Dive into the environmental art of Godfall with game art


environments in Goodvale It made a good impression on me when it launched late last year, especially in terms of environmental art. We are about to see more new areas thanks to the upcoming expansion of the game, fire and darkness. To get ready, I was able to send a few questions to a few members of the game team regarding Goodvale And the next expansion. Questions were answered by Chris Ha, co-founder and artistic director of the studio. Evan McKnight, Leading Environmental Artist; and Tim Simpsons, Director of Environmental Art. Plus, we got an early look at some exclusive technical concepts.

Without further ado, let’s move on to the questions and answers.

PCI: What are the main influences behind GoodvaleEnvironmental design?

Chris Ha: The original point was to create another world sense [of] Ancient, luxurious, powerful and luxurious lost civilizations. We wanted to make everything shiny and somewhat reflective so the player could feel the refined craftsmanship and exotic materials. Some of the references we used for decorations and materials from luxury hotel architecture and interior designs [sic].

Tim Simpsons: For the world of fire, we really wanted to rely on volcanic materials, lots of cooled lava rock formations, and black glass surfaces. We’ve also taken some inspiration from the brutalist architecture of some of our structures to give them a heavy, military feel over a more organic landscape.

PCI: There is a lot of ornate architecture everywhere in the game world. How was the process when it came to making these structures not only believable, but still fit into the fantasy world you created?

Hectare: We spent time searching for exotic materials from real life. Make sure it feels believable and tactile. Decorations are a big part of defining style Goodvale. We wanted to feel that everything was made by powerful and great civilizations with a taste of luxury.

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Credit: Gearbox Publishing.

PCI: I’m so in love GoodvaleTextile work. What is your primary focus when it comes to ensuring texture accuracy?

Evan McKnight: Since the beginning of production, one of our main goals Goodvale It is to ensure that all materials are of extremely high quality and unique. We place great emphasis on material definition and visual response. We have a very talented materials team and they have made almost everything from scratch. We’ve also been fortunate to have some talented shade artists who have given us the tools to really make things shine!

PCI: How do you determine which color palettes are appropriate for each area of ​​the game?

Hectare: Depending on what we wanted the area to feel, we created a specific color script for each area. We wanted to make sure that players could look at a screenshot and be able to tell what world it was from at a glance.

McKnight: Color palettes often evolve over the course of production until we get to something that clicks with each area. Normally, we’ll create a first track at the concept stage as we settle on a base board. We’ll then adjust accordingly as we start to introduce all the assets and lighting, often choosing some bold colors that complement the main palette along the way.

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Credit: Gearbox Publishing.

PCI: environments in Goodvale I feel like they’ve been through a lot. What’s the hardest thing about making sure the site ends up feeling like it’s lived in and filled with history?

Simpsons: It was important to give each biome its unique look and cultural feel to the architecture, and always tried to find that mix of science fiction and fantasy. Too far in one direction and feels too much Lord of the ringsLots of science fiction and it looks like it star Wars. We wanted every place to feel old and live in, but also newly destroyed in some areas due to the new conflict. We basically build a lot of these spaces into an uninterrupted state and then reverse-engineer the aging and destruction so that they look natural and lively to the player.

McKnight: for fire and darknessWe set out to create a whole new region with its unique culture and practices. This meant working closely with the writing team early on so we could learn as much as possible about the residents and how they went about their lives. This helped inform a lot of decisions when it came to finalizing the environment. Of course, the finishing touches always seem to involve the most creative effort! As artists, this last bit of refinement is our chance to do some interesting storytelling. It can also be the most challenging, as we must maintain authenticity while ensuring that things fit into the well-established narrative.

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Credit: Gearbox Publishing.

PCI: Is there anything in the visuals that you’re not happy with or would like to tweak in the future?

Hectare: The environment team did a great job! I won’t touch any of them! I will personally spend more time on some of the characters/creatures.

PCI: There is an expansion coming soon. Were any steps taken to differentiate significantly from the new zones’ environments, or do they fit perfectly into the same type of playing field as those included in the base game?

Hectare: We made sure to create a distinct world with its own color text and a sense of expansion. So it would look different but it would definitely fit right in in my world Goodvale. We wanted to create a completely different mood inside this world and a lot of new enemies and weapons. Hope all players enjoy it!

Simpsons: to me fire and darkness Expanding, we wanted to stick to basic visual ideas such as good-looking environments, sophisticated materials, and a bright color palette. However, we also needed to create a new experience for high-level players. Some of the preliminary areas of Fire Realm are more volatile and look ominous to raise the stakes and feel more threatening and dangerous.


We would like to thank Chris, Evan and Tim for their insightful answers to our questions. We will have more Godfall: Fire and Darkness When it launches on August 10th.

Note: This interview has been edited for illustration purposes.

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