![]() ![]() But it stems from the original concepts that I’ve done and again stylistic choices that I make as an artist and that others have made to follow through on that vision.Īnd that comes a lot from cartoons, anime, and growing up with those things close to my heart. ![]() Obviously, there’s been a lot of efforts that have gone into it from a variety of folks on the team to really influence and push this game into its own, visually speaking. Omar: What about the cell-shaded art style made it attractive to you? And what made you want to stick with a sort of similar look to Hyper Light Drifter versus going for something completely out of left field?Īlx: This is still generally speaking the style I used in my personal work. It’s been a big damn challenge, but we’ve had some heavy hitters on the team that have been able to knock it out of the park. Overall it’s been a blast to see what we can do with the format, with the pipeline. I love that look but it’s used because it’s a little simpler and easier to deal with in general for smaller teams that don’t have the luxury of the tech artist or graphics engineer because those things are difficult jobs for very talented people and this is quite a step beyond flat-shading. And that means that it’s like turning elements off from the rendering pipeline typically to get the lower stylized look. You see the smaller indie games that are flat-shaded. It’s not the same as something that’s flat-shaded. All of the industry is really biased towards PBR and the tools that are created and the pipelines that are there and the way that everything intercepts and what the engines are built around, so you have to do a lot of heavy lifting to go against the grain for that and get this kind of stylized more cell-shaded cartoonish or hyper colorful flat look. It’s certainly challenging to have a non- PBR workflow. You know, a lot of very talented folks working on it to get the look that we got out of it. We’ve had a lot of really talented people on the team on the graphics and engineering end of things, tech-art and environment art, et cetera. You know 3D just by virtue of having another dimension opens up manyfold different options. But it also opened up a lot of new pathways that weren’t possible in 2D that made it really interesting and enjoyable in ways and more unique than we could do in 2D. Omar: What was it like or what were some of the challenges you and the team had adapting kind of a similar art style or the same kind of general feeling from Hyper Light Drifter to Solar Ash, going from 2D to 3D?Īlx: The styles share a lot of similarities and certainly we had to make a lot of accommodations for 3D and kind of adjust what we were doing and our expectations overall of what can be done. Note: This interview has been lightly edited for clarity. You can find the full conversation down below. This was a fantastic experience to be able to talk to Preston about Solar Ash, a little bit about his past work on Hyper Light Drifter, and all of the hard work that has gone into the new game. And we would like to thank him for taking the time to sit down with us even as the game is on the home stretch to its approaching launch date. Solar Ash is nearly here, but it has been a long five-year road for the Preston on the team at Heart Machine. Down below we cover several topics ranging from speedrunning to accessibility settings and Kickstarter to partnering with Sony and Epic. In this interview, I got to sit down with the lead developer and founder of the studio, Alx Preston. Solar Ash is the next title from indie developer Heart Machine (Hyper Light Drifter).
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |