Warwick, who’s a principal animator, but he could also use ZBrush and sculpt and stuff, we had a chat about the character, and he came up with this form of this woman, the skin, and I added all of the tech components, the bike and basically hell of augments. And that was going okay, but then we really needed a character for the team to kind of align around. I made a couple of what we call a beautiful corner, so you design like a high res sort of corner of a level, and then imagine what the rest will be like. It’s like something here, something in this that feels good, that feels kind of aligned with us, so we used that as kind of a jumping off point. All the buildings have got this sort of tons of character with faces on them and graffiti, and then to get all this paint and everything. It’s sunny, this huge juxtaposition between this kind of very rough in the streets thing and then this beautiful sunny day. You know, lots of knife fights and things like that, but their world is amazing. So this kind of more dystopian, gritty, dark vibe wasn’t really fitting and we needed something else.Īnd so, there was another anime I really liked, Tekkonkinkreet, don’t know if you’ve really heard of it or not, but it’s a really weird but amazing kind of anime, and it’s got quite violent undertones.
The game sort of started to become… it wasn’t really evil and aggressive, it became more lighthearted and fun the more it went on. You know, Ghost in the Shell, Akira as the starting point, and it didn’t really work out because we were coming up with that while the game was developing. So I was looking at things that I like, so kind of anime. So then it was my job to try and find an art style that fit something that we knew was going to be fast paced, arcadey, you know, really expressive, over the top sort of animations. She loves kind of like multiplayer combat sort of stuff, and then we have Warwick on the team, and he’s like this top hand key animator. And then it was up to us to try and come up with kind of a style that suited the sort of things that Rahni did. Rahni did a good job in Daly City, she did a prototype project which was like a mini Bleeding Edge called Fighter. So normally the Ninja Theory umbrella is kind of Tameem really. It was the first time kind of out on our own so to speak. What was it like to do the art style for this game?Īaron McElligott (AM): Okay, well, what was it like? (Laughs)ĪM: Ok, I can move on to that, you know what’s interesting? No one’s asked that. Here’s what they had to say.ĭavid Poole (DP): So Bleeding Edge is very different than anything I’ve seen from Ninja Theory in the past. Lead Artist Aaron McElligott (pictured left) and Principal Animator Warwick Mellow (pictured right) give us the scoop on how the unique vision of Bleeding Edge came to be. During that time, we had a few interviews with some of the developers, including those on the art and animation team.
We had an early chance to play Bleeding Edge, the team multiplayer title from Ninja Theory.
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