The second edition of the conference will take place on October 2 and 3, 2025 at Algebra Bernays University in Zagreb. The decision to extend the event from one to two days was made in direct response to numerous requests and suggestions from last year’s participants, creating more room for content, networking, and inspiring discussions.

The conference is organized by Games Croatia, a project of the Croatian Audiovisual Centre (HAVC) uniting key stakeholders of the Croatian video game industry (CGDA, Reboot, Gaming Incubator PISMO, and HeSS), and the Zagreb Film Office, with Algebra Bernays University as the academic partner. This strong collaboration ensures the relevance and quality of the program, which will once again bring together key players from the worlds of film and video games.

Visitors can expect an even richer program, including more panels, workshops, and case studies, as well as a greater number of international guests – experts sharing their experiences from some of the most innovative productions and projects on the global stage.

The Blend: Film & Games conference will once again be a meeting point, a hub for exchanging ideas and sparking new creative partnerships – a junction for two increasingly intertwined worlds.

Film Program Advisors: Morana Ikić Komljenović, Danilo Šerbedžija, and Hrvoje Osvadić.

Video Game Program Advisors: Tea Stepanić, Hrvoje Mitić, and Juraj Hrvoje Krašković.

See you on October 2 and 3 at Algebra Bernays University! Follow Blend: Film & Games channels for more conference updates. 

The post SAVE THE DATE – Drugo izdanje konferencije Blend: Film & Games donosi još više sadržaja, suradnji i međunarodnih gostiju! first appeared on IndieGames.

Danijel also participated as a speaker on a panel titled Animation – Similarities and Differences in the Animation of Films and Video Games, along with his colleague Sara Jurić. We spoke with him about the role of character designers, his views on the gaming industry in Croatia, the situation in the studio after it was acquired by Jagex, as well as many other topics.

Otherwise, SCUM is a game that offers the possibility of exploration, looting, crafting items, and customizing outfits as well as the character itself. It provides an exceptionally immersive and hyper-realistic survival experience, where you have complete control over your progress. Gamepires also participated in this year's Infogamer, so we definitely recommend paying extra attention to this game.

What do you do in your job?

I am currently a lead character designer, which means I lead my team and convey the entire system we use in the game to them. Besides transferring knowledge and experience, I maintain their workflow at an appropriate level and am there for any problems and challenges that arise. We work with a quite complex system that has been developing for years, and it takes a lot of time for each new team member to get into all the processes. In short, my job is to maintain, train, and lead the team.

Which programs do you use most often in the studio?

From the very beginning of character creation to completion, we use various programs. For example, for high-poly models, we use Marvelous Designer for clothing and ZBrush for sculpting animals. We often use 3D scans, which we then clean up in ZBrush. We also use Blender, while animators are more on the Maya program. Sometimes we also work in 3D Coat, although we don't use it as much. After that, we use Substance Painter and Photoshop, all from the Adobe suite.

How long does it take to create a character?

It all depends on the complexity. If it's an NPC that doesn't have to meet specific requirements, it can be done in two weeks. However, for complex characters, it can take up to six months because the work is often interrupted by other tasks, such as making trailers or fixing previously completed parts. Some characters, due to their specificity in our game, require special specifications; for example, our system allows characters to lose or gain weight, which means we need to have four different states for each character: skinny, fat, muscular, and normal.

Do you have a character in SCUM that you are particularly proud of?

Yes, I would say it's the DLC character Danny Trejo. He was our first DLC character, and I mostly worked on him. We had some clothing prepared by a former colleague, and I worked on the head, adjusting the scans for the body, textures, and everything else. Danny Trejo is actually the first DLC I worked on, and later other team members took over the continuation of development under my supervision. This project is particularly dear to me because there were many technical challenges. I enjoyed working on it more than on the first characters where the whole process was still in the stage of defining and adjusting.

Has the situation in the team changed since Jagex took over?

Yes, the changes are noticeable, especially in the pace and the actual process of content implementation. Previously, we worked intensively and released new updates every other week. With Jagex's arrival, the process has slowed down because everything we create now needs to go through additional review and receive their approval. Jagex is now the owner of the IP, so they must confirm every new piece of content before it enters the game. This additional communication with them definitely slows down the process.

Are you now also working on projects for Jagex, like Runescape, or are you focused solely on SCUM?

Currently, we are exclusively focused on SCUM. We are not working on their projects, although something may appear in the future. They already have enough people on their projects, and our models are more complex and higher poly compared to theirs, which are more low poly. For now, we have enough work on our own project due to the complexity of our tasks.

How does the constant advancement of technology affect your job? Is it easier for you to work now?

Honestly, although people often comment that the models in the game have improved due to technological advancement, in my case, it's not quite like that. I work with almost the same tools as I did nine years ago, with minor upgrades. What has truly changed is my experience and ability to achieve better results with the same tools. People often think that advanced technology has made work easier, but in fact, the quality has increased because I, as an artist, have progressed.

What does the gaming industry in Croatia look like currently? Is it difficult to succeed as a character designer?

It's hard to find experienced character designers because most candidates are still at a junior or beginner level. While we were looking for new team members, it often became evident how rare experienced designers are in Croatia. Although it's not difficult to find a job in this industry, success depends on how much individuals work on themselves. It's important to go through the entire process of creating a model from start to finish to understand what makes a model quality and useful for the game. When candidates receive feedback, we appreciate it when they apply it in future applications because it shows a willingness to learn and improve. Besides technical knowledge, communication and the ability to accept suggestions are very important, which is crucial for teamwork and production in general.

Are you planning to stay at Gamepires or do you have any ambitions to work on other projects or games that you would like?

