style that was super illustrated and highly stylized, but ultimately he found that working in a lower resolution to be much more efficient. Hyper Light Drifter's main inspiration is clearly A Link to the Past. In that game, Link's sprite is only 16 pixels wide and 24 across, which makes for a total of around 300 to 400 pixels. That's compared to ballpark fifty to a hundred thousand polygons on characters in current triple-A titles. All of the NPCs in A Link to the Past

flick between only a handful of separate sprites. This requires so little total artwork that you can actually see the entirety of the game's character on this screen right now. When Link swings his sword, the animation is made up of only six different sprite drawings, with one of those frames held to add impact to a strike, and the sprite artwork barely changes between them. This is truly a manageable workload for even one person. It's this ease of creation that allowed Lucas Pope to craft the BAFTA-winning Communism sim Papers, Please, Eric Barone to single-handedly create the best Harvest Moon game, and Thomas Happ to make the NES throwback Axiom Verge solo. Fellow pixel artist Jason Perry notes the potential shortcomings of HD. He points out that low resolution naturally hides a lot of errors. When you move to higher resolutions or have really complex animations, your shortcomings will be noticeable. If a character's joints aren't moving in precisely the right way and interacting with muscles just so, for example, the player's immersion will be instantly broken. Sorry, my face is tired.

from dealing with everything moving between just a handful of sprites makes this considerably less of an issue for developers. But it's not just technical ease. Pixel art offers up advantages to gameplay and artistry. A fixed camera angle means the players will always view a scene in precisely the way that developers intended. So, this huge throbbing heart in hyper light drifter will always be central to the scene, and this amazing Vista will always fill the frame. It's integral to the gameplay too. Much of hyper light drifter is built around secrets barely visible to the player. This tiny square hints to the player that a hidden passageway is adjacent, and the tone of the game is very much one of player-led discovery. From the world to the gameplay mechanics, the small visual clues are something that the player begins to notice as they learn how the game world is constructed. But pixel art isn't always seen as the easy route. Last year's dead cells was actually created, modeled, and animated in 3D before being downscaled effectively using a really complex

version of the mosaic tile Photoshop filter you probably use back in graphics class school. So the game that runs in 3D renders on the screen as this for these devs. Pixel art was an aesthetic choice rather than a practical one, giving a uniquely stylized look which brings to mind the Super Metroid and Castlevania games that was initially based on, but with the fluidity of a contemporary game. So we've established why indie devs adjourn to pixel art, but what's perhaps most interesting about recent games of this style, how they use today's technology and processing power to go above and beyond what was possible in the 16-bit era, and how that suggests that pixel art might have a future beyond merely nostalgic retreading or pastiche. Celeste is playful in its visual styles. It's not restricted by its basic 240p boundaries. It has moments when its 1080p output resolution is used to warp the pixels. It has a 3D level select screen that contextualizes the game and Madeleine's

climb up the mountain, and the game's cutscenes use HD detailed illustrative artwork to give the characters themselves more of a sense of emotion and life. During the cutscenes, complemented with typography that is kinetic and crisp, blending a kind of graphic novel feel. Just look at her, and the third dimension is often utilized by devs. Fez combines 2D gameplay of the twist of being housed in a 3D world that can be spun on its axis. And more recently, Mario Odyssey projects 2D pixel throwback levels onto 3D geometry. Invention is myriad, and these levels integrate seamlessly to the game. But perhaps the most striking and visually inventive use of pixel art synthesis Renaissance can be seen in squares Octo Path Traveler. Here, 2D pixel sprites and environments are users textures and models in a 3D world. Square use the hardware and the tools at their disposal to full effect so the snowflake particles fall from the sky. Volumetric fog sifts through the

foreground and background of the scenes, and the whole world has this amazing kind of depth to it, with a narrow depth of field giving this tilt-shift diorama. This is a photographic technique that makes landscapes appear to be tiny like models. Beams of light pierce from above, and embattled particle effects and glows add oomph to attacks. Combining these with detailed 3D effects, HD hand-drawn cel animation, and the pixel animation of the characters and enemies gives each battle a real sense of dynamism. Most of all, the lighting is used to full effect. Shadows fall off the 3D sprites as they traverse the world, and attacks in battle create these incredible beacons of contrast. The overall effect is something that looks totally unique, referencing the old while being completely fresh and new. In an interview of Eurogamer, Musashi Takashi identified a key aspect of old games that SNES games were so successful because we try to imagine what they couldn't express directly on screen. With Octopath, they aim to make a game that

brings us back to that time when we needed to imagine situations, emotions soar with a new looking graphical aspect, and this I think gets to the heart of what makes these games so special and fantastic, and what will allow the pixel art style to continue to endure. When you think back to the Super Nintendo Legend of Zelda, you remember enormous landscapes, massive dungeons. It's easy to return to them and be surprised at their simplicity and their true scale. When you cast your mind back to the end of Pokemon Gold and its amazing final battle, your memory projects a huge amount of gravity and importance to the ellipsis of Trainer Red at the game's climax. For me, this was gaming. It's a deep part of my childhood blowing on cartridges, slotting in memory pods, and squinting at a tiny screen. That 250-pixel white panel expanded to an entire world in my brain to live in and explore. It has often said that modern gaming has reached such a fidelity that is akin to the experience of watching a film.

