From Dust - Knowledge (XXG)

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simulation with individual enjoyment, commenting that sometimes: "it would take days to find the right value for gameplay that's also aesthetically pleasing". Montpellier accommodated this dynamism through a system of rules which govern the elements of the simulation: flowing water and moving soil result in the emergence of rivers; lakes at the base of a volcano accumulate sediment, which increases their viscosity; and similar rules govern volcanic eruptions, lava flow, and the spread of vegetation. With each rule, the layers accumulate to the point at which the developers are able to create an entire landscape. According to Chahi, simulation is the most challenging part of the game, as it requires developers to put much effort into

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happened to their old tribe. By helping the tribe to find the different totems scattered on a map, they can begin constructing their village next to the totem. Players can also send tribespeople to look for magical stones, which will grant them the ability to manipulate the world, by repelling water and fire for example. When the tribe successfully builds villages next to every totem, a portal will open and the player can proceed into the next map. These maps become more and more challenging as players progress. New elements, such as trees that erupt in fire, and plants that explode, are introduced in later levels.

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island, the players are given the chance to place the totem around the island and create and form their own island. After placing the final totem, the tribe reaches the place for the final ritual. After the ritual is completed, the entire island collapses and reshapes and sinks into the sea, leaving only the passageway above sea level. After the tribespeople pass the gateway, they realize that they have returned to the first island where they began their journey. As the game closes, the narrator ends the story with the words: "And here we are, as on the first day."

699:. Once the development was underway, Montpellier even recorded audio from a real volcano for inclusion in the game. Nature and cycle were some of the most important key elements of the game. The team intended to create different cycles and loops that would result in different kinds of interaction between the environments. For example, the tide cycle and eruption cycle changes dynamically, and it impacts the growth of plants and the lives of the villagers. According to Chahi, the cycle allows players to anticipate what will happen next. 788:. Chahi explained that, during one mission, the player would physically divide an ocean in order to assist their tribe in crossing it and so forth. He indicated that Ubisoft Montpellier were reluctant: "we didn't want to take it in this direction", but the "game kept pushing us back to it". When asked the meaning of the game's title, Bunier remarked that "it's just another universe, another place, something people create from dust". Separately, Chahi commented that the game centered on the fragility of life and brevity of humankind. 3409: 1294:"elegantly expressed". Gonzalez added that the game's variety was sufficient, and is successful in keeping the game interesting. Some critics criticized the game's difficulty curve, and added that the later levels can be frustrating as they are significantly more challenging and demand high levels of time management. Winterhalter however, criticized the first half of the game, calling it a "tutorial" that must be endured before reaching the better missions, while describing the latter half as addictive. 577:, Ubisoft unveiled technical footage showing the game's physics engine in detail. In the technical sequence, a narrator explains the user's interactions with the environment, and the effects of each physical element upon the other. During the conference, Chahi presented a lecture entitled "Creating a High-Performance Simulation: A Dynamic Natural World to Play With", demonstrating the world editor that underlies the environment simulation. 687:. The scenery, and the power of the volcano, which was extremely active at the time, fascinated and scared him. Chahi, still intending to make another video game "before died", hoped that his next project could convey the: "ambivalence of Nature, beautiful and potentially violent at the same time". Becoming more and more interested in the world's natural forces, Chahi went on to visit different volcanoes, including 3438: 527: 3450: 1197: 1147: 1109: 1071: 1192: 1187: 1182: 1177: 1142: 1137: 1132: 1127: 1104: 1099: 1094: 1089: 1066: 1061: 1056: 1051: 514:

However, after the summoning, the tribe desperately want answers to their questions, and have a strong desire to recover the lost knowledge. The Breath then guides the tribe to different totems allowing them to perform rituals and to construct villages and settlements. A passage will unlock and allow the tribe to discover new lands and places.

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became Ubisoft's fastest-selling digital game upon release, with sales exceeding the previous record holder by 45%. As of December 2011, the game had sold over 500,000 copies across platforms since its initial release. Ubisoft was satisfied with the game's sales. Despite the game's success, no sequel

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A central aspect of the user interface is the Breath, with which players interact with the world and manipulate events. When a user selects a material, such as water, the appearance of the Breath changes accordingly and the fluid can be placed directly onto the surface of the world. Chahi stated that

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Challenge mode employs similar gameplay to that of the Story mode. The difference is that the gameplay for Challenge mode is faster-paced, offers more puzzles, and sacrifices any storyline in this mode. It consists of 30 levels and players must fulfill certain conditions before succeeding. Each level

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Opinions regarding the game's Challenge Mode were mixed. Some critics considered the mode a gratifying and challenging experience, whereas others praised the mode for successfully extending the game's longevity, providing great puzzles, and adding more content to the game. Welsh, however, criticized

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was a "solo experience", although if the game's sales were promising, he indicated that the team would consider introducing an editor or a multiplayer mode. He stated that he had "many ideas" regarding new features, and a possible franchise, though he was more inclined working on video games without

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Criticisms were generally directed at the game's artificial intelligence, where the tribespeople have trouble pathfinding and are often stuck in places, leading to players' frustration. The problem worsened significantly by the end of the game, as the later levels are particularly challenging. The

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added that such controls made the game relatively relaxing to play. The game's simulation received critical acclaim. As it allows players to modify the terrain freely, and there are multiple solutions to a problem, many reviewers believed that the game encourages creativity, and that it is a "true

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system for the villagers, where players could witness their births, growth, and their eventual death. The system was dropped as it required accurate animation that the system was too sophisticated to handle. The team also had more wildlife planned for the game but it was dropped. Despite having to

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was taken partly to avoid distribution and manufacturing costs, but also to enable creative options for the team and to allow for future features, such as a world editor, multiplayer, or other enhanced content later in the development cycle. Guillaume Bunier, Ubisoft's producer, acknowledged that

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After discovering and journeying through islands of different characteristics, the tribe, with the help of The Breath, have overcome numerous natural disasters including tsunami and volcanic eruption. The tribe follows the path of The Ancients, yet their lands are nowhere to be found. By the last

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s story revolves around a tribe which has lost the knowledge of their ancestors – The Ancients. They find themselves located in unknown territory. To solve this problem, the tribe gathers and summons "The Breath", controlled by the player, hoping that it will help them to communicate with nature.

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has the option of two main game modes, one being the Story mode, the other a Challenge mode. The former consists of a sequence of missions which play through the story of a lost tribe who are using the player (who controls "The Breath") to travel to different levels in an attempt to discover what

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in 2006. According to Chahi, it was not difficult to convince Ubisoft to fund the project, though initially there was hesitation and the proposal was rejected. After the company reversed its decision, the team spent approximately two years meeting with the key people within Ubisoft; development

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for the game, in particular, received many complaints since a constant Internet connection is required when launching the game, even though it was initially reported that the game would simply require a one-time-only activation. There were also a large number of reports that the PC version had

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hoping players would interact with the environment and simulation, and not treat those elements as a background. Many original concepts, such as natural disasters, remained intact in the final game. Other influences for the game include Conway's Game of Life, a mathematical model of the 1970s,

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The game's mission design received mixed reviews. Martin criticized the limited geographical variety of each level, but Welsh applauded the map variety, adding that each level feels different, as ideas were never identical. He further praised the game's portrayal of nature, describing it as

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is the environment simulation, which underlies the player's interactions with the world. Developers intended that the world appear as a 'living thing', a dynamic and spontaneous entity, irrespective of the player's actions upon it. Chahi emphasised the difficulty of balancing this technical

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Regarding physics in the world of Dust, Chahi commented that the developers had: "worked hard to translate a vision of the power of the Earth moving and exploding in the game". Volcanic eruptions, explosions, and lava flows, function in a way similar to actual volcanoes, such as

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It's like the simulation was... you see the wall behind this window? Imagine that, maybe, there is a beautiful painting, and you can only see part of it. That was before the directed interaction. Then you break this wall, it makes a big window on this place for the picture.

