![]() With a solid set of plans, you would be surprised by how efficiently you can populate a map, even one as large as the Spellbreak map.Ĩ0lv: Could you tell us a little bit about the way you’ve been working on the production of the textures? We’re really interested to learn your general pipeline and especially talk about the shaders you are using. Fortunately, our environment artist is extremely seasoned, but this is no substitute for planning out what you want to build. Ironically, we really just use the Unreal Toolset for populating the spaces, and Maya for modeling the assets themselves. We’re super interested to learn how to make these large, visually rich places, and fill them with interactive objects. Environment ProductionĨ0lv: Can you tell us how you generally work on the meshes and the environments in the project? You’ve got to have quite spacious arenas here. We even made our own Kuwahara shader expressly to allow things in the distance to appear more painterly. Working with the rest of the art team, we’re still approaching a lot of this look. When our Art director rebooted, he specifically stated he wanted to go with more of an animated, heavily stylized approach that was more reminiscent of titles such as Avatar: the Last Airbender and The Dragon Prince. ![]() When we were prototyping we had a very different style for the game, that really worked but was more medieval than magical. ![]() 80lv: Could you talk a little about the way you’ve figured out the style for the visuals? What’s the technology behind it, how do you achieve this look? How did the earlier prototypes for the game look? ![]()
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