If you're designing a monster - or in this case, a demon - instead of having smaller horns, maybe you want really bigger, bolder horns. It starts from that early stage of the concept art. And then, of course, the game engine needs to represent the models in the best way possible with the lighting and everything. It all stems from the concept art the idea, the concept art, and then the model and the implementation in-game. Hunter Schulz: The game is built from the ground up, that's one thing to consider. Were there any other changes that you guys had to make, or any design directions you had to think differently about? That covers some of my next question, which was how the mobile platform creates changes compared to these previous games. They pop, you can actually understand what you're looking at, and you can understand the gameplay and everything that comes along with it. We made that a priority, to make sure the designs are readable. That was the big thining that we had to think about, because otherwise the designs that we create and gameplay would not really be readable. An example is that someone might want to create this super detailed Diablo experience with really low lighting that just wouldn't work on a mobile device. A lot of the art style comes into play as a necessary thing, as opposed to only just a stylistic choice. The main thing that we had to focus on, for the sake of functionality, is the readability of the game. We purposefully wanted it to be familiar. We're not trying to reinvent the wheel when it comes to our look. It's still very much like Diablo game, and the art should also reflect that. The content is there and remains the same, even though there's new characters and new zones and things that are appearing in Diablo Immortal. We wanted this to be a true Diablo experience, so from the visual side, you already have the lore and the world stage already set for you. Hunter Schulz: Where you're starting from is a very similar place.
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