Nov 20, 2024

Waven - [Sirna]

With the arrival of guilds in the game, many island skins are available to customize the atmosphere at your HQ. This article takes a look at the work of a 3D artist, who structures, arranges and makes believable the world we explore in the game.

Can you introduce yourself to the community and tell us how you ended up here and the like?

Hi, everyone! I'm Yuguhtrrh, and I've been a 3D artist on the WAVEN team for three years now. My rather unusual nickname actually comes from an entirely random combination of letters when I was playing a Flash game as a kid and had to name my character – and it's stuck with me ever since!

I've been a huge fan of Ankama's games and series as long as I can remember. In high school, I played – like lots of teens do – lots of games that, little by little, made me want to work in this field. I went on to study at E-ArtSup in Toulouse, France, where I found a mentor who helped me gain confidence in my chosen path.

After two years of intensive study and many personal projects, I was lucky enough to get an internship at Ankama! It was a very enriching experience and after my third year of study, I applied for a job as a 3D artist. When I'm not working, I play lots of sports, have an obsessive love of chocolate croissants (or chocolatines as we call them here*), and can't resist cute animal videos.

(Editor's note: No, we don't call them that here. Those are fighting words.)

Can you tell us what a typical workday looks like for you?

My day starts with a quick talk with the artistic director about current work, to make sure we're on the same page. Then, I get my first cup of coffee… and usually not my last! While my software is opening, I take a take a couple of minutes to keep abreast of what's happening in the arts to spark inspiration, and then I get to work.

My responsibilities have grown since I joined Ankama. At first, I mainly handled 3D, but little by little, I've been able to branch out to other areas – level design, item optimization, bug fixes, animated illustration, and even design. I try to always have fun when I'm creating, because I believe it's communicative and can be felt in the game.

What teams do you work with most often?

As a 3D artist, I get to work with every link in the production chain. For example, I regularly work with the animators who sometimes ask for adjustments to the background or decor to better suit the needs of their scenes.

Talks with game designers are frequent, too. When they plan new zones or maps, they have a set of specifications including the size of the board, the theme, the atmosphere, and even certain environmental constraints. We often need to coordinate with the artistic director, game designers and developers to asses feasibility and assign tasks. I also work regularly with the developers, either to discover new tools that will simplify production or to optimize the 3D environments.

Finally, our 3D team has modelers and designers. The modelers do the initial modeling and import the assets into the game, and the designers take care of the finishing touches – textures, colors, atmosphere, etc. Our artistic directer oversees it all, and provides feedback to harmonize everything.

Can you explain the creation process for a map or 3D asset?

To create a 3D asset, we start with a 2D concept that we import into 3D software to start modeling. After several passes, our artistic director examines the model and suggests adjustments to harmonize the shapes. Once this back-and-forth stage is done, we move on to optimization, removing certain polygons to make the model lighter in the game engine. It's a real balancing act because there need to be enough polygons for the outcome to look good, but not too many so the asset doesn't hog resources.

The, we move on to UV unwrapping to prepare for painting the texture; it's a little like unfolding the sides of a cube. The details are projected from the "detailed model" to the "optimized model" to get a quality result without putting too much of a load on the game motor. The texture, composed in intermediary software, updates on the object after it's imported into the game. And there you have it – the asset is ready!

When I need to design an object, all the stages are the same, except that I do the initial concept work myself. The goal is to create items that are instantly understandable and credible, and if possible amusing or cute! Since design isn't my main activity, it takes more effort but the results are very often gratifying (at least for me…).

For maps, for example, let's look at the Guild Havens, the last major project I worked on. To start, I was given level design specifications with instructions on the size of the map, activities available there, and their respective positions.

First, I follow the concept by quickly pulling together the map elements and positioning things of interest to define the overall layout.

Then, the level art work begins, to make the map more alive and more attractive. I flesh out each area of the map individually (the port, the oak tree, the cage, the house, etc.), zooming in and out to adjust the details and overall harmony. It's an iterative process to find the right balance so that the map is neither too empty nor too busy.

Composition is a key element because that's when distributing mass and focus points (also called "points of interest") comes into play. For example, we need to avoid creating "tangency issues", that is situations where two objects are so close that their tangents collide or overlap.

After the elements are in place, a designer goes over my work to adjust the colors. This is an important stage because it sets the atmosphere and evoked emotion, and lets us direct peoples eyes where we want. Colors are generated through the lighting or directly on those of the object itself. The goal is to find a balance so that the result is harmonious and nice to look at. I usually provide the design team with a color base and, since they are incredibly talented, we are able – together – to really enhance the map and make it credible in the universe. I hope that players like the different guild islands!

Before

After

What was your inspiration for the maps you've created? Did you include hidden references or private jokes?

Each Guild Haven has it's own theme, so I took my inspiration from lots of things: the Ankamaverse (of course), games I play (Elden Ring, for example), things that happen to me in real life, and even conversations with colleagues.

Personally, I really like the Vampyre Guild Haven. I wanted to avoid the "blood-loving Vampyre" cliche and explore how they harvest "blood-wine". That's when the idea of enology hit me. I imagined the path from tasting to harvest, maceration and rest after properly "appreciating" the beverage. There's a whole story I try to tell in my art. The position of the oak tree in the south-west of the map is inspired by the dragon blood tree, which seems perfectly suited to harvesting blood-wine!

There are references in almost all the maps, but here are a few just for fun… For each Guild Haven, the instruction was given to add a thematic banquet based on the monster families. For Chafer Island, I found myself imagining what those (almost) living skeletons could eat… What makes bones stronger? Calcium!

Another reference is on the Gobball Guild Haven. The number 10 on the gobbowl stadium is a wink at Yugo's headgear during the Real Gobbly game in the WAKFU anime.

Obviously, there are more – more or less subtle – references but I'll let the players have fun finding them all!

What tools do you use in your work?

We use Blender for modeling, XNormals for baking (projecting details on the optimized model), Photoshop for textures, and Unity for the game engine. I also always have a sketchbook at hand for notes and sketches and, of course, I've always got a (huge) cup of coffee.

Are all the background elements in 3D, or are some in 2D?

Good question! Everything is in 3D except for certain elements we call "sprites". Sprites are flat surfaces with transparency on which a pattern is applied. For example, in the Crackler Guild Haven, the rails are made of flat sprites. Technically, it's not really 2D because the plane is in 3D, but since it only has two dimensions (X and Y), it gives the impression of being in 2D. You just need to put the sprite on a flat surface for it to naturally blend into the environment – provided that the texture can credibly create a feeling of volume.

Use of sprites varies according to needs. Here, they let us avoid adding too much volume everywhere so that the screen doesn't get too "cluttered" and that the decor element stays discreet. It's a way to optimize the appearance without disrupting readability. We call that a "decal".

Do you have any advice for any aspiring 3D artists reading this?

Giving out advice is a huge responsibility, especially since I'm still new to the industry! But I would say… Don't blindly follow everything you hear; you need to pay attention to what inspires you and suits you. Patience and perseverance are two essential virtues, and you should never hesitate to ask for feedback on your work.

Also, I think that it is more useful to master one area fully rather than scattering your efforts. Finally, joining artistic communities on social media can really speed up your progress.

Thank you, Yuguhtrrh, for your time and for revealing some of your secrets. If you want to see more of his work, he updates his ArtStation portfolio regularly:

artstation/yuguhtrrh

Nov 20, 2024

Music of Seattle

Vampire: The Masquerade® - Bloodlines™ 2 - Feeona_PDX

Kindred, welcome to another Dev Diary where we hear from the team at The Chinese Room (TCR) and learn about the development of Vampire: The Masquerade - Bloodlines 2. Tonight, we’re joined by Audio Director Daan Hendriks, who lifts the veil on TCR’s approach to music for this game and introduces the composers behind the key scores for the game.

