{"id":173153,"date":"2019-11-08T03:00:00","date_gmt":"2019-11-07T19:00:00","guid":{"rendered":"http:\/\/itteacheritfreelance.hk\/test\/wordpress\/?guid=35382975e1015bb4aaa14f7dc2d11cba"},"modified":"2019-11-08T03:00:00","modified_gmt":"2019-11-07T19:00:00","slug":"check-out-this-exclusive-diablo-iv-concept-art","status":"publish","type":"post","link":"https:\/\/itteacheritfreelance.hk\/test\/wordpress\/2019\/11\/08\/check-out-this-exclusive-diablo-iv-concept-art\/","title":{"rendered":"Check Out This Exclusive Diablo IV Concept Art"},"content":{"rendered":"

\"\"<\/p>\n

Our cover story this month focuses on three of Blizzard\u2019s big upcoming projects. Arguably, the most exciting of the bunch is Diablo IV, and during our visit to the studio we got to play the game and talk to the team about the history of its development. Now we\u2019re passing that knowledge on to you. Take a look at these rare pieces of concept art \u2013 some of which have never been seen before. Trust me, I kept my eyes closed when I posted this.\u00a0<\/p>\n

<\/article>\n

On the darker tone<\/strong>: \u201cI was really excited about the opportunity to do a really medieval-feeling world and setting. We started with going back to the source of what makes medieval fantasy cool. When you think about demons and angels and mankind in the middle of this conflict, it\u2019s rooted in our own history, so we went back and looked at a lot of medieval art and armor and weapons \u2026 We wanted to craft like a medieval masterpiece. We wanted it to feel like something that came from this time. It\u2019s kind of like European folklore.\u201d \u2013 art director John Mueller<\/p>\n

<\/article>\n

On comparisons to previous games<\/strong>: \u201cYou look at the class<\/a> lineup in Diablo II, and that thing is amazing. Every Diablo game could have that class lineup and be good forever. You look at the combat that is in Diablo III, and even though there are newer games out there, the second I play a new season in Diablo III I\u2019m back in. Diablo I, for as old as it is and as long ago that I played it, there are moments that are just burned into the back of my mind. I couldn\u2019t tell you how any RPG from that time ended, but I can tell you how Diablo I ended.\u201d \u2013 game director Luis Barriga<\/p>\n

<\/article>\n

On mounted travel<\/strong>: \u201cThis is a big world RPG. We looked at all of our favorite open-world games and they all have a mount or a mount equivalent. We were thinking how would mounts work in Diablo. One of our mantras is that it has to be gothic, medieval, and dark, and you can\u2019t get much more medieval than a horse. To me, it\u2019s such a slam dunk. In Diablo you customize through items, so that\u2019s the route we\u2019re taking. You have mount armor, barding, tabbards, horseshoes, and trophies. One of the trophies we have is super cool \u2013\u00a0It\u2019s the head of a demon.\u201d \u2013 game director Luis Barriga<\/p>\n

<\/article>\n

On the villain, Lilith<\/strong>: \u201cI think there was one drawing of [Lilith] that existed in a book that we\u2019d done, the Book of Cain. Because she\u2019s so heavily featured in this game, we reimagine a lot of times. We want to use that as an inspiration point, but we don\u2019t feel contained. We wanted to bring in a sense of groundedness and believability to this demon character so when you see her she\u2019s just not a demon with red eyes. She\u2019s the mother of Sanctuary and she\u2019s returning, and it\u2019s something we wanted people to have questions about.\u201d \u2013 art director John Mueller<\/p>\n

<\/article>\n

On the new open world<\/strong>: \u201cThe overworld is handcrafted, and it\u2019s intended to create a sense of place to make the world of Sanctuary alive and believable. We realized that it\u2019s deep in Diablo\u2019s DNA to have randomized maps, so the way we think about the map is that it\u2019s a container for everything. The way I posed it to the team is that whenever you go through the instanced portal, it\u2019s whatever your DM cooked up for the night \u2013 that\u2019s the very core Diablo experience, but the container that holds it all together is this world, Sanctuary. Activities that previously would have been driven by UI and menus are now held by your map, so now you see there\u2019s a boss over there or there\u2019s a dungeon that I discovered or there\u2019s an enemy camp or a town.\u201d \u2013 game director Luis Barriga<\/p>\n

<\/article>\n

On monster classes<\/strong>: \u201cNow we have monster families that live on the coast, and we can actually have that now. The Drowned, they crawl out of the oceans and exist in that biome. And we can have Khazra come up out of the mountains and the caves and it\u2019s like a real sense of location. I don\u2019t know if we\u2019ve had that sense of space in a previous Diablo game.\u201d \u2013 art director John Mueller<\/p>\n

<\/article>\n

On designing the world<\/strong>: \u201cWe put out a continental map of Sanctuary in the previous game, but the level of fidelity is so much deeper now. It\u2019s almost like the Google Maps version. Every space now has topology and it\u2019s defined, so the depth that we\u2019re adding is really exciting.\u201d \u2013 art director John Mueller<\/p>\n