Given that I have three children and a family life, I don't have much time to consider new jobs or start my own projects. After almost nine years in this role, I have no plans to leave. I used to think about it, but I realized that my departure could cause difficulties because certain workflows and knowledge are still only in my head. A comprehensive guide would need to be created for taking over those tasks, so for now, I don't plan on making a change.

How often do you collaborate with the team on character stories? How important is the backstory to you when creating characters and atmosphere?

My main focus is on creating clothing for playable characters. When we work on NPCs like monsters, tribes, or savages, there may be some backstory, but ultimately we focus more on the technical aspects. For example, if an NPC has long clothing like a cloak or coat, it must be adapted to technical limitations, such as Unreal Engine 4's inability to support the combination of cloth physics and character shape changes. This means that the clothing must be "weighted" to the bones to function in the game, but the player cannot take and use that clothing due to technical limitations. So, while there is some backstory, our priority is aligning with the technical specifications within the game.

Are you planning to switch to Unreal Engine 5 or another engine?

From what I've heard so far, transitioning to Unreal Engine 5 would bring many challenges and potential problems, perhaps more than it would offer benefits. However, we never know what the future will bring; if the programming team finds a way to implement it without major difficulties, we might consider that option. But for now, there are no concrete plans.

How did you start with design? Is it something you've always wanted to do?

Actually, I discovered design a bit later. I have always loved drawing, especially graffiti and sketches on paper. At one point, I thought I would become a concept artist, and I was also interested in airbrushing engines, cars, and helmets. However, due to financial stability, I started exploring digital tools, so I switched to drawing in Photoshop. Then I transitioned from 2D to 3D to help myself with perspective, and over time, I became more focused on 3D modeling. After a few years of practice, I applied for a job, and that's how it all started.

What do you think about the Blender: Film & Games conference you participated in as a speaker?

I think it's a great idea! There has been a connection between movies and games for a long time, and I'm glad that discussions about it are being opened at such conferences. I only recently learned about the project and started preparing for participation, but I believe it is a valuable space for exchanging knowledge and experiences.

How do you deal with clothing clipping issues and similar technical challenges?

Clothing clipping, especially with characters, is something we simply have to come to terms with. With "hard surface" elements, like weapon parts, mistakes are unacceptable because we know exactly how those components should behave. However, with "soft surface" elements, such as clothing on characters, things are significantly more complex. We have morphs for different body types – skinny, fat, muscular, and normal – which complicates perfect fitting. Adding too many details or morphs would increase hardware requirements and decrease game performance, which players would find more bothersome than occasional clipping.

How many pieces of clothing do you currently have in the game?

We have hundreds of pieces of clothing, including shoes, pants, shirts, gloves, special full-body items, as well as male and female versions of each piece. Each piece of clothing must be made in four versions due to different body types. This means that each piece requires more morphs and adjustments, further increasing complexity.

How do you balance visual quality and game performance?

We always strive to optimize the game to run on a wider range of hardware, including lower-end configurations. Textures and models are often reduced for consoles to achieve better performance. Sometimes players do not understand why certain things, like texture details, are adjusted, but our goal is to achieve a balance between visual quality and technical feasibility.

Are you satisfied with the game's reception?

We are satisfied with what we've achieved, but we believe that SCUM deserves an even larger player base, especially compared to competing titles. Many competitor games do not have as many complex elements as SCUM, but their long-standing presence in the market and player nostalgia keep them ahead. Nevertheless, we continue to build on what we have and believe that over time we will attract an even broader audience.

The post Danijel Dizdarević – Lead Character Designer u Gamepiresu first appeared on IndieGames.

After the panel, we had the opportunity to meet Davor and talk to him about what it's like to be a sound designer, as well as a composer working on video games. What makes this profession different and special, how he creates sounds, what tools he uses, and how to succeed in this field.

He is currently working for the American studio 8 Circuit Studios on the game Project Genesis, as well as with the Croatian studio Ironward on the game Atre: Dominance Wars. It is a 4X RTS title that evokes nostalgia for Heroes of Might and Magic, and may also remind you of Age of Wonders. The game is woven with a deep and rich story, so expect campaign gameplay where you will explore various spells and technologies, as well as strategically position armies.

How demanding is the job of a sound designer and composer?

The job is demanding, but I always say that I have the best job in the world. No one can offer me a better one because I have always been involved in music, first as an amateur and for the last 5-6 years professionally. If you love your job, the demands become a pleasure because in the end, you see, or in my case, hear a good product. A lot depends on the client and their requirements, but working in gaming is very fulfilling for me. My goal is always to create a game that sounds as good as possible in terms of sound design, music, and implementation.

How recognizable are sound designers and composers in the video game industry?

Not really. It often happens that there are games particularly known for their outstanding music. On one hand, this is important from a business perspective, as games increasingly hire well-known composers, mostly from the film industry.

For example, composers like Harry Gregson-Williams, who became famous for film music, also work on music for video games. However, those who exclusively create music for games are often not well-known to the general public outside the gaming world.

On the other hand, gamers who love Nintendo, for example, often know who is behind the music or conceptual design for their favorite games. Still, video game composers are generally not that exposed to the public.

You engage in various activities – from music (professionally) to photography and psychology (privately and personally). How do you manage to find time for everything?

By profession, I am a psychologist, but I do not work in that field. About five years ago, I quit a job at a private company that operated in the medical sector, where I sold and adjusted hearing aids. That was the closest I could find to a job related to my interest in sound, especially music, which has always attracted me.

I did not have the opportunity to study at the SAE Institute in Ljubljana, which focuses on sound mixing, but today I am glad about that. After leaving the company, I decided to work on something related to sound and music. Thus, I gradually entered the gaming industry, and my first project was working on Serious Sam 4, where I was an assistant sound designer and created sounds for cutscenes.

As for psychology, I do not engage in it professionally, but only privately, in personal relationships. Photography is my hobby, which I practice exclusively in analog, not because I think it's better, but because I enjoy the process. I used to be a professional photographer, but now I have no desire for that. Now I take a camera, go outside, and maybe take one or two photographs on film.

The process of photographing analog is very different, and one of the main factors is that it is expensive, as every film is extremely costly and developing is expensive. While my wife with her digital camera can take a hundred photos in one afternoon, I might only take one, and sometimes none at all, if the shot or light isn’t good enough. So I always find time to work, and photography fits in whenever we go for a walk.

How many games have you worked on so far?

It's hard to say precisely, but I would say it's around ten games. Some of them were never released, while others are still in development. For example, the project I am currently working on has been in development for between six and eight years. Some games develop faster, depending on the size of the team and the complexity of the game itself. One mobile game I worked on is supposed to be released in a few months, even though it has been in development for six years. On some, I was only responsible for implementation, on others for both implementation and sound design, while on some I worked only on sound or music. It is often a combination of all these elements.

Are you still working with the Ironward studio? Can you tell us what the process of creating sound, design, and music for such a game looks like?

The music process for this game is still in the early stages, considering that the game itself is in the early development phase. We usually receive instructions from the producer or someone who decides on the direction of the game, such as mechanics or atmosphere, and based on those guidelines, we try to create the desired sound. Sometimes we get references from movies, classical music, or other games. Game development takes a long time, and through many iterations, we try to find a direction that fits the project.

Do you create music for other media as well? What other projects have you worked on?

Yes, I created jingles for a private television station in Zagreb; I think they are still being aired. Those were some of my first projects when I started focusing exclusively on music and sound. I have also worked on music for multimedia presentations in museums, animations for various companies, commercials, and sound design for different projects.

Where do you find inspiration for creating sounds?

When it comes to sound, inspiration often comes from references to something else. There are sounds I imagine, that I want to create, but I haven't managed to realize them yet. For example, when I'm working on a game and I get the task to make a sound for, say, a grenade, I first think about how others have solved it in similar games. This often gives me inspiration, not to copy, but to create something different, according to my own vision.

As for music, since I’ve been playing guitar for almost 30 years, inspiration often comes from pure improvisation. I sit down with the guitar without a specific plan and just start playing. I always have my phone or a sound recorder with me because sometimes an idea comes out spontaneously and I record it right away, because something interesting might come from it.

The same goes for sound design – I walk somewhere and hear an interesting sound. I record it, then later use or adapt it for a game or project.

What programs do you use? 

I exclusively use Reaper because, although I often explore online how others work and what tools they use, I haven't found anything that suits my needs better. Reaper fits me perfectly, and I don’t feel like I'm missing anything. What I particularly like about Reaper and why I recommend it to everyone is its incredible adaptability. I can customize everything, from the appearance of icons on the screen to the colors and functionalities of each key on the keyboard. This significantly speeds up my workflow.

Reaper is my primary software for sound design and composition. I also compose within it. As for gaming software, I primarily work in Unreal Engine, and I have also worked on several projects in Unity. I also use middleware software, which is used for implementing sound into the gaming engine. I most often work in FMOD, although this is usually dictated by the developer, as the software has different prices. Sometimes sounds are integrated natively into Unreal or Unity, depending on the project.

So, is it better to be versatile in order to succeed in this industry?

I would say it is quite important, as projects and studios vary greatly. I have worked with different studios, and some use exclusively Reaper from the very first steps of sound design, which was great for me.

It is not always predetermined which software will be used, and sometimes the focus is not solely on sound. It is important to be flexible, because although engines and middleware software like FMOD and Wwise are generally similar, there are significant differences. One must be ready to adapt to different projects, as when one ends, the next project may require working in a completely different environment with new tools and approaches.

Do you have any advice for those who are just starting out?

I have a few tips. First of all, it’s important to work as much as possible and reach out to people. I would recommend starting with smaller indie studios, as often one person develops the entire game. For example, I’m currently working on such a project where one person is almost single-handedly developing the gameplay and visuals, while we help him with sound implementation.

My advice is to reach out to people as much as possible through cold calling or emails. This often worked for me – you might send 500 emails, but one contact can bring you work for years to come. Also, it’s very important to learn sound implementation. This is often an overlooked part of the process, but extremely important, as poor implementation can ruin a game – it can sound too loud, too quiet, or even cause the game to crash.

I recommend everyone learn as much as possible about implementation, as it can be a huge advantage, especially in the early stages of a career. I worked on a project where the game was almost finished, but due to poor sound implementation, the game crashed and consumed too many resources. That’s where I learned how crucial it is to optimize sounds, monitor how much hardware resources they consume, and how often they repeat. These are details that can significantly impact the final performance of the game.

Another piece of advice is to learn to work with game engines. In large studios, there is often a separate person for sound design, implementation, and audio programming, but if you know at least the basics of all these areas, you will have a great advantage because you will be able to work independently on various parts of the project without needing additional help.

Which project did you enjoy working on the most?

It's hard for me to single out a project that I enjoyed the most. As someone who entered this industry relatively late, I can say that I don't have much experience related to gaming. However, in gaming, I have met many people, and I can say that the atmosphere is very positive. Everyone appreciates work, regardless of what role they have.

One of the reasons for this is that gamers are often the ones who are mostly online and used to communicating via Discord or similar platforms, so communication is spontaneous. The work is taken seriously, but the atmosphere is also informal. It's creative work, which implies a more relaxed approach — no one wears ties, and we are all more laid-back, which I like.

Have you ever used any melodies or motifs from Croatia? Perhaps from folk music?

Not so far. First, I haven't had the opportunity to work on such projects, and second, I always strive to create something original. I care a lot about copyright and simply don't use other people's materials, neither samples nor beats; I always work exclusively 100% on my own.

There is always the possibility that something unforeseen might happen. For example, on YouTube, you often find "free sounds" with licenses that state you can use them freely, but it turns out that those sounds were taken from someone else and that they should have a license that could cost money. That's why I'm very, very cautious in that regard.

What do you think about the Blender Films & Games conference?

Phenomenal! The conference is really excellent, and the team is very positive. I think it's great that the theme of film and video games is being combined. These are very close spheres, although they have their differences. In my panel, I learned a lot by listening to my interlocutors for 40 minutes. Even though I work in this field, there were many things I didn't know. Here are people who work professionally in films, whether it's about sound or music.

When did you learn notes exactly and what instruments do you play?

Well, I'm currently learning notes. I know them, but I'm not someone who can easily read notes from paper. I know which note is which, but what I mentioned at the conference is that today the advantage is that you can learn almost everything for free — especially on YouTube.

I've watched videos about sound design, composing music, and using different instruments. I play electric guitar, bass guitar, and keyboards. Keyboards are something I've recently started using, but now I use them the most because all music composition on the computer is done through the keyboard. The MIDI keyboard triggers the sounds I want, whether it's a choir, cello, organ, electric guitar, or something else. If I need to record electric guitar, then I play it myself.

The post Davor Manojlović – music composer and video games sound designer first appeared on IndieGames.

Different Approaches to Directing: Interactivity vs. Linear Narrative

The discussion began by highlighting the key differences between film directing and video game directing, where participants recognized interactivity as the most important factor. Hunski pointed out that video games are unique because the player takes on the role of the director, while the film director controls every aspect of the narrative. In games, especially those with open worlds, players choose their path, which often means that many may never see certain scenes or experience key moments that the team has designed.

Vuković emphasized that this is one of the great advantages of video games: “The player shapes their experience, pieces together parts of the story, and creates a picture that is unique to them. That’s the ‘wow’ that drives us forward – that interaction and the possibility for the player to discover the story in their own way.” However, the question arises – what if the player never reaches that key moment?

On the other hand, film is a medium that provides a linear narrative structure in which the director has complete control over what the audience sees and feels. Zadro explained that this aspect of film directing is often more challenging because you have to convey all the emotions, atmosphere, and message without interactivity: “Everything is on you. There is no interaction that creates the experience – you have to deliver exactly what you want the viewer to see and feel.”

Multiplayer Games vs. Single Player Narratives

Stepanić from BlackMill Games, which worked on the game Isonzo, spoke about the specific challenges of multiplayer games. While single player games allow control over the narrative, multiplayer games require a balance between historical authenticity and enjoyable gameplay: “We have to design the scenery, uniforms, and weapons in a historically accurate way, but at the same time ensure that players have fun.” In multiplayer games, there is no guaranteed narrative thread that the player must follow, so it is crucial for the game world to tell its story, regardless of where the player goes.

She also emphasized the importance of balance in games, especially in historical multiplayer titles: “We have 48 players in a game like Isonzo, and elevations and terrain play a key role in the balance between attackers and defenders. Everything must be well planned, even though historical conflicts were often extremely asymmetric in reality.”

The Creative Process and Challenges of Directing

One of the most important aspects, both in film and in video games, is team leadership and conveying a vision. Zadro spoke about the importance of teamwork, emphasizing that the director is not the only creator, but that the whole team contributes to the creative process: “Leading a team is just as important as managing a project – you need to know what you want, but you also have to give each team member the space to contribute their creativity.”

Budić, who is working on the game Bura, added that her approach to design was driven by the emotions she wanted to convey through the game. The story and level design were key elements in defining the feelings she wanted to evoke in players: “Similar to film, in games you have to carefully plan how each element, from the story to the visuals, contributes to the overall player experience.”

Connecting film techniques and games: Interactive films as the future?

One of the more interesting topics was interactive film and the merging of cinematic techniques with the interactivity of video games. Vuković recalled the experiment Black Mirror: Bandersnatch, which attempted to combine interactivity with the film form. Although the project was interesting, it did not spark a wave of similar projects. Boris believed that the reason for this lies in the fact that such projects balance between game and film, but did not achieve top results in either area.

“As soon as you introduce interactivity, you enter the world of video games. Such projects can be interesting, but they need to have a deeper meaning to be successful. Simply adding interactivity does not necessarily mean a better experience,” Boris concluded.

The post Kreativno blendanje režije – Panel na konferenciji Blender: Film & Games first appeared on IndieGames.

Tools and Software: Cubase, Reaper, Pro Tools and more

One of the first questions on the panel related to the software that the panelists use in their work. While some have been using Cubase and Nuendo for decades, others have switched to Reaper due to its flexibility and affordability. Zelić emphasized that he uses Pro Tools for production and sound processing, highlighting its advantage in working with teams around the world, as it allows for easy sharing and compatibility: “When someone sends me a Pro Tools session from South America, I can open it without any issues, which is a significant advantage for international projects.”

Krstajić also uses Cubase but has experimented with other software like Logic and Digital Performer, while Grubačević notes that he still uses Sonar, an old software he sticks to due to years of habituation. Although opinions on software are divided, everyone agreed that the choice of software is often a matter of personal preference and working habits.

Sound Design and Sound Implementation: Key Techniques for Film and Games

A significant part of the discussion is dedicated to sound design and the ways in which sound is implemented in games compared to films. Zelić described the challenges he faces in creating sound for films, where dialogue is often the focus, while other sounds and effects are secondary: “In Croatian films, dialogue is the most important, and everything else must be supportive. It often happens that towards the end of the process, attention shifts to fine details, such as footstep sounds or background noise.”

In games, on the other hand, sound has an additional function – a guide for the player. Manojlović emphasized the importance of balancing sound in video games so that players receive key information through auditory signals: “In games, sounds like footsteps, gunshots, or signals that you have hit another player are extremely important. We must group sounds and set priorities – for example, if a player is injured, we reduce environmental sounds so that they can hear key information.” He also highlighted that techniques like side-chain compression are often used, which automatically reduce one sound when another, more important sound appears.

Music in movies and video games: Interactivity vs. linear narrative

One of the key differences between music in films and games is the level of interactivity. While film music is linear, in video games, music must be adaptable and interactive to change based on the player's actions. Krstajić explained that stems and different layers of music are often used to allow seamless transitions within the game: “Music in a game can last five minutes or an hour and must be designed not to repeat and become irritating to the player.”

Manojlović added to this topic, emphasizing the importance of collaboration between composers and programmers to properly implement music in the game: “In games, it is important for composers to know software like WISE, as they need to understand how the music will be implemented in the game. This way, they can better tailor their work to the interactive demands.”

On the other hand, Grubačević described how working in films is more focused on definitively finishing soundtracks and how composers often participate in the final sound mix. He highlighted the importance of a good relationship with directors, as the final decision on how the music will sound depends on the director's vision: “I always participate in the sound mix and go through every detail to achieve a balance between music and dialogue.”

Criticisms and adjustments: Constant improvement of sound and music

One of the topics that sparked interesting reactions among the panelists was criticism and adaptation during the sound and music creation process. Krstajić admitted that over the years she has learned to accept the critiques of the director and other team members, as she is aware that she is in service of the final artistic work: “In the end, I work for the director or for the game, and it is important to understand their vision.”

Although going through numerous revisions can be frustrating at times, the panelists agreed that communication is key. Zelić emphasized that it is important to remain flexible and open to changes, especially when faced with criticism at the end of a lengthy process: “You have to be ready for compromise and adaptations, and sometimes that is a psychological challenge.”

The post Zvuk i glazba u filmovima i videoigrama – Panel na konferenciji Blender: Film & Games first appeared on IndieGames.

Differences between cinematic and gameplay animation

One of the main themes of the panel was the difference in the approach to animation in films and video games, particularly in the context of technical requirements and creative freedom. Jurić, who has experience in both industries, emphasized the key differences between film and gameplay animation. Specifically, film animation allows for much greater freedom in expressing emotions and performances, as the animation is tailored to one camera: “In the film industry, you have greater freedom of performance because you are working for one camera, whereas in video games, the animation must look good from all angles – 360°. Therefore, the technical side of animation in games is extremely important.”

Jurić also mentioned an example from Pixar's film Luca, where animators "tore" 3D models from the other side of the camera to achieve a more beautiful expression, which would be impossible in games since the animation always has to be viewed from multiple perspectives. The only similarity to film animation can be found in cutscenes, where the conditions are similar to the film approach, but gameplay animation requires high technical precision.

On the other hand, Đukić emphasized that despite the technical differences, in both media the key story and emotions conveyed by animation are crucial: “We are storytellers, regardless of the medium. Our task is to convey emotions and connect with the audience, whether it's through a film or a video game.” According to him, there are many technical differences, but the fundamental task of the animator remains the same – to create an emotional connection with viewers or players.

Workflow and technological tools

Dizdarević, who works as a lead character artist on the game SCUM, detailed the workflow process of character creation for video games, including the use of high poly and low poly models, texturing, rigging, and optimization for different devices. Dizdarević explained how game models must be adapted not only to the technical requirements of the game but also to hardware limitations: “In the game SCUM, we use a LOD system (Level of Detail), which reduces the number of polygons and texture resolution depending on the distance of the player from the object, allowing the game to run smoothly even on weaker computers.”

He also emphasized the importance of communication between different teams, including animators, programmers, and testers, to ensure that everything works in the game: “We have meetings every week to track progress, and teamwork and constant communication are key to solving technical problems and bugs that arise during development.”

Crunch time and working conditions

One of the themes that is often present in the gaming industry is crunch time – an intense period of work before the launch of a game or a major update. Dizdarević confirmed that crunch is inevitable in the video game industry, especially before important events like trade shows and the launch of new game versions: “Every time a new update is released, we have a mini crunch, and when we are preparing for larger events, like presentations at the E3 fair, we know we can work for three days straight to have everything ready.”

In the film industry, according to Đukić, crunch time is less present, but there is still pressure to complete the work on time: “In movie animation, the process is layered, but once a certain phase is locked, there is no turning back. Every mistake at the beginning later comes at a high cost, which drives us to precision at every step.”

Technological progress

The panelists also spoke about the tools and software they use in their work processes. Dizdarević mentioned that, despite the advancement of technology, he still uses the same tools as he did nine years ago: “It is not technology that makes models better, but the progress of the artists themselves. Over the years, we gain experience and develop skills, which reflects in the quality of our models.”

Đukić, who works in both the film and gaming industries, highlighted how the emergence of Unreal Engine has transformed the way they work: “Unreal Engine allows us to experiment with light and scenes in real-time, which is a huge advancement compared to older methods where we had to wait several minutes for a scene to render.” He emphasized that the transition to a real-time pipeline has helped speed up production and provided creators with greater flexibility.

The post Animacija u filmovima i videoigrama: Sličnosti i razlike prema iskustvima stručnjaka s panela na konferenciji Blender: Film & Games first appeared on IndieGames.

Prvo izdanje konferencije Blender: Film & Games otvorilo je brojne aktualne teme kroz panele i prezentacije mnogobrojnih stručnjaka audiovizualne i gaming industrije. Na samom početku konferencija je otvorena protokolarnim govorima organizatora i domaćina Sveučilišta Algebra, Ministarstva kulture i medija, te ravnatelja Hrvatskog audiovizualnog centra. “Nakon pet izdanja konferencije PROFilm Days u šestu godinu ušli smo zajedno s gaming industrijom, što se pokazalo kao logičan slijed i vrlo uspješno i nužno povezivanje dva sektora i to s više od 80 govornika”, rekla je Mia Pećina Drašković, voditeljica Zagrebačkog filmskog ureda koji je ujedno i organizator konferencije.