We are excited to announce that the exceptionally talented Craig Stuart Garfinkle and the internationally renowned Eímear Noone are joining the team for Bloodlines 2 as lead composers. In addition, fans can look forward to the inclusion of music created by the legendary Rik Schaffer, known for his contributions to the first Bloodlines game!

Music Direction

The core of any TCR game always revolves around narrative: the story and its characters. Across all disciplines, our focus is to serve the narrative as well as we can. Music is of course a very powerful tool for this, as it can provide subtext and unspoken meaning in a way that no other artform can.

A key aspect of the music direction has therefore always been to develop strong, memorable themes for the main characters in Bloodlines 2. These themes are interwoven throughout the game, sometimes directly in a scene involving their character and other times indirectly, perhaps when we want to subtly hint about deeper, unrevealed narrative entanglements.

Another important aspect of the musical direction has been to develop a style that fits our game. There are numerous considerations that informed this: the diverse cast of characters you meet, the noir-inspired art style, the motivations of the player character, Phyre, the pace and violence of the combat encounters and of course, the rich musical heritage from the original Bloodlines game, released in 2004.

We looked for the score to invoke a sense of timelessness, a sensation of age and melancholy. We also wanted the music to express a strong sense of contrast, of opposing extremes, and to be a vital part of the game’s narrative, adding depth to the moody, nocturnal atmosphere.

The original Bloodlines had a captivating and immersive feel, as well as a strong musical identity, which of course, served us well as a point of reference and inspiration. So did the music written for Hardsuit Labs’s version of Bloodlines 2 – more on that later. References also came from many other places, such as OST’s from films like Only Lovers Left Alive, Under the Skin, or the Coen brothers’ oeuvre, as well as jazz and choral music such as Gregorian chanting.

Through their extreme versatility and sheer tour-the-force of musical capability, our lead composers Craig Stuart Garfinkle and Eímear Noone have molded all these influences into a stunning and expressive soundtrack that perfectly encapsulates the mood and themes of the story being told in Bloodlines 2. The styles range from distorted guitar feedback, haunting, ambient soundscapes, driving, heaving combat music to strikingly beautiful melodic, wistful and gloomy themes. They have made extensive use of creative processing and unconventional techniques, and the results are outstanding. I can’t wait for you to hear it all in-game, but for now, over to them to tell you more about their process.
-Daan Hendriks, Audio Director (TCR)

Craig & Eímear

Working on the music for Vampire: The Masquerade – Bloodlines 2 has been an incredibly rewarding journey, full of opportunities to experiment with sounds, styles, and instruments. Bloodlines 2 combines the modern urban environment of Seattle with characters that are centuries old, layered with the mystery, horror, and allure that makes the vampire lore so captivating. Crafting a score for this unique world has allowed us to explore everything from film noir to Eastern European influences.

One of the most exciting aspects of working with video game music is the freedom to experiment with rich, dramatic compositions that might not fit in other forms of media. Unlike other music forms, which are often limited by time or structure, video game scores allow for expansive, thematic soundscapes that evolve as the player moves through the story. For Bloodlines 2, this freedom has been crucial. We are both supporting an engaging narrative and adding an extra depth to each character, many of whom often are many decades old, mysterious, seductive, and dangerous

In creating the soundscape for Bloodlines 2, we wanted to balance the old with the new. The game takes place in a contemporary setting, yet the characters, vampires with decades of history, carry the weight of their respective eras. To embody this, for us, it meant combining the harmonic and instrumental qualities of film noir with the gritty, raw, and often darkly seductive tones that vampires embody.

