![]() ![]() It's also become a Cyclic Trope similar to what happened with gritty comic books: while the sixth and seventh generations emphasized titles which did this, the eighth and ninth more proudly displayed colourful and saturated titles as a reaction. This, combined with noticeable improvements in graphics rendering technology since the heyday of the trope, means Real Is Brown has all but become an Undead Horse Trope, with the exception of a few franchises launched in the 7th generation. It's becoming increasingly common for colorful games to mockingly parody this trope, usually by including an optional "next-gen" filter that tints the whole game brown. Realistic titles in the modern day will often use this, and it's practically a stylistic requirement of gritty post-apocalypse titles to show how wrecked the state of the world is. Why are those palm trees brownish green, even though you're supposedly on a tropical island? Brown may be realistic for some surfaces, but not for all of them, and everything is best taken in moderation, otherwise you'll end up with a game that's Deliberately Monochrome. Unfortunately, at a certain point your players will take a look outside their window and back at your game, and something will seem wrong. Again, if everything is tinted one dull color, it's not as noticeable. Until around the eighth generation of console games, the only solution was to use static lighting (accurate light and shadow mapping planned out in advance) and while reasonably effective, it comes at the cost of not having dynamic or interactive terrain or lighting, which in turn means no smooth day/night cycling or destructive terrain physics. It was also used to cover up a limitation of lighting and shading engines - a light shines down and illuminates an object from that side, sure, but figuring out where the light goes after that and what else around it might also be illuminated (a process called interreflection) is extremely difficult for the computer to simulate, especially when it needs to do so 60 times every second. With almost no examples to guide developers and an eagerness to stand out from the previous generation, it was both easy and tempting to abuse color grading. But the golden age of this trope came when consoles became powerful enough to use color grading effects, not even a decade after films began to use it themselves. Starting with the PlayStation and the Nintendo 64 the colours became less restricted, allowing for games that had wider palettes and thus could support many different shades of grey, blue and brown. In practice, this means a world of brown, grey, and the occasional red (y'know, from the blood splatter on the camera).Ī handful of 2D and early 3D games used this to make up for a limited number of onscreen colors, as they operated on limited-size color palettes, and requiring more hues to display a scene meant sacrificing subtle variations in saturation and brightness for those hues (as each variation requires a separate color in the palette). Done well enough, a game and its color scheme will always be associated with each other. Giving a game a narrow color palette can make it look gritty, dramatic and "realistic" and stand out from similar titles. Desaturating or heavily tinting a game a single color for the sake of realism, usually to a sepia effect (hence the trope name), but sometimes blue or pure grey. ![]()
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