Isnt the greater image just simply a gathering of all the minor details?
When I view screens I attempt to do so in the context of the action taking place. The developer is putting together an experience that is really only meant to be experienced in one way and that's by playing it. I think NT is doing a bang up job in that regard. And I can see it partially thru these screens and I can see that it is good.
*Now I feel particulary silly trying to get into their head on this, because "they" are here, but bear with me. I appologize for that, Ninja Guys, but I'm really just want to illustrate my "method" here.
They are puting the game together - the imagery, the rythm, the animation and technology, the mechanics - and to do it in a holistic way they've got to put themselves in the player's shoes. They have some ideas about what emotion (it's art, thanks) they want to evoke in the player and getting the appropriate emotion is a craft.
... From a visual standpoint- "if I want to feel potentially unstoppable but precise and expressive, if I want to feel like a
weapon; where are my eyes?" The eyes should be on the engagement. Nariko and her ass kicking. She: the weapon. Me: the weapon. I'm dispatching deadly thugs like the're flying out of a tenis ball launcher. I'm not missing a beat. I'm ferocious. Watch enter the Dragon? Remember the cave scene? Half those guys he whoops don't get a second of screen time. (And one is Jackie Chan!) They don't matter. Just like rapid fire tennis balls. It's all eyes on Bruce. Here; it's all Nariko. The hair, the skin, the face, the glow (bloom), camerawork, etc.
Not the floor, the walls the goons circling around waiting to get served.
They've (NT) got a certain amount of resources and they have to smartly allocate them. Not just cycles and ram, but man hours and talent. Nothing is unlimited. When I look in the backround and see the wall texture that didn't need to be repeated so much or the soldiers who could have alot more polys I don't see flaws. I see a good interactive presentation. The hair is a perfect example. In the static shot it looks like there could be alot more hair segments. Even in the movie, you can sit and dwell on the hair and see the artifact of it's implimentation. But imagine the controller in your hand and
play it. That hair works because your eye is traind on the space you want to control, which revolves around Nariko, who is persistantly a fluid, twisting ball of flowing cloth, weightless hair, soft skin and flashing metal.
She doesn't have any more triangles because she has enough triangles to
express. I have full confidence that NT put the would-be superflous triangle to effective use somewhere else in the scene. If that triangle should have gone into making a soldier's hat rounder, then NT would have, carefully and lovingly, placed it there.
In total, here... I'm saying that I absolutly agree with what you are saying about the screens. It's true. But I look at the screen and to me the shit is nearly flawless because the
art is not in the screen it's in the interaction. "See it in motion" is becoming a cliche already but that's what people are trying to say.
Hurray for HS' flawed screenies. Somebody at NT has got their eyes on the prize and it's not a still screen. It's a savage, meat-grinder bitch who I get not just look at, but become.