Today’s post will be a little bit technical, since we’re still working on the last area of the game, which should have no plaster, planning and tweaking the final battle, adding some new animations and working on an unexpected and surprising new… thing, which is not plaster.
We aren’t ready to share any details yet since we want to make a full reveal of it when it’s done so, for now, all we have to give is this tease! … and did I mention that we also have plaster?
In all seriousness, we’ve implemented these two workflows to achieve two different types of results that, albeit simple, convey different moods. The faded plaster on the right is simply one mesh with two textures blended through Vertex Paining, while thick plaster technique is achieved by combining two meshes, as you can see on the right wall.
We hope you’ve enjoyed the fine plaster we brought you this week, we promise to make it up to you in the near future with some exciting revelations!
This week the team was grinding intensively, as we’re slowly but steadily approaching the completion of Chapter 2.
Since our animator has been with us in the office these past days, we spent plenty of time developing, polishing and implementing animations. In particular, the Elk has received quite a lot of attention, and it is feeling more alive than ever.
The artists are busy tackling the arena where the Girl will battle this Chapter’s Boss, as well as painting the texture maps for that character.
As promised before, we’re sharing our current workflow to produce the bodies of water we’ve been featuring lately in this blog.
It’s quite simple, as you can see in the following breakdown:
Small lake mesh workflow.
Shout-out to Paulo from our tech team for coming up with it in the first place. As mentioned in point f), both the ripple effect and the water surface require materials with shader work developed using Amplify Shader Editor. Here are the nodes needed for the water surface (we’ll show the ones for the ripples on a later date, since we’re still perfecting the effect!):
This week while the art team was working hard adding props and populating the battlefield zone, some logic/code was improved, like the responsiveness of the dodge after an attack animation and also the time after a big hit attack from an enemy. After these tweaks, the Girl won’t take so much time getting up to resume the fight, making it possible to avoid possible follow-up attacks. We are also adapting the prototype logic to the new props added, for example, the logic of this enormous gate is ready to go.
Surprise encounters and a puzzle awaits.
Animation wise, Iuri has joined us in the office (he usually works remotely) and is producing new animations and polishing some others. Afterwards he will tackle this chapter’s boss!
Remember the Water temple concept? Here is watermill in action (still WIP).
The low poly model for the new boss is pretty much complete, and we’ve started to work on the retopo of the weapons. Next, we’ll do all the texturing and fine-tuning. Regarding the environments, we have been busy putting together the largest ruin in the game (so far), a very tall tower. As soon as it is ready, we’ll be sure to show some screenshots.
Undead Soldier new attack example.
This chapter has a lot of small ruins and dungeons to explore, set loose your explorer’s instinct!
This week we added more animations to NPCs to accommodate the later encounters with them. As the game flows, the mood of the NPC’s change so extra animations were needed. We also made some progress regarding the in-game water, it’s still not finished for a complete step by step devblog post, maybe next week!
A small lake for relax.
Some “dungeon modules” were added too, for a more dense and labyrinthic experience when player wanders through them. We believe that every small place to explore must have some reward, so keep looking!
A Dungeon entry, beware what lurks inside!
We also changed the impact particle that shows up when the Girl’s feet hit the ground (dirt) so it looks more stylized. We will continue with this approach for the rest of the VFXs, like fire and smoke.
Populating some new zones with props and creating the mood is also in the works. On the art department things are also progressing nicely, even though this new enemy is probably the most complex character we have developed so far, especially due to the arsenal used…
This week André returned from vacation and is back in action, so we got some cool things to show besides new art and props!
He made some changes in how healthbars behave on screen (something he wanted to do for some time), they are now screen dependent instead of world dependent. Also, he improved the idle combat animations and behavior when the player has no weapons equipped. Only kicks and punches can save you in this situation.
Working alongside Iuri, they gave more life to the Elk. With some spine IKs system, ground adaptation makes the animal feel more real.
It’s still in WIP state (still doesn’t have the new Fur), we need more animations to make it like we want, but for now we are really liking the feel.
Some Elk action over here
Ricardo lent us a hand and did some awesome shader work to “fire up” the look of the wooden enemies we’ve shown in previous posts.
How’d it get burned?!
Instead of baking the burnt effect directly into textures, the shader allows for countless dynamic and randomized burnt variations. It’s a great way to empower artist and reduce production times.
Picking up where he left off last week, Tomé worked on visually improving a huge temple ruin that players will get to explore in the first area of the game. Here’s how it’s currently looking: