How We Approached 3D Foliage in The Vanishing of Ethan Carter. Good 3D foliage is hard. Well, it looks soft but in fact it is hard, as in, damn hard to achieve. Rendering subtlety, richness and dynamism of vast, wind-torn foliage by using just a bunch of flat, static triangles? One heck of a challenge. Luckily, we just love a good challenge. The vast majority of The Vanishing of Ethan Carter takes place outdoors, in the mountains, rich with overgrown forests and meadows.
We didn’t stop there, though. . ● We chose a real place, located in the heart of the beautiful Polish Karkonosze mountains. . ● When you don’t follow references from mother nature, you often miss seemingly irrelevant details. . ● Rendering performance is an important concern for all types of real-time environments, but for foliage it is simply THE most important factor.
Michal spent the entire 2013 working almost exclusively on foliage, experimenting with different kinds of trickery, building countless versions of grass and trees. P.S. (Visited 4,440 times, 2 visits today) Related Posts. You'll Need a Good Squad To Win In Ghost Recon: Wildlands' Ghost War PVP. The Guide to Open World Environment Design. If you’ve played any games created by Bethesda in the last decade, you have probably witnessed some of Noah Berry’s work. Noah is an accomplished environment artist with a taste for incredible fantasy environments. He is the man behind the environments in The Elder Scrolls games (Morrowind, Oblivion, Skyrim) and Fallout 3. His taste for color, lighting and details in open world games is unprecedented. In his exclusive collaboration with 80.lv, Noah shared some of his ideas on environmental design, creating open world maps and building virtual cities. A real treat to all you level design beginners.
Open World Design Rules From the very beginning, open world, 3D environments have held a tremendous appeal, and a powerful attraction for both the player and the developer. Ask the Right Questions Skyrim At the outset, I sought to keep the player’s experience – from their actual view and perspective, as well as with the unfolding of any and all progressive gameplay events – fully in mind. World Building and Art Direction of Destiny. In 2013 Joe Staten (who now works at Microsoft) and Christopher Barrett held a wonderful presentation at GDC and talked about the creation of the now famous online shooter, Destiny. They discussed the main challenges they faced during the production of the virtual world of Destiny and how they managed to overcome those problems.
Here’s a little overview of their talk. We’ve added a lot of additional Destiny’s concept art from the portfolios of Joseph Cross, Ryan DeMita and Isaac Hannaford, Jaime Jones, Kekai Kotaki, Darren Bacon, Daniel Chavez, Adrian Majkrzak, Dorje Bellbrook and Jesse van Dijk. Say what you want about Destiny, but these are probably the most impressive pieces of game concept art ever created. History of Destiny Bungie was really excited about building a new world that was different from the well known universe of Halo.
They started by looking over their previous Halo games. Destiny needed to work differently. 1) Make a Hopeful and Inviting World 2) Idealized Reality. Finding The Look of Open Game Environments. Environment artist Noah Berry, who worked on Fallout 3, Morrowind, Oblivion, Skyrim, continues his series of articles about world building for 80.lv. In this post he talks about creating the look of the world, the choice of tools, developing the lighting systems and gives the main steps for building complex, open environments. Check out the first article in the series here. The Look of the World In the earlier days, visuals for new worlds began their shape taking process almost purely within the mind’s eye of the artist.
With input from the director, and often from pre-existing lore, the process for establishing a visual identity begins with continually imagining how this new world should look and feel, from the combination of light, color, and various surfaces to work with. Skyrim. Oblivion. As an example, broad and dominant deciduous foliage density might lend a quality of feeling encapsulated, or enwombed by the environment. The Biggest Tasks of the Environment Designer. Creating Macro Environments in Open Wold Games. Noah Berry continues his series of articles for 80.lv. This post is devoted to the overview of the macro environments. The artist talks a little about the details on modern open world games and the main power that drives this pursuit of perfection. No, it’s not GPU. Over the arc of my career, I often pondered the growth of complexity and detail around the resulting game worlds created, and within the realities of making them.
That scope of awareness as a developer and as an artist, with any undertaking along the way, unwaveringly expanded and grew so universally, it would often seem to teeter on the brink of dwarfing, if not severing connection with distant intentions and origins seeding the whole endeavor. Morrowind This was due as much to the maturation of hardware and software, as it was to the maturation of crafting games. Fallout 3 This same avenue of thought and intention would apply to raw art creation, as well as the more functional, interactive aspects of game and level design. Destiny's animators studied boxing to keep you from getting sick.
David Helsby, senior animator at Bungie, shared for the first time publicly some of the secrets behind the first-person animations in Destiny. His talk at this year's Game Developers Conference in San Francisco provides new details on how that game's graceful characters and elegant weapons feel so good to inhabit from the first-person perspective. The secret, Helsby says, is all in how the camera — essentially the cone of vision that player sees — moves in relation to the rest of the avatar's body. If the camera remains still as a avatar moves through the world, the game can feel light and floaty. But if you are too agressive with the movement of that camera, people will get motion sick. "It's one of the reasons you really have to be careful with camera animation," Helsby said, "because even if your camera motion is going to make just 10 percent of the population sick, if you're selling a million copies of the game then you just lost 100,000 people.