Just as Konna was surprised, the silent production team also unintentionally inserted willows to get the effect of willow shading.

The layers of fog are just a helpless way to deal with the lack of loading vista textures due to the limitations of the hardware level.

The way to deal with this is to use one small room after another, and the background of the large scene has no modeling, only a hand-drawn texture to solve the functional limitations.

The people of Konna obviously do not have such a craftsman spirit, and their way of dealing with it is much simpler and rougher, whether it is indoor or outdoor, as long as the performance is insufficient, they use dense fog to solve it.

And this constitutes the visual core of the horror atmosphere.

The protagonist travels between the surface world and the inner world, facing various psychopaths, and the theme of the game is a simple two-word "atonement".

This video game is not only loved by many players, but also attracted a lot of attention in Hollywood, USA.

Compared to video games, you care more about gameplay, and you also care about the feel.

After entering the era of special effects, Hollywood movies in the United States are much purer, as long as they are visual spectacle, and even the plot is not needed.

With the help of Wan Hu, Hollywood movies in the United States are now eager to use curtains even for actors.

However, after all, humans are the most familiar with humans, and humans made with special effects, even if they spend a lot of money, still don't make people feel like real people.

But everything except humans is on the horizon as long as technology allows.

What looks like a magnificent naval battle on the sea is actually just a performance of two groups standing on a wooden plank in front of a curtain.

Because of the shocking nature of the visual spectacle, these movies with a lot of special effects have done very well at the box office.

With the exemplary money-making effect, the next Hollywood filmmakers are naturally more obsessed with special effects.

The eerie atmosphere created by the fog has interested many Hollywood filmmakers because of this visual spectacle, which works very well, but the cost is not high.

As a result, Conami soon received a large number of applications for cooperation with Hollywood studios.

As a group that mainly focuses on video games, and operates in real estate, sporting goods manufacturing, and cinema chain industries, Konami naturally attaches great importance to Hollywood's cooperation intentions.

At the same time, those with excellent plots have also entered the field of vision of American filmmakers.

Except for Nintendo's 3D games, which did not interest Hollywood filmmakers, almost all other 3D video games that sold more than 1 million have received cooperation intentions from Hollywood studios.

Seemingly overnight, the game makers of this book knew that making a 3D video game can not only be a big hit, but also a movie adaptation!

The news of adapting movies or Hollywood movies has made those second- and third-rate manufacturers who feel that the production cost of 3D games is too high and are unwilling to make 3D video games have been gearing up.

Don't look at Sony, Nintendo, Sega and other manufacturers have all brought consoles into the three-dimensional era, but a large number of game manufacturers are still in the era of two-dimensional games.

It's not that they don't know that 3D games are more expressive, it's that their financial strength simply can't support the cost of making 3D games.

In Japan, while making video games is lucrative, the top game makers aren't bad for money. However, after the looting of the previous real estate crisis, the video game manufacturers that have not gotten rid of the shackles of national real estate are still bankrupt in large numbers, and those second- and third-tier manufacturers that have not gone bankrupt have also suffered a great loss in strength.

The current second- and third-tier manufacturers of video games are very similar to the predicament faced by Hong Kong films.

Although Hong Kong films reached their peak in the early 90s, their influence spread throughout Southeast Asia and Northeast Asia, and there are a large number of Hong Kong film lovers in South Korea, Yueben, Thailand, and Vietnam.

There are even writers who say that because they like Stephen Chow, they named their pen names "Chixing Zhou".

However, no matter how vigorous the development of genre films in Hong Kong is, Hollywood films in the United States have abandoned the route of literary films and began to embrace the route of long live special effects. Hong Kong films began to lose ground one after another.

It's not that Hong Kong filmmakers don't know how good special effects are, it's that they don't have the money and can't afford to make special effects blockbusters.

An investment of one million Hong Kong dollars in a film in Hong Kong cannot be said to be a small production, but in Hollywood, in the United States, a film with a million-dollar investment will almost always be classified as a B-grade film, which can be regarded as a low-cost production film.

None of those special effects blockbusters will have a budget of less than 10 million US dollars, which is equivalent to the investment of hundreds of millions of Hong Kong dollars. In addition, often those films that are considered promising by the studios will be given additional investment.

Filmmakers like Run Run Shaw, who started in Hong Kong, also recognize the fact that instead of investing in big-budget films in Hong Kong, it is better to go directly to the United States to invest in Hollywood films.

The portion of his investment is often converted into theatrical rights and videotape rental rights for the film in Asia.

Even the Shaw family votes in US dollars, how can Hong Kong movies not decline?

And the situation faced by the video game is almost exactly the same as that of Hong Kong movies.

They all know that special effects movies and 3D games are good, but they don't have the money, so they can only continue to shoot and make movies and games that have been abandoned by the times.

Compared with the special effects of American movies that tear apart the Star Destroyer with both hands, the "special effects" in Hong Kong that first sawn off the chair and then touched the starch and kicked it to pieces are too low-level and have no impact.

And now that Hollywood movies seem to have taken a fancy to 3D game adaptations, those second- and third-tier manufacturers have ushered in opportunities.

Although they still have no money in their own hands, they have a reason to go to the bank for a loan.

If the banks believe in the prospect of a 3D game they make that can be adapted into a Hollywood movie, they will lend to second- and third-tier manufacturers.

With money, the technical barriers to making 3D games can be easily solved.

After almost all game manufacturers in the whole book are working the road of Hollywood movie adaptation.

There are only two calm courts, only Nintendo and Wanhu.

Nintendo was not interested because they made cartoon-style games that were basically impossible to adapt into Hollywood movies, and because they landed in Hollywood back in the eighties. It's just that it didn't succeed, and it became a black history that Nintendo tried its best to wash.

Wanhu is because it is the upstream special effects provider of Hollywood's special effects film system, and it understands what special effects movies are all about better than those game manufacturers.

Laugh at him and watch him rise up, and watch him collapse!