The main approach for the music in Bloodlines 2 has been the organic nature we went with for the score. We ended up relying a lot on manipulated guitars and cello throughout. While listening, remember that even things that might sound like a synth or electronic instruments are often not; it’s a guitar or cello. Rather than using electronics, we used natural instruments in unusual ways so they were not identifiable.

These manipulated instruments provide an unsettling quality that fits the game’s atmosphere, close to reality but always slightly distorted, like looking through a fractured lens.

We turned to film noir for its atmospheric harmonic language and also for its instrumentation. Guitar, strings, and dark piano melodies frequently evoke a classic, brooding feel suitable for characters such as these with long and twisted pasts. But vampires aren’t just elegant or tragic; they are also raw, primal, and predatory. To capture this, we infused guttural, primitive sounds into the score. Deep percussion, drones, and dark-sounding elements mimic the underlying danger that lurks beneath the surface, reminding the player that these beings are elegant yet eternally tied to something visceral and untamed.

We had the opportunity to incorporate a unique element for one particular quest. In this sequence, an old Victrola plays a traditional aria, serving as both a plot device and a hauntingly beautiful soundtrack. Writing an aria for this was really exciting as it’s something you don’t normally get to do in video game music. We worked with one of Ireland’s top sopranos, Celine Byrne, to create this piece, blending operatic tradition with the game’s dark, modern tone. This aria stands out as a significant musical moment within the score but also serves as a narrative clue, weaving music directly into the storytelling.

Each character in Bloodlines 2 has their own personality and backstory, which influences the music we created for them. For characters with roots in the Balkan/Anatole area, like Phyre, we drew from Middle Eastern scales and harmonies, introducing sounds and modes that might be unfamiliar to Western listeners but evoke an ancient and dark allure. We even had our cellist Adrian Mantu imitate the way traditional instrumentalists would perform on the Balkan fiddle. That's the source of the harmonics and Ponticello accents.

Another example is what we did for a certain enemy type Phyre encounters in the game. To give them a distinct sonic identity, we recorded the sounds of shovels being banged at different pitches, creating unique percussive instruments. This method allowed us to craft a truly raw, organic feel that resonates with our soundscape through the score. The result is a haunting, metallic rhythm that’s both unsettling and compelling. These recordings became one of the musical identities of the entire score because they were so unique and effective.

One of the recurring themes in Bloodlines 2 is the seductive danger vampires present. To express this in the score, we relied on slow, sensual rhythms and minor tonalities that evoke a sense of allure and mystery. Vampires in Bloodlines 2 are not just terrifying monsters; they possess a fluidity and sexuality that make them both attractive and dangerous.

The use of the human voice has been an essential component in creating this seductive quality. We used vocals to add a deep and atmospheric texture. The voice becomes a living instrument. Resonating with the subtle intimacy that is intrinsic to the vampire’s allure. Close, personal, and yet ultimately dangerous. The human voice as an element also adds to the organic nature of the score.

Bloodlines has a dedicated fanbase, and with that comes an expectation of continuity, a desire for the familiar alongside the new. As composers, this was both an opportunity and a challenge. We wanted to respect the original while expanding on its themes and introducing fresh elements that would suit the story of Bloodlines 2.

The original Bloodlines score had a distinct sound that many fans hold dear, so in Bloodlines 2, we leaned into some of those established atmospheric qualities, like the dark, moody overtones and the sense of lurking danger. However, we avoided directly replicating any of the old themes. Instead, we focused on the underlying tone that made Bloodlines unique, incorporating noir-inspired elements while introducing a more organic approach.

Building the world of Bloodlines 2 required a different approach from the fantasy games we’ve previously worked on, which were set in worlds so different from the real world. Fantasy worlds often call for sweeping orchestras and epic, thematic compositions. But Bloodlines 2 demanded a more intimate and introspective score, reflecting a world that is urban, gritty, and inhabited by beings who lurk in the shadows of the modern world.

