I’ve textured over a thousand models so far in Substance Painter, I would say the flow is pretty habitual for me right now. Since I work on many aspects alone, I can’t elevate the art to a level I can actually work at – so the main challenge is being reasonable with what can still look realistic and attractive, but not require too much time. In this example, the character is supposed to exude a sense of regality and confidence The character is a knight (and that evokes a sense of valiance and valor), but has lost his purpose and has a sense of loyalty only to himself (this suddenly informs the design incredibly). I say dynamic because it’s important to think on more layers than one. What is the character evoking? Dread? Stoicism? Valiance? I usually summarize in a sentence a kind of a dynamic description. I always start with the intent (which requires knowledge of the lore). I plan on making an extensive guide one day on getting your own mocap, and then covering some pitfalls I traversed along the way, like creating IP and RM animations and the different hurdles you have to jump through. It’s great because it’s affordable if you know what you’re doing. We used HTC Vive and Ikinema Orion to film the animations. The idea is to have our in-house mocap animations cover everything from top to bottom, focusing on the characteristics of every enemy type and giving them that organic realistic weight. Of course, we haven’t filmed nearly the amount of animations we plan on, but that wasn’t the goal for the prototype. We can make mocapped animations that will be unique for each enemy, and that can ground the game into the world even more. Finding a pipeline to create animsets and cutscenes was the goal and we’re there now. I bought a mocap suit and set up a studio in my bedroom. Bleak Faith informs the features it needs to tell its stories, instead of looking at other games for what might be fun to add. There is a very clear world of Bleak Faith, and I’m just staying true to it. The most important thing for the prototype, however, is a strong vision – and that’s something that’s carrying this entire project. A heavily armored giant you hit with a sword shouldn’t sound the same being hit as a lightly armored puppet that you hit with an axe. By the end, you have about 10,000 potential sounds to play for every single case. And each of these choices will play a different sound, from a variable library. One specific example of how far we went with the responsiveness in combat is the sound system for hits, which at every hit makes a varying sound depending on many things: who is hitting, with what, whether there’s any armor, if yes, what kind of armor, what kind of enemy you hit, etc. RPG games are known to usually lack the fast-twitch impact of action games, namely the FPS genre – so we wanted to bring that into our world. And combat is so much more than just animations – the feedback namely is something we really went Tarantino on. For example, for an RPG it was important that combat felt connected and brutal. We cover the main features, and the main feelings we’re going for, and the until we get them we don’t update the list. We laid out a lot of the work in lists that we follow. It starts with you as Forsaken, being brought into a Forsaken outpost as a new recruit – and from there, the world is open and ready to be uncovered. The world is full of problems and the solutions are not readily pointed out to you, you have to really invest yourself in finding out the intricacies of how this new world works. The main mechanics is an open world and semi-procedural AI, some really fast-twitch combat, and choices on how and when to solve problems. Nihei’s work is particularly hard to capture in 3D, especially as a game so I thought that was a great challenge for me. Cooperating with him also allows me to focus mostly on the front-end where I generally belong.īleak Faith is a unique cross between dark fantasy and some post-humanist cyberpunk – two huge inspirations in my artistic life generally are Berserk by Kentaro Miura and also Tsutomu Nihei’s work. I started alone and that was going in one direction, but Mirko reached out to me and even though I was adamant about doing this alone, his work ethic and no-excuse attitude won me over entirely. The choice was to either make a film or a game about it, and I decided that a game would bring the Omnistructure to life in a way a film never could. Bleak Faith: Forsakenīleak Faith started as a graphic novel, and about 30 pages in I realized it was missing music. We’re both just getting seriously into video game development with this game so our past projects were mostly personal projects we didn’t seek to publish. We’re both from Montenegro but I live in the US right now. My name is Mišo Vukčević, and I’m developing Bleak Faith: Forsaken alongside Mirko Stanić.
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