HADES HADES ART FULL
It immediately felt ‘right’ – the final design doesn’t stray too far from this idea.Ī very early version of Tartarus that was darker and more muted than what we shipped.Īn early attempt to visualize the color script of the game in order to catch any oddities or weakness in the full game experience. This was the first attempt at a sketch of Zagreus, our new protagonist following a narrative pivot during preproduction. The piece that gave me confidence that a switch to pen and ink could work! We ended up pivoting to pen and ink when the narrative and tone changed drastically during preproduction. Fun note – our animator, Thinh used mocap as a basis for a large chunk of animation in the game!Īt the inception of the project, we’d thought the art style would be painterly. Some additional tools we used were Zbrush, Substance Painter and Marvelous Designer. The 3D work was modeled and animated with Maya, and post-processed through AfterFX. We relied completely on Photoshop to create 2D assets. What tools/techniques were used to create the game’s look? Sure! 59 portraits, 68 models, 194 boon icons,1,400 environment textures, 32,494 FX animation frames and 942,489 character and enemy animation frames were shipped! We also worked with contract artists to pick up some of the remaining work like icons and trophies.Ĭan you put ANY numbers on the scale of the project?
Tell us how the art was created and by whom?īeyond myself (characters, environments, concept) we have Josh Barnett (FX art, UI design and animations), Joanne Tran (environments), Paige Carter (3D Models), Thinh Ngo (animator) and Camilo Vanegas (animator/modeler). Of course, we frequently referenced the work of the Ancient Greeks themselves! Making assets in pen and ink goes much faster than painterly work and I knew we were going to make the biggest game Supergiant had ever produced – meaning more assets! – so it all worked out quite nicely that this art style I was personally curious about aligned with our experiential and technical goals on the game. We also found influence in Fred Taylor, a mid 19th century poster artist. When thinking of dark, fantastical ink work it’s hard not to invoke the incredible Mike Mignola. The inky influence I’d wanted to incorporate into Pyre was resurrected in Hades. On our previous game, Pyre, I’d gotten really into some pen and ink artists. What influences (within or beyond games) did you draw from?Ī throughline of the influences that I love to draw from are that they’re often traditional or rooted in classical art. That happens a lot too, but as far as initial concepts are concerned – I generally consider art ideas disposable until the gameplay and narrative harden up enough to serve as a solid foundation. This isn’t to say that we didn’t give the look of the game any thought up front or that we don’t lobby internally for specific artistic choices. This probably comes as some surprise though I’d say this attitude stems from a sense of confidence that we can find a suitable look and attractive artistic perspective for just about anything our game designers wanted to create.
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