Click image thumbnails to view larger version<\/i><\/p>\n

<\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/p>\n

\u00a0<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>\n

\n

For more on Diablo IV, be sure to check out our online coverage hub, which includes deeper dives into the Sorceress<\/a>, Barbarian<\/a>, and Druid classes<\/a>. As well as rare gameplay footage<\/a>.<\/p>\n

<\/p>\n

<\/a><\/p>\n<\/article>\n","protected":false},"excerpt":{"rendered":"

\"\"<\/p>\n

Our cover story this month focuses on three of Blizzard’s big upcoming projects. Arguably, the most exciting of the bunch is Diablo IV, and during our visit to the studio we got to play the game and talk to the team about the history of its development. Now we’re passing that knowledge on to you. Take a look at these rare pieces of concept art – some of which have never been seen before. Trust me, I kept my eyes closed when I posted this. <\/p>\n

<\/article>\n

On the darker tone<\/strong>: “I was really excited about the opportunity to do a really medieval-feeling world and setting. We started with going back to the source of what makes medieval fantasy cool. When you think about demons and angels and mankind in the middle of this conflict, it’s rooted in our own history, so we went back and looked at a lot of medieval art and armor and weapons … We wanted to craft like a medieval masterpiece. We wanted it to feel like something that came from this time. It’s kind of like European folklore.” – art director John Mueller<\/p>\n

<\/article>\n

On comparisons to previous games<\/strong>: “You look at the class lineup in Diablo II, and that thing is amazing. Every Diablo game could have that class lineup and be good forever. You look at the combat that is in Diablo III, and even though there are newer games out there, the second I play a new season in Diablo III I’m back in. Diablo I, for as old as it is and as long ago that I played it, there are moments that are just burned into the back of my mind. I couldn’t tell you how any RPG from that time ended, but I can tell you how Diablo I ended.” – game director Luis Barriga<\/p>\n

<\/article>\n

On mounted travel<\/strong>: “This is a big world RPG. We looked at all of our favorite open-world games and they all have a mount or a mount equivalent. We were thinking how would mounts work in Diablo. One of our mantras is that it has to be gothic, medieval, and dark, and you can’t get much more medieval than a horse. To me, it’s such a slam dunk. In Diablo you customize through items, so that’s the route we’re taking. You have mount armor, barding, tabbards, horseshoes, and trophies. One of the trophies we have is super cool – It’s the head of a demon.” – game director Luis Barriga<\/p>\n

<\/article>\n

On the villain, Lilith<\/strong>: “I think there was one drawing of [Lilith] that existed in a book that we’d done, the Book of Cain. Because she’s so heavily featured in this game, we reimagine a lot of times. We want to use that as an inspiration point, but we don’t feel contained. We wanted to bring in a sense of groundedness and believability to this demon character so when you see her she’s just not a demon with red eyes. She’s the mother of Sanctuary and she’s returning, and it’s something we wanted people to have questions about.” – art director John Mueller<\/p>\n

<\/article>\n

On the new open world<\/strong>: “The overworld is handcrafted, and it’s intended to create a sense of place to make the world of Sanctuary alive and believable. We realized that it’s deep in Diablo’s DNA to have randomized maps, so the way we think about the map is that it’s a container for everything. The way I posed it to the team is that whenever you go through the instanced portal, it’s whatever your DM cooked up for the night – that’s the very core Diablo experience, but the container that holds it all together is this world, Sanctuary. Activities that previously would have been driven by UI and menus are now held by your map, so now you see there’s a boss over there or there’s a dungeon that I discovered or there’s an enemy camp or a town.” – game director Luis Barriga<\/p>\n

<\/article>\n

On monster classes<\/strong>: “Now we have monster families that live on the coast, and we can actually have that now. The Drowned, they crawl out of the oceans and exist in that biome. And we can have Khazra come up out of the mountains and the caves and it’s like a real sense of location. I don’t know if we’ve had that sense of space in a previous Diablo game.” – art director John Mueller<\/p>\n

<\/article>\n

On designing the world<\/strong>: “We put out a continental map of Sanctuary in the previous game, but the level of fidelity is so much deeper now. It’s almost like the Google Maps version. Every space now has topology and it’s defined, so the depth that we’re adding is really exciting.” – art director John Mueller<\/p>\n

Click image thumbnails to view larger version<\/i><\/p>\n

<\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/a> <\/p>\n

 <\/p>\n

                                                                                                            <\/p>\n

\n

For more on Diablo IV, be sure to check out our online coverage hub, which includes deeper dives into the Sorceress<\/a>, Barbarian<\/a>, and Druid classes<\/a>. As well as rare gameplay footage<\/a>.<\/p>\n

<\/p>\n

<\/a><\/p>\n<\/article>\n

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