![]() ![]() That AI will go further out of their way to give you a hard time, pushing you deep on a corner if you try to overtake around the outside, willing to risk contact themselves, instead of being more compliant like the rest of the AI. As you scrap and scrape your way up the pecking order, bumping into an opponent can stir them up into becoming your Nemesis for the rest of that race. ![]() Just as in that game, Codemasters is trying to capture the kinds of racing incidents and fallibility of real racers, condensing it into the short 5-10 minute races that work best for racing games. Enter Driver 22, a faceless rookie that gets to prove themselves in a couple of races in lower tiers and then step up to the World Series.Īs for the racing itself? It’s as action-packed as it was in the 2019 series reboot, if not more so. So… time to draft a new rookie driver out of seemingly nowhere. While they have one steady hand on the wheel in the veteran racer Yume Tanaka, the second seat is suffering with too much inconsistent driving, putting real pressure on team principle Marcus Ado. Rewind to the start of the season and Seneca is in real trouble. It’s a sensational incident that would see the race red-flagged in the real world (then again, it’s the final lap of a championship decider, so maybe not) and has you racing through an equally sensational road circuit that weaves its way through serene mountains. A huge incident that wipes out half the field of LMP prototype cars and drops you into a damaged car that has a real shot to sprint to the finish and win the race. So what of the story? Driven to Glory starts with a great big crash. It’s certainly a step down from what The Mandalorian is able to achieve, and it’s quite jarring to jump from real actors staring at screens on a pit wall to in-engine cars spinning around and crashing. The acting and scripting are a million miles away from famously cheesy Red Alert FMV cutscenes, and the overall effect works rather well. These are cooked up using the same virtual production methods as were pioneered in The Mandalorian, with huge digital screens around the set projecting 3D rendered backgrounds, instead of leaning on green screens and post-production to build out the environments. It’s not just putting a good cast of actors into interview booths, but also integrates faux-candid moments from a season of the fictional GRID World Series championship, with shots on the pit wall, in the garage, pit lane, and so on. What really stands out for Driven to Glory is that Codemasters is putting real actors in front of real cameras for documentary-style interviews that mimic Netflix’s Drive to Survive series. ![]()
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