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crashing issues, glitches, and a small bracket of supported graphics cards, rendering the game unplayable for some. Ubisoft later announced that it was developing a patch that would enable offline authentication; players who were unwilling to wait could ask for a refund.

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became a "huge success", Bunier suggested that the company could do another, disc-based version. When questioned about the suitability of the game for the console market, he responded by observing that other atypical games were successful on such platforms, notably

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the mode, and considered it a forced mode added to satisfy the use of Xbox Live leaderboards. Gonzalez added that most players are likely going to focus their time on the main story mode, though the challenge mode succeeds in giving players "light" entertainment.

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and help them to seek their lost knowledge. With a spherical cursor, the user controls certain types of matter in real time. Lava cools to form solid rock, vegetation propagates in soil and spreads naturally once a village is built, and moving water quickly

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The game's gameplay was commented on positively by critics. Its controls were praised for being simple, intuitive, accessible, and smooth, though some critics noted that the cursor sometimes suffers from fidgeting and lacks precision. Liam Martin of

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omit these features, Chahi claimed that he was pleased with the final product. He believed that the team had done a tremendous job expressing the relationship between humans and nature with the simulation features included in the final game.

354:. Players can help the tribespeople to overcome challenges including finding different totems and overcoming natural disasters. In addition to the story mode, the game features a Challenge mode which offers a shorter, but harder experience. 891:(HUD), and instead chose an abstract form, the Breath, which they then "fully integrated in the storyline". Elaborating further, he stated that a tribe's music would also affect the appearance of the breath. The game originally featured a 430: 34: 401:

was originally doubtful about the project but was later convinced by Chahi. The game was made by a small team within the Montpellier studio, so was considered an independent game produced by a large publisher. The game was announced at

421:. The game was a commercial success for Ubisoft, selling over half a million copies and became Ubisoft's fastest-selling digital game. Despite its success, Chahi confirmed that he will not return to develop a sequel. 909:, Chahi posted that the developers would eventually add a real-time weather simulation feature to the game, although the developers may not package it with the initial release. In September 2010, Chahi stated that 904:

In August and September 2010, Montpellier designers indicated that a variety of expansions were under consideration, including a weather simulation, world editor, and multiplayer capacity. During an interview with

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added that the natural disasters featured are way too unpredictable, and lamented that the game had failed to provide players enough clues when the player failed and destroyed the entire tribe. Tom Francis of

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The PC version received less favorable reviews overall. Critics of it noted the unrefined controls, limited framerate to 30 FPS, and a lack of anti-aliasing or other advanced graphics options. Ubisoft's

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would evolve as they discovered "their world and their past". The game utilizes a rich color palette, which allowed the team to create strong color contrast and to "express the beauty of nature".

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extinguished, and lava flows diverted. Although there is no 'explicit sandbox' mode, Chahi stated that each mission features a distinct map, which the player can return to and manipulate further.

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lasts only a few minutes, offering more exciting, yet harder, gameplay. The time needed for players to complete a level is recorded in an online leaderboard which can be viewed by other players.

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are structured as a sequence of missions, whereby completing certain objectives expedites the tribe's progress and bestows additional powers, such as the capacity to jellify water. Tribal

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and camera angles. Opinions on the game's Challenge mode and mission design were polarized. The PC version of the game fared worse than other platforms for its technical issues and

3310: 2086: 3376: 1802: 1519: 2119: 1956: 379:, and his desire to combine the ambivalence and violent characteristics of their nature in a new video game. The team was further inspired by African and New Guinean tribes, 769:

used on the Vanuatu islands, and indicated that music was "a key part in the gameplay and design". While tribes do not develop technologically, the team decided that their

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The game's visuals were also praised. The natural disaster scenes were described as breathtaking and stunning, with critics being impressed by the game's sense of scale.

