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World of Warcraft takes you on a tour of Spires of Arak's art
The art team at Blizzard is proud to present and pontificate on the creation behind one of Warlords of Draenor's new zones: Spires of Arak. "When we started working on Spires of Arak, we only had some basic ideas: tall rocky spires jutting out of a dense forest," Senior Art Director Chris Robinson said in today's dev blog. Spires of Arak is what later on becomes World of Warcraft's Terokkar Forest, but the team had to create its own individual look which included working on "large spiky rocks." The art team detailed the journey that went into choosing the style and making it happen and included a video of this creation process that you can watch after the jump.
That palette is fully operational: Jeff Dobson opens up about SWTOR's artistic side
Story may get all the press when it comes to Star Wars: The Old Republic, but the truth is that the final product was a team collaboration between many departments -- including the artists. Art Director Jeff Dobson sat down with Republic Trooper to talk about the process of shaping each of the game's many worlds and locales with BioWare's signature flair. It might astound you to realize just how many different type of artists work on MMOs such as SWTOR. Dobson said the team has "concept artists, character artists, environment artists, VFX artists, GUI artists, animators, and technical artists. The world design team is worth a mention here as well, because they participate a lot in the initial visual development of an area." And that doesn't include the separate teams that did the cinematic cutscenes or pre-rendered cinematics! Dobson said that the biggest challenge for the art team was the scale of the project. "The Old Republic has too many assets to even really take stock of how much there is. It is a lot of work to simply track this many assets as they go through the creation pipeline," he said.
Coloring inside the lines: An interview with PlanetSide 2's Tramell Isaac
I think we're all allowed our moments of pure geek squeeing when we bump into the people responsible for some of our favorite video games of yesteryear. So I had to apologize to Tramell Isaac in advance for gushing over his work on the first two Fallout titles, games that are among my all-time favorites. He didn't seem to mind, and he spent a few minutes shooting the breeze about his favorite designs in the game -- designing Robobrain and the Vault Boy cards that accompanied the player perks. MMO fans will probably best know Isaac from his work on the original PlanetSide, a project that is near and dear to his heart. Sony Online Entertainment brought him back on board to be the senior art director for PlanetSide 2. This makes sense -- after all, who else would best know how to evolve the series' design than the guy who started it? Isaac was kind enough to sit down on the phone with me to talk about how PlanetSide 2's visuals are shaping up, following his own blog post on the subject. Hit the jump to find out why each faction is going with a very specific color scheme, how microtransactions will affect how awesome you look, and just what Batman has to do with any of it.
Daniel Dociu talks Guild Wars 2 art direction
If you're looking for the latest art-centric news for ArenaNet's long-awaited Guild Wars sequel, look no further than Tap Repeatedly. Guild Wars 2 art director Daniel Dociu recently sat down for the second part of an interview that shines the spotlight on the forthcoming fantasy MMORPG's visual palette as well as the man responsible for overseeing it. The piece covers a lot of ground, including everything from GW2's painterly user interface to the company culture at ArenaNet (which was founded by a group of engineers but also boasts one of the MMO industry's premier artistic rosters). This is no accident, Dociu explains, and one of his goals as ArenaNet's art director is to ensure that game art is given the respect it deserves. "Too often in this industry art is an afterthought. More often than not the expectations are set too low. It isn't always regarded as an equally important component next to game design or technology," he explains. So what's up with the hand-crafted aesthetic that permeates everything from Guild Wars 2's client interface to its marketing materials? It's very deliberate, Dociu says, and it resulted in a marriage between talented artists and the realities of a finite budget. "We've unified stylistically the cinematics, user interface, and all visual branding... It all started because it was something we wanted to do, but we had to wait for the right moment and approach it from the resources angle."
A Mild-Mannered Reporter: This edition is so stupid
Guys, I have to warn you straight up... this edition is really stupid. It's just plain stupid. I'm not saying that it's bad, and I'm not saying it's not worth reading -- I'm just saying that it's really surprisingly dumb. You're all fond of City of Heroes, and I am too, but considering how dumb this week's edition is, maybe you should do something else for however long you would normally read one of my columns. I guess there are some pretty good things on YouTube these days. Oh, wait, sorry, it looks like I was reading my notes wrong. It's not that this edition is stupid, it's that the community threads we're spotlighting today are all about things that are stupid. Because there are things here and there within City of Heroes that are just a little dumb, when you get right down to it. Also, it gave me a thematic hook for this column, so that's good too. Click on past the cut for this week's highlights!
The Art of God of War III at Gallery Nucleus
The God of War III art team held a panel this past weekend in Alhambra, California, at a place called Gallery Nucleus. In front of an audience packed to capacity, artists (from left to right above) Scott Seeto, Jung Ho Park, Izzy, Andy Park, Cecil Kim, and Andrew Kim spoke and answered questions about how they'd come up with the art designs for Kratos' final story ("as far as I know," Cecil Kim said, "there is no more God of War"). They were first asked about bringing the game into the HD generation, and how that affected their work on the games. Mostly, it just meant more work for them -- they pointed out that even when the camera isn't close-up on Kratos, you can still see the muscles in his back tense as he pulls out his blades. Art designers in HD have to be meticulous about details, and as a result, character development takes about six times longer. The team also said that they were impressed by the PS3 hardware -- on the PS2 versions of the game, the developers knew how far they could push the older console, but on the PS3, "we still don't know what we can do with it." %Gallery-89162%
BlizzCon 2009: World of Warcraft art panel
One of the more underrated panels during every BlizzCon is the World of Warcraft art panel, which discusses the little things that players usually gloss over when playing the game. Environmental Art Lead Gary Platner and his team spoke about how the art in the game evolved through time, particularly with the advances in the game's technology. Since its launch in 2004, World of Warcraft has evolved in many visual, if not always noticeable, ways. For instance, players can now see up to twice as far into the distance compared to when the game first came out. Projected texture effects are overlaid on some terrain, creating a more "realistic" environment, and vertex shading for richer, better lighting.The new Cataclysm expansion will continue to improve on the look of the game, utilizing new technologies such as texture blending - which allows distinct objects to be blended together visually. The team also previewed new water, which was just marvelous to look at. They also discussed the creation of new dungeons, which start from brainstorming, picking up lore, and getting real world inspiration.%Gallery-70709%