This smaller, more focused soundscape draws the player into the dark underworld of the game’s setting. We focused on subtle, atmospheric cues that complement the game's environmental storytelling. The choice to use organic sounds allowed us to build a sense of a place that feels real and present. Even within this stripped-down approach, the characters’ ancient history and their modern urban surroundings of Seattle create a nuanced soundscape that pulls the player deeper into Bloodlines 2’s world.

Creating the music for Bloodlines 2 has been a journey of blending the old with the new, the organic with the manipulated, and the seductive with the terrifying. This project has allowed us to explore unconventional sounds and shape a soundscape that complements the game’s dark, complex world.

We hope that, as players move through the game, they feel the depth and intricacies that we’ve tried to instill in the music. Each note, each beat, and each sound is crafted to bring them closer to the characters, the setting, and the mystery that lies at the heart of Bloodlines 2. Whether it’s the metallic clang of a shovel, the eerie call of a manipulated cello, or the haunting strains of a Victrola aria, every piece of music is designed to resonate with the world and the stories of Bloodlines 2.
-Eímear Noone & Craig Stuart Garfinkle

Music Systems & Implementation

Multiple music system functions have been implemented for Bloodlines 2, enabling us to present the compositions in an immersive and adaptive way. From narrative quest progression to non-linear exploration, combat encounters of varying intensities, cutscenes, conversations, UI and diegetic score, it all needs to be dynamic and transition smoothly between each other. The challenge has been presenting all of this in an immersive way so that the player doesn’t notice the complexities of the systems that drive it.

A lot of the heavy lifting is done in our game engine, Unreal Engine, providing our audio implementation middleware Wwise the appropriate variables to utilise its music hierarchy effectively. We can go into two examples here: combat and dietetic:

Combat

Combat encounters are divided into four primary states:

Exploration (Enemies are above a minimum proximity variable)
Stealth (Enemies are within the minimum proximity)
Investigate (Enemies have received a stimulus and are looking for the player)
Combat (They have found you!)

Each of the above states has additional variables driving them. We track the number of enemies unaware, aware and in active combat, the proximity from the player and the threat level that the player is under. Threat level is comprised of various factors such as enemies' attack power, maximum health, blood reserve and player health. All of these feed into the system allowing us to raise and lower stems and transition between cues according to the action in game.

Player abilities also come into play with this system, transitioning and ducking depending on the ability performed.

Diegetic Systems

There are several locations in the game where music plays diegetically, including the Glacier hotel lobby, the Makom Bar and the Atrium nightclub. Each of these pose a different spatialisation challenge with differing rooms, corridors, doors and windows. The system has been implemented to ensure that the music fades in naturally as you approach, diffracts around corners, and is occluded by any barriers as it would be in real life.

Description: Visual examples of the diegetic system.

In order to achieve this we get the location that we want the music to emit from and use it to drive the panning position and volume. Said location is handled via splines that project the position a variable distance ahead or behind the player, which then controls panning, distance and stereo spread. High frequencies fall off as distance increases as you would expect, with additional occlusion at specified spline points as well as functions for doors opening and closing.
The screenshots above show an example corridor spline where the music position will follow ahead of the player, as well as the pink debug spheres where the music position will end up when entering the main room.
-Mike Lane, Sound Designer (TCR)

...and One More Thing

As many of you may already know, the development journey of Bloodlines 2 has been through significant changes, initially in the hands of Hardsuit Labs (HSL) before transitioning to The Chinese Room (TCR). This shift presented a unique opportunity, as it left us with an extraordinary collection of music crafted by Rik Schaffer, the original composer behind Bloodlines 1. Rik had been contracted by Paradox & HSL to compose for Bloodlines 2, and the result was a rich library of musical pieces that had yet to find their place in the new direction of the project.

Throughout the development process, it became clear that this music was not just a source of inspiration; it had the potential to enhance the game’s atmosphere in a profound way. As Craig and Eímear began to shape the soundscape for TCR's rendition of Bloodlines 2, we actively sought opportunities to weave Rik Schaffer’s compositions into the fabric of the game.