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properly began in January 2008. The team initially only had three people, but it was expanded to about 15 to 20 people, which was considered a small team for Ubisoft.

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The game received a generally positive reception on release, with critics praising the game's physics, simulation, openness and graphics, while criticizing the game's

2288: 2185: 1552: 3215: 2847: 1874: 1838: 3482: 3182: 2053: 3343: 2020: 334:, the game revolves around The Breath, which was summoned by a tribe to help them seek and recover their lost knowledge. In the game, players, controlling a 2539: 2321: 2468: 2357: 3116: 1410: 671:-oriented. However, the independent game's importance diminished by 2006, so Chahi decided to work with a publisher instead. He presented the concept to 2390: 1918: 2572: 1769: 484:, shortly before they occur. These disasters can be inhibited through creative, physical manipulation of the environment: a tsunami can be jellified, 3238: 1276:

s Oli Welsh echoed this comment as he further described the game's visuals as "strange" and "organic", comparing it to the work of French cartoonist

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While discussing the game's visual elements and art direction, developers revealed that they used several locations on Earth, such as the

2994: 733:, stated that the world possessed strong visual contrasts, with "rich and swarming life full of weird shapes and colors". Inhabitants of 3756: 2152: 1736: 3761: 3726: 3612: 3366: 2761: 1792: 3149: 3475: 2689: 1509: 883:. Dynamic textures were used to represent water transparency, moving lava, and the real time adaptation of rock and soil to fluids. 2109: 1946: 1465: 1443: 3034: 3679: 1628: 3271: 846:

A crucial aspect of the user interface is the sphere, which players use to manipulate aspects of the environment, such as water.

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demands. Chahi added that the game's programme is similar to that of VS Assembly, where the computation will be stored in the

585:"some people would not be able to play it", but argued that the majority of individuals interested in the game would be using 371: 2883: 784:

elements in the game. Tribal worship, totems, and animal-shaped monuments are examples of the quasi-religious characters of

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the terrain. Physical changes to the world occur extremely rapidly, allowing players to restructure islands within minutes.

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ranks the PC, PlayStation 3, and Xbox 360 versions of the game with scores of 76, 80, and 81, respectively. The creator of

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echoed similar statements, that the game seldom notified players of their mistakes, and that levels are excessively

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which shows slow motion and time-lapse footage of cities and many natural landscapes across the United States.

287: 3106: 2597: 821: 384: 380: 1400: 3751: 3531: 2562: 1910: 335: 1759: 3746: 3731: 3706: 3619: 437:, the tribe can learn songs from ancient relics, in this case "repel water" allows a village to survive a 1651: 3581: 2636: 1574: 892: 688: 394: 330: 103: 1979: 397:

of the tribespeople, were left out of the game because of the huge amount of work they would require.

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for objects like rivers and volcanoes, as they hoped that it would flow dynamically and naturally.

660: 629: 604: 586: 325: 317: 309: 135: 87: 77: 46: 1363: 3716: 3711: 3454: 1693: 762: 147: 2793: 3552: 2984: 817: 742: 668: 625: 313: 155: 123: 113: 3239:"From Dust DRM requires internet connection to launch, players experiencing bugs and crashes" 2142: 1726: 3430: 3144: 2425: 745:

representing mystery and uniqueness. Gentile commented that after the developers researched

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described the game's overall presentation as "gorgeous, ethereal, occasionally menacing".

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similarly appreciated the visuals and the morphing effects, while Keza MacDonald of

449:, players assume a god-like, first-person perspective from which they manipulate an 3177: 1321:

game was also criticized for its camera angles, which were described as "limited".

