In the video, we take a tour through the Scosglen Coast, the Orbei Monastery, the settlement of Kyovoshad, a couple of the dungeons of Sanctuary, and we get a glimpse at some 'forgotten places in the world', too. As such, you can expect "weather and lighting play a more prominent visual role" than you'd see in Diablo games in the past. Ryder says Diablo 4 targets "for believability, not realism" – which makes sense for a game playing up to its high-fantasy elements as much as Diablo 4. The result, Blizzard hopes, is a game that feels dark and oppressive, yet also beautiful and readable, too. This pillar of design philosophy embodies the idea that Sanctuary is "a dangerous and dark medieval gothic world" and that Blizzard intends to "play to the iconic Diablo game camera, choosing where to add or remove detail to help the readability of the gameplay space or accentuate visual interest as needed". Ryder also notes that the company wants to focus on a "return to darkness". and we think it shows (at least if the videos the studio shared are anything to go by). As you may be able to tell from our video above (which merges all the Blizzard gameplay clips into one easy-to-watch montage), the development team is using the "old masters" you may know about from the art world as inspiration for its visual aesthetic.īut what has Rembrandt, for example, got to do with Diablo? Well, per art directror Chris Ryder, it's the artisan painters' controlled use of detail, tonal range, and expert use of color palettes that the studio has been looking at in order to enhance the world of Diablo 4.
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