Benjamin Noah Maričak, voditelj ureda Games Croatia koji je osnovan ove godine pri HAVC-u, a koji je uz filmski ured također organizator, naglasio je kako je ova konferencija bitan kotačić u razvoju audiovizualne industrije i prva takve vrste održana u Hrvatskoj. Christopher P. Marcich, ravnatelj HAVCa, otišao je korak dalje i rekao da je ovo svjetska premijera takve konferencije, jer na primjer Španjolska također pokreće sličnu konferenciju ali tek kroz nekoliko dana pa smo mi ipak prvi. Krešimir Partl, Državni tajnik Ministarstva kulture i medija čestitao je organizatorima na uspješnom povezivanju filmske i naglasio kako HAVC od 2021. godine sufinancira razvoj i proizvodnju videoigara, a posebno je izrazio zadovoljstvo projektom Games Croatia.

Location manageri, Naomi Liston i Klaus Grosse Darrelmann, koji su odabirali lokacija za filmove kao što su The Grand Budapest Hotel, Game of Thrones, Red Sparrow i The Northman, na svom panelu pričali su o izazovima s kojima se susreću na lokacijama koje nemaju nikakvu infrastrukturu, ali su savršena podloga za stvaranje budućeg filmskog hita. Oni će ostati u Hrvatskoj punih deset dana te će obići Hrvatsku, od Slavonije do Dalmacije, jer su u potrazi za lokacijama za njihove nove projekte. Naomi je naglasila da priprema sezonu 2 projekta kojeg je nedavno završila i da sada traži krajolike bez civilizacije i  povijesnu arhitekturu kao što su drvene kuće, dvorci i sl. te joj je Hrvatska vrlo zanimljiva lokacija.

Prvi hrvatski igrani film o legendi sporta – Dražen, panel je koji je najavio premijeru filma o Draženu Petroviću koja će se dogoditi 22.10.2024., na Draženov 60. rođendan. Producenti Ivor Šiber i Ljubo Zdjelarević naglasili su da ne rade film o košarkašu Draženu Petroviću već o njemu kao čovjeku, te da će upravo zato većina filma biti o njegovom životu, a manji dio samo igranje košarke.

Na konferenciji je prikazan prvi kratki hrvatski film koji je osvojio Zlatnu Palmu u Cannesu, Čovjek koji nije mogao šutjeti, te je ostavio sve gledatelje bez riječi. Ovo remek-djelo hrvatske kinematografije posljednjih je mjeseci u fokusu svih medija, a na konferenciji je redatelj filma Nebojša Slijepčević objasnio da mu je želja bila da priča komunicira s današnjim vremenom te objasnio da je dokumentaristički pristupio projektu i kombinirao stvarne događaje i fikciju. Na kraju panela je najavio da radi na novom, ovoga puta, dugometražnom filmu koji će biti adaptacija jednog poznatog suvremenog romana.

Roblox, platformu za online igre i sustav za stvaranje igara i kako promovirati svoj film na toj značajnoj platformi objasnio nam je scenarist Branko Ružić, koji je u sklopu konferencije održao i radionicu scenarija u trajanju gotovo četiri sata. Sve tri radionice koje su se održale u sklopu konferencije bile su popunjene do zadnjeg mjesta.

Mladen Đukić (BIH), vlasnik Aeon Production i animator te jedan od govornika nije krio oduševljenje konferencijom: ‘Velike pohvale za organizaciju, kvaliteta tema i panelista me je ostavila prikovanog za stolicu svo vrijeme konferencije. Panel o animaciji kao vezi između filma i video igara na kojem sam sudjelovao je pokazao koliko su bliske ove dvije industrije, ali i da developeri i animatori moraju više i ranije komunicirati’.

Panel pod nazivom Svjetski uspjesi hrvatskih video igara izazvao je poseban interes svih posjetitelja, a Mario Mihoković, CEO LGM & Overseer Games objasnio je važnost konferencije: ‘Na današnjem događaju na Sveučilištu Algebra sjajno je bilo vidjeti interes polaznika i publike za game development općenito. Taj se interes samo povećava što mi je posebno drago za vidjeti. Svi su imali prilike čuti iz prve ruke kako industrija funkcionira iznutra, a dodatnu vrijednost su dodale konkretne igre prezentirane u sklopu eventa. Gosti su na jednom mjestu mogli čuti iskustva veteranskih developera iz Hrvatske, a također i vidjeti igre koje ovdje nastaju te se osvjedočiti u korisnost potpora koje ovakvim projektima stižu iz HAVC-a, Algebre i ostalih institucija. Da su ovakvi događaji i potpora postojali kada smo mi počinjali, bilo bi to od neprocjenjive vrijednosti.’

Posljednji panel, od ukupno 19 s više od 80 predavača, najavio je premijeru hrvatske teen serije pod nazivom SRAM, a koja je adaptacija norveškog svjetskog hita SKAM. Hrvatska inačica ove popularne serije prije desetak dana je završila sa snimanjem, te će se prva sekvenca prve epizode (svaka epizoda ima pet sekvenci) 22.10. objaviti na You Tube kanalu, društvenim mrežama i službenoj web stranici serije. Seriju proizvodi CGM Films za HRT, a na konferenciji su Ivan Lovreček producent CGM Films, Maja Fišter urednica projekta, HTV i prof. Mirnada Novak s Edukacijsko – rehabilitacijskog fakulteta objasnili važnost serije za mentalno zdravlje mladih kroz teme koje su njima bitne, a do kojih su došli intenzivnim razgovorima i pripremama upravo s teenagerima tijekom više od dvije godine. Naglasili su da već sada imaju golem interes mladih za seriju te da su svjesni da HTV godinama nije nudio sadržaj za tu dobnu skupinu. SKAM je svoju adaptaciju do danas imao u 10 zemalja, dok se u Francuskoj snima već 13. sezona.

Prvi dan karijera u audiovizualnoj industriji prošao je više nego odlično i uz brojne posjetitelje, učenike, srednjoškolce i studente, koji su se interesirali za svoje buduće zanimanje kako u filmu tako i u gamingu i to na devet info pultova raznih tvrtki i obrazovnih institucija (ADU, Algebra, Vern i PISMO).

Mislav Balković, rektor Sveučilišta Algebra po završetku konferencije ponovio je važnost edukacije u gameing industriji: „Podcijenili smo moć hrvatske IT industrije u privlačenju mladih ljudi i otvaranju novih radnih mjesta. Iskustvo nam je pokazalo da preko 87% studenata Algebre već za vrijeme studija pronalazi posao, zato je važno da kroz prijediplomski studij namijenjen razvoju računalnih igara damo dodatan doprinos game development industriji. Naš program odlično se nadopunjuje na srednjoškolski strukovni program koji već postoji u Sisku. Želimo Hrvatsku pozicionirati kao zemlju predvodnicu razvoja game developmenta u ovom dijelu svijeta, a pokretanje stručnog studija prvi je korak u tom smjeru.“

Za kraj, konferenciju je nabolje opisao Jan Juračić, narativni dizajner: ‘Konferencija je bila uspješna sinergija dvije discipline. Tko nije otišao inspiriran, nije obraćao pažnju!’

Ovim putem još jednom zahvaljujemo Gradskom uredu za kulturu i civilno društvo, HAVCu i TZGZ na financijskoj podršci konferencije, te svim sponzorima i medijskim pokroviteljima. Sva predavanja uskoro će biti dostupna na službenoj web stranici konferencije www.blenderzagreb.eu, a sve dodatne informacije o snimanjima u Zagrebu pratite na društvenim mrežama Zagrebačkog filmskog ureda.

The post Pred prepunim dvoranama održana konferencija Blender: Film & Games 2024 first appeared on IndieGames.

Passion as a Driving Force

One of the key topics of the panel was the passion for video game development, which often transcends all challenges in the industry. Murat from Nanobit emphasized that the video game industry requires a lot of work and effort, especially in the early stages of a career: “If you want to do something that makes people happy, something that will bring a smile to their face, then work in gaming. But don’t expect an easy start – it takes a lot of hard work and passion.” Murat added that success often comes from teams putting in more than expected and not giving up on the challenges that come with game development.

Hunski from Croteam agreed, highlighting that the key to success is working out of love: “Our team operates like a hippie commune – we do what we love, and when you see that people enjoy your games, it gives you extra passion and motivation. We don’t use work control mechanisms; our team works because they want to, because they love their job.” According to Hunski, the creative process is crucial, but it requires hard work and constant adaptation to the market, while simultaneously allowing for the development of unique ideas.

Challenges of Financing and Maintaining a Business Model

The panelists also discussed the challenges of financing projects and making tough business decisions. Mihoković from LGM & Overseer Games shared his experiences regarding financial difficulties and balancing creativity with commercial success. He emphasized that although financing projects can be challenging, their team succeeds because they are focused on simple, clear goals: “We are like aunts at the market – we have a good product, if the price is right, people will buy it.”

On the other hand, Murat spoke about the importance of recognizing the moment to stop game development. He considers this aspect one of the hardest for any developer: “One of the hardest things is knowing when to stop a project and not continue investing time and money into something that may not succeed.” He highlighted how crucial it is for developers to be able to make tough decisions in a timely manner to avoid greater losses.

Game development in line with the market and audience

Uzelac from 2X2 Games emphasized how important it is to know your niche and audience. According to him, simply making a good game is not enough: "There are plenty of phenomenal games that have absolutely failed because they couldn't reach the right audience. It's not enough to make a game, release it into the world, and hope for the best. You have to listen to players and adapt to their feedback." Uzelac highlighted the importance of market research before starting a project, which allows developers to identify their users and their expectations.

Barbir from Pine Studio added to this, mentioning his own experience where their projects went through various stages of development and adaptation: "We started with mini-games that we sold without our name anywhere on them. Our goal was to learn and improve until we were ready for bigger projects." This approach allowed them to gradually rise in the industry, and later they managed to have their games among the most popular on platforms like the App Store and Google Play.

Long-term planning and goals

The speakers agreed that one of the biggest challenges for game dev studios is to maintain a <strongstrong long-term vision and not lose focus</strong. Murat emphasized that the key to long-term success is not only developing games but also investing in people and creating a sustainable work atmosphere: “Game development is not a sprint, but a marathon. It is necessary to build teams that can endure long-term projects, and this is achieved through a stable work culture and constant investment in employee development.”

Uzelac also added that it is crucial to set realistic goals for each project: “You need to know what you want to achieve, but also when it’s time to finish the project,” he said. Sometimes the biggest challenge is recognizing when it's necessary to abandon an idea that isn’t yielding results, which is a skill that, according to Uzelac, is difficult to acquire but essential for long-term success.

The post Croatian Developers on the World Stage: Inspirational Stories from the Gaming Industry first appeared on IndieGames.

Accessing the adaptation of the reality show into a video game

Nanobit has adapted Too Hot to Handle into three mobile games, which was an extremely challenging project considering that the reality show format traditionally does not offer obvious interactivity. Murat admits that he was not familiar with the original show before they started negotiations with Netflix, but he was surprised by the large number of viewers of the show, which gave the studio confidence that the game has enormous potential.