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marked the return of Éric Chahi to the video game industry following an extended

3559: 3111: 2756: 1547: 1277: 1263: 1241: 982: 860: 780:, Chahi emphasised that the developers tried initially to avoid including overt 754: 714: 680: 664: 648: 558: 450: 3402: 2911: 3107:"From Dust is a staggeringly beautiful and utterly captivating God simulation" 2989: 2949: 2944: 2725: 2680: 2641: 2602: 2147: 1656: 1251: 1224: 1118: 940: 876: 766: 750: 725:

as sources of inspiration. The team also worked with science fiction novelist

562: 526: 429: 366: 33: 867:, allowing for fast computing. The team intentionally avoided developing any 541:

at E3, and the appointment of Éric Chahi as the Creative Designer. Codenamed

3338: 2798: 2501: 2463: 2352: 2180: 1883: 1764: 1760:"Chahi's 'Project Dust' Renamed 'From Dust,' Shown off in Tech Demo Trailer" 1372: 1271: 994: 906: 868: 842: 777: 718: 644: 376: 140: 3437: 3062: 879:. However, the developers opted for more theatrical, "visually impressive" 3524: 3243: 3067: 3029: 2430: 2217: 2114: 2081: 2048: 2015: 1797: 1698: 1405: 1305: 1205: 1030: 812: 781: 624:

was released for the Xbox 360 on 27 July 2011. It was later released for

613: 581: 566: 485: 358: 301: 277: 160: 1510:"Interview: From Dust creator Eric Chahi and Guillaume Bunier, producer" 3371: 2916: 2720: 2435: 2222: 2077:"From Dust release date announced, new trailer beats back a tidal wave" 1951: 1833: 1731: 1579: 1514: 1299: 1255: 1168: 1042: 970: 880: 770: 707: 684: 672: 574: 477: 462: 438: 403: 398: 58: 3460: 3665: 3500: 2567: 2534: 2316: 2283: 2213:"Question and answers with Project Dust Creative Director Eric Chahi" 1438: 746: 722: 711: 667:. In the past, Chahi self-produced video games, as the PC market was 663:

to explore other interests, and subsequently developed a passion for

651:'s eruption inspired Chahi to develop a game based on natural forces. 473: 339: 240: 3367:"Chahi: No plans for From Dust 2, new game will take a year or two" 1875:"GDC Europe: Eric Chahi Talks Convergence of Technology And Design 1793:"Chahi: Project Dust is like building sandcastles, with more lava" 841: 761:. Chahi remarked that the team had drawn inspiration from various 758: 703: 643: 457: 454: 428: 351: 620:

would utilise their superior capacity to operate the simulation.

1947:"Sales will dictate if From Dust gets multiplayer, level editor" 738: 347: 343: 3464: 2838:"From Dust review: Ubisoft's God Game Is A Breath of Fresh Air" 1623: 1287: 1156: 375:. The project was created as a result of his fascination with 1258:

criticized the game for its lack of a free sandbox mode, and

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game, but with elements like lava. On 16 August 2010, during

2381:"From Dust Developer Diary Showcases Stunning Art Direction" 1911:"GDC Europe Reveals Chahi Lecture, ESA, Quantic Dream Talks" 729:

to create the game's world. Bruno Gentile, Art Director of

2497:"Eric Chahi on From Dust, Peter Molyneux and what's next" 679:

According to Chahi, he was inspired by his 1999 trip to

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in 1989. The development team used the proprietary LyN

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On 14 June 2010, Ubisoft announced the development of

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developed the idea of a large mask, constructed from

1250:", with some even calling it more open than typical 3659:

