- We found out it’s coming into production we Visit five different regions.
- Also waiting for the players More than 150 different dungeons.
Diablo IV world
The atmosphere of horror and despair is almost tangible, with weather and lighting playing out Diablo IV A more important role. When it rains, surfaces get wet, grooves and imprints of hooves form puddles, the ground feels muddy and the air is heavy and humid. (…)
By creating the artwork of Diablo IVwe used modern technologies, including physical lighting (…).
For the Scosglen Coast, the Environmental Graphics team set out to create untamed coastlines and wilderness addresses (…). When it comes to the most important settlements along the coast, it is important for us that they look an integral part of the surroundings and are seamlessly woven into the coast. (…)
Hunting plays an important role in the daily life of the local population (…). Many props are dynamic objects, like ships bouncing around in the ocean or fishmongers nets dangling to dry in the market (…) The Sunken Culture Collection is entirely made up of reactive and/or destructible items. When we equip these props, our goal is to destroy them (…).
Orbeg monastery is a secluded and mysterious place located in the dry steppes. Although the presence of Zakharum adherents in these areas decreased over time, the monastery is evidence that Zakarum houses of worship still function peacefully in isolation (…).
Blue alkaline lakes surrounded by salt-covered ledges and geothermal ponds help revive the dry plains (…).
There is a military atmosphere here, so it is important to immediately give the place the character of a fortified fortress (…). We can see in the video a large part of the southern edge of Kyusad, where the simplest houses are located. Some of them adjoin the city walls overlooking the glacial stream flowing below (…) We have slums here, where people seek shelter from harsh weather conditions. (…)
Can you believe this on campus is an example of a high standard of life? (…)
Diablo IV Dungeons
In order to create more than 150 dungeons, we had to change the way we create the environment. It had to become flexible enough to be used in many places, not just in one vault.
We divide everything into so-called groups of fields. (…) We can combine them with props, interactive elements and lighting to create various dungeons, both handcrafted, and at the same time procedurally generated (…).
Forgotten corners of the world
Here, nothing should give the impression that it was created by people living on the surface. We were able to focus on the different styles of the language of forms, especially the monolingual, which is full of wobble and strange geometry. This is not where you want to venture out on your own! (…).
In order to create a lot of high-quality content, we found clever ways to reuse the already prepared combinations of fields and diversify them enough to provide the visual setup of more than 150 dungeons.
All this while providing players with a unique gaming experience in every dungeon. One way we can do this is to give field groups different topics. Another dungeon [widoczne na powyższym filmie – dop. red.] It is a resting place where the invisible priest is controlled by demons. As you travel through the underworld, you will see that it is filled with items of druid culture such as amulets and talismans.
Many of these objects are placed on a layer that can be turned on or off depending on the theme of the dungeon. In one dungeon will be the burial place of a priest, and in another, a dark, uninhabited cave (…).
The new dungeon features, such as the seamless transition between levels, are very exciting, but my favorite new feature is the so-called transition scenes between field groups.
These are scenes that allow us to combine two different groups in the same dungeon. Imagine that you are running through a crypt and find a hole in the wall through which you find your way to the vast network of caves below. All this while maintaining a random layout that changes with each approach.
In this last video [zamieszczonym powyżej – dop. red.] We show two sets of fields connected by a transition scene. The first floor of the ruined castle is still completely dry and intact, but when you venture deeper, you will find that the lower floors have been flooded (…).
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