One of the main challenges was to translate the passive experience of watching television into an interactive experience where the player takes the lead role. “Watching a series is simple entertainment – you lie in front of the TV, your brain is turned off. However, in the game, users must be active participants and feel like they are part of that perfect world,” says Murat.

Character Personalization

One of the key elements that contributed to the success of the game was the deep level of character personalization. Nanobit allowed players to customize their characters in an incredibly detailed way, including various physical traits, tattoos, prosthetics, and other options to enable players to create a character that best reflects their personality or fantasy. This approach, which supports inclusivity, received a great response. Murat mentions the example of a player with diabetes who was thrilled by the possibility of their character wearing a glucose monitor.

In addition to personalization, the game allowed players to create their virtual dogs, which further enhanced the sense of connection to the game. “The goal was to enable users to feel like they could be part of the world they see on the screen,” explains Murat.

The role of Netflix and content oversight

As the owner of the IP, Netflix had strict guidelines that Nanobit had to follow during the game's development. Visuals, narration, and dialogues underwent detailed review by Netflix's editors, ensuring that the game remained true to the spirit of the series. “Every choice in the game, every dialogue, went through careful scrutiny to ensure that everything met Netflix's standards,” said Murat.

Interestingly, the three games together had about 1.7 million words of dialogue, surpassing the scope of literary series such as Harry Potter or A Song of Ice and Fire. This vast narrative content was non-linear, allowing players to make important decisions that affected the course of the game.

Nevjerojatan uspjeh na tržištu

The nanobit adaptation of Too Hot to Handle has achieved remarkable success in the global market. The first game in the trilogy was the most downloaded on the Netflix platform in the first two months after its release, while the third game in the series exceeded expectations with 90,000 downloads in the first five minutes after launch.

Murat highlights that Too Hot to Handle 3 had a better start even than some well-known titles like GTA Trilogy and Hades, indicating a strong fan connection to the series. “On Reddit, within the first few minutes after the game launched, hundreds of posts were made where players shared screenshots of their characters and fashion combinations,” Murat recalls.

According to Murat, Netflix plans to integrate the game with the TV show in a way that players can see their characters in the actual show on screen, creating a unique interactive experience that merges watching and playing.

“They own the IP, which means that no one else can continue the game. I can say that they want to add content for Too Hot to Handle 2 and give it to another studio. We are collecting all the data for them and can analyze it, but we cannot use it except to improve the game and in agreement with them. One of the data points we are allowed to use is that Too Hot to Handle 2 is the most played game on the platform. 45% of players have played the game more than once, which is an extremely high percentage,” concluded Murat.

The post The popularity of the Netflix series Too Hot to Handle was also achieved through Nanobit's mobile video games first appeared on IndieGames.

Gloomy Eyes – from VR film to game

One of the projects Mitić worked on was Gloomy Eyes, an experimental VR film from 2019 originally produced by the French studio Arte. This film, narrated by Colin Farrell, offers a unique experience in virtual reality, and Mitić's team got involved in the project with the aim of adapting it into a video game.

Gloomy Eyes managed to convey the specific atmosphere of the film, reminiscent of Tim Burton's style, into the world of video games. "We worked on the project with a small, focused team of 10 to 12 people, and within 15 months we completed a game that contains five hours of gameplay," says Mitić. Although the game's style is somewhat comparable to the indie hit Limbo, Gloomy Eyes retains its unique tone and atmosphere.

Gloomy Eyes: The Game tells the story of Gloomy, a mysterious zombie boy, and Nena, a young girl. Using the unique abilities of Gloomy and Nena, players must solve puzzles and help the heroes in their quest for the return of the sun. They will discover a unique story about loneliness, diversity, and love while solving various puzzles in this dark and poetic narrative game. This title is set to be released in 2025 for PC via Steam.

Paws of Fury – big challenges with a larger project

The second project, Paws of Fury, was much more ambitious, with a larger budget and a more complex production. This film, which according to Mitić started as a series of storyboards back in 2018, featured big stars like Samuel L. Jackson, Ricky Gervais, and Mel Brooks. The film was originally titled Blazing Samurai, inspired by Brooks' 1979 classic, Blazing Saddles and follows the story of a dog who wants to become a samurai in a world of cats, alluding to social issues like racism.

 “A fantastic film. I call it triple indie because it’s not quite on the level of Disney animations. The film wasn’t even fully finished, and we had already started working on the game,” recalls Mitić. This project, with a budget of 40 million dollars, found itself in a gray area between major studio productions and independent films, which created additional problems in distribution and production.

Unfortunately, there is still not much information about the game, but Mitić revealed that they are in the final stages of production and that we could soon learn more details about it.

Ključne odluke u razvoju igre

When adapting these films into video games, teams had to make important decisions regarding game mechanics and design, taking into account budget and time constraints. Mitić explained that when taking on the Gloomy Eyes project, there was a clear vision of how to adapt the film into a game, and they had to simplify certain design elements to deliver a quality product within the limitations. "Although we had restrictions, sometimes they are a good thing because they guide us and prevent us from wandering in too many creative directions," Mitić explains.

For the Paws of Fury project, the freedom they had in game development brought many opportunities on one hand, but on the other, also certain difficulties. "Perhaps we rushed in some parts of the project, which later created problems," admits Mitić. Despite this, the team is satisfied with the final result and believes that the game will find its audience.

Each adaptation carries technical, creative, and production challenges, but also an opportunity for innovation and creativity. In the case of Gloomy Eyes and Paws of Fury, Mitić's team managed to retain the key elements of the atmosphere of the original films while adapting those stories to the interactive world of video games. Crossmedia and transmedia projects like these demonstrate that the boundaries between different media are becoming increasingly flexible.

The post Gloomy Eyes and Paws of Fury represent outstanding examples of how to transform films into video games first appeared on IndieGames.