The Adventures of Tintin: The Secret of the Unicorn

3629: 3602: 3569: 3498: 1829:"How Project Dust's world-building world was built" 283: 271: 179: 146: 134: 122: 112: 102: 86: 76: 64: 52: 40: 26: 1503: 1501: 1499: 1497: 1495: 1493: 1357: 1355: 1353: 1351: 1349: 1940: 1938: 1936: 1822: 1820: 807:According to Chahi, the game began its life as a 453:environment in an effort to save and enlighten a 3025:"From Dust review: It's hard out here for a god" 2563:"Controlling the Breath of a God with From Dust" 2207: 2205: 2203: 2044:"From Dust moves from Xbox 360 to PC on 27 July" 1868: 1866: 1864: 1862: 1860: 1858: 1856: 1543:"The return of a master: Eric Chahi's From Dust" 612:(PS3). The OnLive game system, the PS3, and the 3303:"From Dust breaks Ubisoft digital sales record" 1687: 1685: 1683: 1681: 1679: 791: 580:Ubisoft's decision to release the game via the 476:alert the player to natural disasters, notably 2745: 2743: 2420: 2418: 2416: 2414: 2412: 2410: 2408: 2272: 2270: 1652:"From Dust: The Best New Sandbox Game Of 2011" 1174: 1086: 914:the support of a big publisher in the future. 545:, it was marketed as a spiritual successor to 3476: 3018: 3016: 3014: 3012: 2490: 2488: 2486: 2176:"From Dust playable in Google Chrome browser" 561:. Chahi described the game as playing like a 8: 2787: 2785: 2783: 2781: 2779: 1313:and feel too stressful for players to play. 1124: 1048: 955: 1266:called the manipulation mechanic "boring". 3566: 3483: 3469: 3461: 3407: 3272:"Ubisoft offering From Dust Steam refunds" 3206:"From Dust DOES Need Online, Badly Ported" 2905: 2903: 2901: 2867: 2865: 1235:, also had a good impression of the game. 954: 925: 32: 23: 3056: 3054: 3052: 2709: 2707: 2670: 2668: 2631: 2629: 2592: 2590: 887:the developers abandoned the traditional 3100: 3098: 3096: 3094: 3092: 3090: 2978: 2976: 2974: 2972: 2831: 2829: 2827: 2825: 2823: 2821: 1612: 1610: 1608: 1606: 1604: 1602: 525: 3421: 2341: 2339: 1345: 1254:games. However, Ryan Winterhalter from 1223:received generally favourable reviews. 369:after the completion of his last game, 189: 3334:"From Dust sells 500,000 on PSN, XBLA" 2360:from the original on 19 September 2016 2143:"From Dust PSN release date announced" 1399:Varanini, Giancarlo (18 August 2010). 3037:from the original on 21 November 2015 2957:from the original on 15 December 2014 2676:"From Dust for PlayStation 3 Reviews" 2495:Yin-Poole, Wesley (3 November 2011). 2457:Robinson, Martin (28 December 2016). 1873:Sheffield, Brandon (17 August 2010). 753:tribes, one of Ubisoft Montpellier's 7: 2997:from the original on 18 January 2015 2924:from the original on 19 January 2012 2886:from the original on 4 November 2011 2122:from the original on 5 February 2014 1587:from the original on 12 January 2015 959: 930: 3218:from the original on 9 October 2011 2714:Winterhalter, Ryan (26 July 2011). 2471:from the original on 21 August 2017 2426:"Q&A 'From Dust Art Direction'" 2277:Benson, Julian (20 November 2016). 2255:from the original on 17 August 2016 2155:from the original on 3 October 2016 2023:from the original on 24 August 2018 1945:Nelson, Randy (30 September 2010). 1555:from the original on 17 August 2011 1541:Holmes, Jonathan (2 October 2010). 1522:from the original on 7 January 2012 1446:from the original on 23 August 2010 1413:from the original on 21 August 2018 1380:from the original on 21 August 2017 1362:Donlan, Christian (16 March 2011). 