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Immerse yourself in a world as exotically beautiful as it is dangerous! Play in the from dust game pc of one of the most advanced real-time nature simulations, where everything you see and interact with evolves dynamically, offering a constantly renewed experience.
Discover a large variety of environments: Tropical islands, volcanic landscapes, deserts and so much more…. Explore 13 breathtaking territories of emergent gameplay. Master the natural forces at play on a mysterious archipelago and help a primitive tribe to recover the lost powers of their ancestors. Face down tsunamis, wildfires, earthquakes, volcanoes, torrential rains….
Control the forces of nature to sculpt the world from dust game pc your image. Hold back lava, stop raging waters, empty lakes, grow forests and raise mountains!
Race against the clock on 30 additional maps in Challenge Mode. Each scenario is форуме, a10 games for pc именно: puzzle-like challenge where time is of the essence…. August 15 All Rights Reserved.
Back Arrow Left Black arrow pointing left. From Dust Immerse yourself in a world as exotically beautiful as it is dangerous! Key Features. Ground-Breaking Technology Play in the sandbox of one of the from dust game pc advanced real-time nature simulations, where everything you see and interact with evolves dynamically, offering a constantly renewed experience.
Unique Art Direction Discover a large variety of environments: Tropical islands, volcanic landscapes, deserts and so much more…. Rich Story Mode Explore 13 breathtaking territories of emergent gameplay. Master Godlike Powers Control the forces of nature to sculpt the world in your image. Online Leaderboards Compare your Challenge Mode scores with the community on worldwide leaderboards.
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Described as a spiritual successor to Populous , 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 cursor , can manipulate matter such as lava , soil , and water. 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. The project was created as a result of his fascination with volcanoes , and his desire to combine the ambivalence and violent characteristics of their nature in a new video game.
Some features, such as the biological life cycle of the tribespeople, were left out of the game because of the huge amount of work they would require. Ubisoft 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 E3 as Project Dust. 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 artificial intelligence 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 digital rights management.
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. In From Dust , players assume a god-like, first-person perspective from which they manipulate an archipelago environment in an effort to save and enlighten a nomadic tribe and help them to seek their lost knowledge. Lava cools to form solid rock, vegetation propagates in soil and spreads naturally once a village is built, and moving water quickly erodes the terrain.
Physical changes to the world occur extremely rapidly, allowing players to restructure islands within minutes. Campaigns in From Dust 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.
These disasters can be inhibited through creative, physical manipulation of the environment: a tsunami can be jellified, wildfires extinguished, and lava flows diverted.
From Dust 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 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. New elements, such as trees that erupt in fire, and plants that explode, are introduced in later levels.
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 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.
From Dust ' 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. 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. 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 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. Codenamed Project Dust , it was marketed as a spiritual successor to Populous , a game developed by Peter Molyneux and Bullfrog Productions in 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.
Ubisoft's decision to release the game via the internet 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.
The OnLive game system, the PS3, and the Xbox were "powerful machines", and From Dust would utilise their superior capacity to operate the simulation. Following the completion of Heart of Darkness in , Chahi left the video game industry to explore other interests, and subsequently developed a passion for volcanology. However, the independent game's importance diminished by , so Chahi decided to work with a publisher instead. He presented the concept to Ubisoft in 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 properly began in January The team initially only had three people, [26] but it was expanded to about 15 to 20 people, which was considered a small team for Ubisoft.
According to Chahi, he was inspired by his trip to Mount Yasur 's crater in Vanuatu. 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 [he] died", hoped that his next project could convey the: "ambivalence of Nature, beautiful and potentially violent at the same time".
Once the development was underway, Montpellier even recorded audio from a real volcano for inclusion in 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. While discussing the game's visual elements and art direction, developers revealed that they used several locations on Earth, such as the Yemeni islands of Socotra , lagoon archipelagos of Polynesia , and central Sahara as sources of inspiration.
The team also worked with science fiction novelist Laurent Genefort to create the game's world. Gentile commented that after the developers researched African and New Guinean tribes, one of Ubisoft Montpellier's concept artists developed the idea of a large mask, constructed from nacre.
The game utilizes a rich color palette, which allowed the team to create strong color contrast and to "express the beauty of nature". In an interview with Eurogamer , Chahi emphasised that the developers tried initially to avoid including overt religious elements in the game. 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". It's like the simulation was 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. According to Chahi, the game began its life as a strategy game.
The core of the game is that players are "giving powers to [their] people". However, the team later shifted the format to a god game 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. An essential aspect of From Dust 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 added that the game's programme is similar to that of VS Assembly, where the computation will be stored in the cache memory , allowing for fast computing.
The team intentionally avoided developing any algorithms for objects like rivers and volcanoes, as they hoped that it would flow dynamically and naturally. 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".
Dynamic textures were used to represent water transparency, moving lava, and the real time adaptation of rock and soil to fluids. 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.
Elaborating further, he stated that a tribe's music would also affect the appearance of the breath. 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 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. In August and September , Montpellier designers indicated that a variety of expansions were under consideration, including a weather simulation, world editor, and multiplayer capacity.
During an interview with Gamasutra , 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.
From Dust received generally favourable reviews. Metacritic ranks the PC, PlayStation 3, and Xbox versions of the game with scores of 76, 80, and 81, respectively.
The game's gameplay was commented on positively by critics. Its controls were praised for being simple, intuitive, accessible, [42] and smooth, though some critics noted that the cursor sometimes suffers from fidgeting and lacks precision. 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, [44] and that it is a "true sandbox game ", with some even calling it more open than typical open world games.
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. The game's mission design received mixed reviews. Martin criticized the limited geographical variety of each level, [49] but Welsh applauded the map variety, adding that each level feels different, as ideas were never identical.
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