![]() To get to this point the team at Blizzard had to build a whole team of “artists, tools engineers, rigging specialists, lighting and surfacing experts” - leading to physically-based rendering, and detail like cloth simulation, fur, hair, metallic surfaces, and even the pores visible on your character’s skin. This is the in-game character model, yeah, amazing. The end result is being able to render an impressive Lilith in real-time using the Diablo IV engine as seen below. We loved those and it felt like a strong foundation to build upon in regards to the characters and achieving that warm quality that came through in the cinematics but in a real-time game environment.” I think the touchpoint being the amazing pre-rendered look from the Diablo III cinematics. We also embraced realism in terms of materials and character appearance. “We didn’t want the characters to feel procedural or generic because of these processes. “Our goal was to make the characters in Diablo IV look as artistic and as hand-crafted as possible using the latest tools and techniques,” writes John Mueller, Art Director on Diablo IV. “Our goal was to make the characters in Diablo IV look as artistic and as hand-crafted as possible using the latest tools and techniques.” And speaking of armour, we’ve got confirmation that you’ll be able to dye individual armour pieces, from individual shoulder pads right down to boots and gloves. ![]() ![]() Character stuff that not only looks incredible but features your character up-close-and-personal and decked out in whatever armour you’ve got equipped. The latest Diablo IV quarterly update has arrived and it delves into the art side of the experience, where the dark and gothic imagery meets new 3D rendering techniques and real-time cinematics.
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