StarCraft 2's Art Design
How units and environments are being created in the sequel.
[source: ign.com]
The second day of Blizzard's Worldwide Invitational 2007 in Seoul, South Korea shed light on some of the artistic efforts that went into creating StarCraft 2's units and environments. On hand during a panel discussion were Sam Didier, Senior Art Director for the game, Rob McNaughton, Lead Technical Artist, Trevor Jacobs, Senior 3D Artist, Allen Dilling, Senior 3D Artist, and Dave Berggren, another Senior 3D Artist. Didier started off the discussion, which was first a powerpoint-style demonstration from all five panel members followed by a question and answer session from fans in attendance. All these guys with the exception of Allen Dilling (considered a "youngster" at Blizzard, having only worked there for eight years) contributed to the art design for the original StarCraft. Dilling contributed to the visuals for WarCraft 3 and its expansion, The Frozen Throne.
Emphasized was Blizzard's commitment to creating exaggerated, stylistic characters, something indicative of the company's visual form. When characters are so small onscreen, they need "bold and saturated colors," along with "strong silhouettes" according to Didier.
Rob McNaughton then took the stage to speak briefly about creating units. Blizzard is using Photoshop for texturing, 3D Studio Max, and StarTools to integrate custom art into the game. StarTools is planned to be made available to the public along with ScummEdit for map creation. McNaughton went on to say the map editor will feature new scripting and trigger mechanics, and be a more powerful version than that found in WarCraft 3. In terms of fancy technical effects, StarCraft 2 is built on a DX9 engine and uses per pixel lighting, normal mapping, high dynamic range bloom, rendering and tone mapping, as well as integrated havoc physics. Using their engine, Blizzard is hoping to have up to 300 units on screen at once.
Also detailed was the process of creating the actual models in the game. McNaughton showed a Protoss Zealot as an example. The base wireframe model was comprised of 1500 polygons, given the normal mapping treatment, textured through Photoshop, and through the process emerged as a pleasantly detailed, furious Zealot face with moving eyebrows, glowing blue eyes, and a metal goatee. Trevor Jacobs spoke next to briefly relay how models had to be adjusted from the concept art phase to final. He singled out the Protoss Immortal as an example, describing how the shoulder pads had to be enlarged and facial angle tilted to adjust for StarCraft 2's top-down view.
With so many Zerglings, Marines, or Zealots crowding the battlefield, Blizzard is focusing on "personality, life, and emotion with animation," says Allen Dilling, "we're not really worried about being realistic." Each unit will have three variations of animation to make the screen more interesting when multiple units of the same type occupy the screen. Protoss Phase Prisms, for instance, have differentiated effects for transformation between mobile mode and phase field mode. Dilling also described how the Protoss Mothership's Planet Cracker attack, which drills three rings of rotating concentric lasers into the ground, was originally designed as a large single laser blast. It was changed to the present state because the single beam obscured too much of the action behind it. "[We] try to be fast and quick with effects and make sure they don't interfere with gameplay," says Dilling. He repeated the phrase "tight and concise" when referring to animations, and said the art team was focusing on eliminating clipping between units. Exceptions are made for special cinematic effects, such as the elaborate warp-in animation for the Mothership.
Next Dave Berggren took the stage to comment on StarCraft 2's environmental design. Three environments were shown, including a Protoss forested temple world called Bel'Shir, the Terran space platform shown in the demo videos, and the fierce Zerg world of Char. Demonstrated were a number of "doodads," apparently Blizzard's term for environmental objects. For Belshir this includes stone arches and rocky structures. Heavy industrial structures, energy pipes, generators and exhaust vents were used for the space platform, and bone finger structures extending from the earth, fleshy fins, and lava canyons on Char. Berggren continued with his process of creating ground tiles, focusing on the brick floor featured on Bel'Shir. He starts out with a line drawing of brick tiles, adds light and dark areas for texture, overlays an actual picture of dirt, adjusts a few details by hand, the drops in a normal map and imports it into the game. The result, for better or worse, looked like a dirty stone floor.
After the prepared comments, the floor was opened to fans. The art panel had to field some rather strange questions, including one asking whether there'll be a StarCraft-based movie. Of course there's been no announcement yet, but Didier enthusiastically responded, "we never put anything off the table." Another crowd member asked if we'd ever see a StarCraft-based RPG or MMO, to which Didier said, "that sounds awesome, I would love to play it, but at the moment we have nothing announced."
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