1176: 1088: 921: 2910:Meunier, Nathan (22 August 2011). 2836:Gonzalez, Annette (27 July 2011). 2794:"From Dust review: Earth to Earth" 2692:from the original on 20 March 2015 2653:from the original on 24 March 2015 2561:McWhertor, Michael (27 May 2011). 2141:Nagata, Tyler (9 September 2011). 2108:Sinclair, Brendan (25 July 2011). 1758:O'Connor, Alice (18 August 2010). 1706:from the original on 11 April 2015 357:Originally starting its life as a 14: 3365:McEloy, Griffin (11 April 2011). 3138:Hargraves, Roger (25 July 2011). 3119:from the original on 16 June 2016 2872:Bischoff, Daniel (26 July 2011). 2089:from the original on 11 July 2011 2056:from the original on 11 July 2011 2011:"From Dust settles on PC 27 July" 2009:Sinclair, Brendan (7 July 2011). 1959:from the original on 8 March 2011 1841:from the original on 8 March 2011 1772:from the original on 21 July 2019 1739:from the original on 24 July 2011 1664:from the original on 17 June 2017 1650:Houghton, David (16 March 2011). 1631:from the original on 19 July 2012 1126: 1050: 256: 214: 198: 3680:Prince of Persia: The Lost Crown 3448: 3436: 3424: 3332:Dutton, Fred (2 December 2011). 3313:from the original on 12 May 2016 3282:from the original on 12 May 2016 3152:from the original on 13 May 2016 3023:McElroy, Justin (26 July 2015). 2983:Shoemaker, Brad (26 July 2011). 2806:from the original on 11 May 2012 2614:from the original on 23 May 2015 2598:"From Dust for Xbox 360 Reviews" 2575:from the original on 30 May 2011 2542:from the original on 1 July 2010 2528:Totilo, Stephen (28 June 2010). 2310:Totilo, Stephen (28 June 2010). 2174:Purchese, Robert (23 May 2016). 2042:McElroy, Griffin (7 July 2011). 1990:from the original on 14 May 2016 1921:from the original on 5 June 2011 1891:from the original on 10 May 2011 1617:MacDonald, Keza (26 July 2011). 1474:. 16 August 2010. Archived from 1195: 1190: 1185: 1180: 1175: 1145: 1140: 1135: 1130: 1125: 1107: 1102: 1097: 1092: 1087: 1069: 1064: 1059: 1054: 1049: 799: — Eric Chahi, director of 3742:Video games scored by Tom Salta 3737:Video games developed in France 3645:Michael Jackson: The Experience 3379:from the original on 8 May 2016 3346:from the original on 7 May 2016 3251:from the original on 9 May 2016 3185:from the original on 6 May 2016 3075:from the original on 9 May 2016 2943:Grimm, Michael (26 July 2011). 2764:from the original on 8 May 2016 2750:Sterling, Jim (24 April 2016). 2509:from the original on 7 May 2016 2324:from the original on 5 May 2016 2291:from the original on 8 May 2016 2188:from the original on 7 May 2016 1978:Elliott, Phil (4 August 2010). 1827:Orland, Kyle (17 August 2010). 1805:from the original on 8 May 2016 1692:Watters, Chris (26 July 2011). 1508:Orland, Kyle (19 August 2010). 3270:Orry, James (24 August 2016). 3237:Senior, Tom (19 August 2011). 3204:John Walker (18 August 2011). 3171:Cowan, Nick (10 August 2011). 1727:"Ubisoft Details Project Dust" 1725:Sharkey, Mike (16 June 2010). 1432:Fahey, Mike (20 August 2010). 1401:"From Dust: First Impressions" 820:, the works of Polish painter 616:were "powerful machines", and 1: 3673:Valiant Hearts: The Great War 3105:Martin, Liam (26 July 2011). 3061:Francis, Tom (26 July 2015). 2716:"From Dust review (Xbox 360)" 1791:Fletcher, JC (30 June 2016). 