this is the case then games using pixel art and more akin to that of reading a novel. It's a man's creative input from the player's imagination. The gap between the pixels allows our mindless space to imagine world and create characters in our minds. Any bitters fleshed out and convincing as any of the biggest budget titles released today. The future of pixel art looks bright because it can be twisted in so many ways and because it is a totally different way of experiencing and interpreting games. I look forward to seeing how the style will develop from here. If you've made all the way through to here, thank you so much for watching. If you could drop me a like and maybe hit subscribe, I would hugely appreciate it. And let me know in the comments what your favorite examples of recent pixel art might be. [Music]

Why is every indie game made with Pixel Art?

Out of Sight

게임에서 픽셀 아트의 변함없는 매력

닌텐도의 링크 어웨이크닝 리메이크는 현대의 3D 게임 미학 트렌드와 대조적으로 원작의 거친 픽셀 아트의 단순함에 대한 향수를 불러일으켰습니다.

픽셀 아트의 지속적인 인기는 향수를 불러일으킬 뿐만 아니라 많은 인디 개발자에게 독특하고 효율적인 디자인 기회를 제공하는 예술적 선택이기도 합니다.

하이퍼 라이트 드리프터와 같은 게임은 채도가 높은 80년대 네온 스타일을 혁신적으로 사용하여 픽셀 아트의 시대를 초월한 매력을 보여주며 게임 업계에서 이 형식이 계속 번성하고 있음을 보여줍니다.

로우 폴리곤 캐릭터 디자인의 효율성과 장점

트리플 A 타이틀은 캐릭터에 50,000~100,000개의 폴리곤을 사용하는 반면, "과거로의 연결" NPC는 몇 개의 스프라이트만 사용하므로 한 사람이 작업할 수 있는 아트 작업량이 됩니다.

로우 폴리곤과 스프라이트 기반 아트는 제작이 쉽고 오류를 숨길 수 있어 개발자, 게임플레이, 예술성 측면에서 이점을 제공합니다.

또한 "하이퍼 라이트 드리프터"에서 볼 수 있듯이 게임이 의도한 대로 보이고 게임플레이에 필수적인 요소가 되도록 디자인할 수 있습니다.

현대 인디 게임에서 픽셀 아트가 미치는 영향

최신 인디 게임에서 픽셀 아트는 숨겨진 통로에 대한 힌트 역할을 하며 플레이어가 주도적으로 발견할 수 있게 해줍니다.

픽셀 아트는 더 복잡한 선택임에도 불구하고 구식 게임을 연상시키면서도 현대적인 유동성을 갖춘 독특하고 양식화된 외관을 제공합니다.

최근 게임에서는 고해상도 출력, 3D 요소, 컷씬을 위한 세밀한 일러스트레이션 아트워크 등 향수를 불러일으키는 복고풍을 넘어 오늘날의 기술을 사용하여 픽셀 아트를 향상시키고 있습니다.

최신 비디오 게임에서 2D와 3D의 혁신적인 사용

개발자들은 이제 페즈와 마리오 오디세이에서 볼 수 있듯이 2D 게임플레이와 3D 월드를 결합하여 독특한 게임 경험을 만들어내고 있습니다.

옥토패스 트래블러는 3D 월드 내에서 2D 픽셀 아트 스프라이트와 환경을 창의적으로 사용하여 디테일한 효과와 애니메이션을 통합한 점이 돋보입니다.

이 게임의 조명과 그림자 사용과 신구 예술 기법의 조합은 신선하고 독특한 시각적 매력을 선사합니다.

게임에서 픽셀 아트는 플레이어가 상상력과 창의력을 발휘할 수 있는 특별하고 지속적인 매력을 지니고 있습니다.

현대 게임 기술의 발전에도 불구하고 픽셀 아트의 독특한 시각적 스타일은 플레이어에게 소설을 읽는 것과 비슷한 색다르고 매력적인 경험을 제공합니다.

픽셀 아트의 다재다능함은 게임 스타일의 밝은 미래를 제공하며, 개발과 해석의 가능성은 무궁무진합니다.