Now, we are thrilled to share that these stunning pieces have been integrated into various segments of the gameplay. Players will experience them during intense combat encounters, poignant narrative moments, and as they explore key locations within the game world. We believe that this addition not only enriches the gaming experience but also beautifully complements the exceptional original score that Eímear and Craig have meticulously crafted. The culmination of these musical elements elevates the overall quality of Bloodlines 2, providing an even deeper and more immersive experience for players.

Nov 20, 2024

New Playtest, New Map, Podcast Recap, Patch Notes

Swordai - Klaus

Hey everyone!

I'm back with a new playtest from November 22nd to 25th. Don't forget to sign up, engage in duels, explore the tower, and use the new QOL patches I've implemented.

I joined Stridah on his podcast on Sunday, there was a ton of great discussion and we covered aspects of the game that I haven't talked about anywhere else so definitely check it out:

If you missed out on the Puppeteers mask from the first public playtest, this will be your last chance to get one.

Ice Cave Map Updates

Playable Ice Cave Map: Introduced a new T2 map, with improvements in lighting, pathing, and performance optimization.

Minibosses & NPCs:

New Golem Miniboss added to the Ice Cave.
Cave Dweller NPCs finalized, while Ice Golems use placeholder sounds and animations.
Ice Cave NPCs and chests now feature loot.
Future Content Indicated: White cubes/rectangles signal upcoming features. Additional miniboss content is in development.

Key System Updates

Healing Flask System:

Added a single-charge healing flask (default key: H).
Reworked "Heal Self" into "Heal Other" for targeting and healing allies.
Healing is now concentrated in flasks and consumables rather than abilities.
Gear & Inventory Enhancements:
Flask slot added to the inventory (B key), with support for equipping better flasks.
Improved system for gear upgrades and inventory management.

Combat & Controls Overhaul

WASD Keybind Improvements:

New options for directional control (e.g., block/attack direction defaults).
Separate attack/block modifier keys for customizable input schemes.
New default: “Wait” input behavior allows direction input without immediate action.
Old behaviors remain available in settings for legacy players.

Combat Changes:

Adjusted overhead and angled swings for better balance and new-player accessibility.
New passive ability, Reaper, provides stacking strength bonuses for skilled 1vX combat.

Freeform & Teamfight Features

Teamfight System:

/teamfight start command for Freeform PvP with team deathmatch functionality.
Spectator mode, team assignment, and Final Fury mechanics included.

Soulwar Code Overhaul:

Improvements to registration, management, and spectator systems.
Updates lay groundwork for destructible spawn points and blessings in future patches.

AI, NPC, and Gameplay Tweaks

AI Improvements:

Enhanced NPC pathing and late-game AI abilities for better 1vX combat.
Slight difficulty balancing for NPCs across progression.

Tutorial & Early Game Adjustments:

Added a flask tutorial in "Beginnings."
Revised initiation trial to allow progression with a D grade in the attack phase.
Reduced tutorial music volume and wait times before spawning trainers.

Bug Fixes & Optimizations

Performance & Visual Fixes:

Major Ice Cave lighting optimization for low-end hardware.
Fixed camera issues on uneven terrain and portal-related bugs with weapons/inventory.

UI & Interaction Fixes:

Resolved UI glitches in inventory and effect displays.
Additional clarity added to tutorials and map instructions.

Known Issues & Future Plans

Remaining Bugs: Occasional flask portal UI issues, pending feedback.
Upcoming Enhancements: Planned upgrades to Unreal Engine 5.5 for better lighting and FPS, pending Nvidia updates.

This release candidate sets the stage for the playtest starting Friday, with only bug fixes and clarity improvements expected before launch. Get ready for an exciting new chapter in Swordai!

See you all next time.

https://store.steampowered.com/app/2321890/Swordai/?beta=0