1434:"God Plays Ball in From Dust" 393:. Some features, such as the 655:Following the completion of 312:. The game was released for 3301:Orry, Tom (5 August 2011). 2792:Welsh, Oli (27 July 2011). 2075:Senior, Tom (7 July 2011). 3778: 3757:Xbox 360 Live Arcade games 3518:Rayman 2: The Great Escape 2637:"From Dust for PC Reviews" 2459:"Games of 2011: From Dust" 2379:Bertz, Matt (6 May 2011). 1915:Game Developers Conference 571:Game Developers Conference 383:, works of Polish painter 3762:Single-player video games 3727:PlayStation Network games 3638:Peter Jackson's King Kong 3173:"From Dust – review" 963: 960: 934: 931: 419:digital rights management 31: 659:in 1998, Chahi left the 324:in 2011. Described as a 3532:Rayman 3: Hoodlum Havoc 2348:"The Core of From Dust" 1466:"Interview: Eric Chahi" 850:An essential aspect of 695:, and a volcano in the 632:in September 2011, and 415:artificial intelligence 3620:Beyond Good and Evil 2 3613:Beyond Good & Evil 3604:Beyond Good & Evil 1980:"Ubisoft's Eric Chahi" 1280:. Annette Gonzalez of 847: 796: 652: 549:, a game developed by 534: 442: 3582:Rayman Raving Rabbids 893:biological life cycle 845: 830:, a film directed by 776:In an interview with 647: 533:, the game's director 529: 432: 395:biological life cycle 381:Conway's Game of Life 98:Simon Choquet-Bottani 3211:Rock, Paper, Shotgun 2346:Sheffield, Brandon. 859:because of its high 628:in August 2011, the 597:. In the event that 555:Bullfrog Productions 92:Denis Muffat Meridol 3722:PlayStation 3 games 3492:Ubisoft Montpellier 3443:Speculative fiction 2393:on 21 February 2015 2245:"From Dust Preview" 1575:"From Dust Q&A" 957: 928: 763:musical instruments 741:, which serve as a 661:video game industry 630:PlayStation Network 587:PlayStation Network 326:spiritual successor 318:PlayStation Network 310:Ubisoft Montpellier 224:PlayStation Network 47:Ubisoft Montpellier 3140:"From Dust review" 3063:"From Dust review" 2985:"From Dust Review" 2945:"From Dust review" 2912:"From Dust Review" 2874:"From Dust review" 2752:"From Dust review" 1694:"From Dust review" 1619:"From Dust Review" 926: 848: 822:Zdzisław Beksiński 818:plant propagations 653: 535: 482:volcanic eruptions 443: 385:Zdzisław Beksiński 96:Swann Martin-Raget 3689: 3688: 3598: 3597: 3553:Rayman Adventures 1583:. 16 March 2011. 1478:on 18 August 2010 1217: 1216: 953: 952: 669:independent games 657:Heart of Darkness 626:Microsoft Windows 569:and the European 372:Heart of Darkness 338:, can manipulate 314:Microsoft Windows 308:and developed by 293: 292: 245:14 September 2011 236:13 September 2011 208:Microsoft Windows 156:Microsoft Windows 82:Guillaume Brunier 3769: 3702:2011 video games 3567: 3485: 3478: 3471: 3462: 3453: 3452: 3451: 3441: 3440: 3429: 3428: 3427: 3420: 3411: 3406: 3405: 3403:Official website 3389: 3388: 3386: 3384: 3362: 3356: 3355: 3353: 3351: 3329: 3323: 3322: 3320: 3318: 3298: 3292: 3291: 3289: 3287: 3267: 3261: 3260: 3258: 3256: 3234: 3228: 3227: 3225: 3223: 3201: 3195: 3194: 3192: 3190: 3168: 3162: 3161: 3159: 3157: 3135: 3129: 3128: 3126: 3124: 3102: 3085: 3084: 3082: 3080: 3058: 3047: 3046: 3044: 3042: 3020: 3007: 3006: 3004: 3002: 2980: 2967: 2966: 2964: 2962: 2940: 2934: 2933: 2931: 2929: 2907: 2896: 2895: 2893: 2891: 2869: 2860: 2859: 2857: 2855: 2846:. 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