Matt McDaid: For the Scosglen coast the Environment Art team set out to tell the story of untamed, wild shorelines and headlands.As you transition toward the shores from inland, the coastal biome is first evidenced by the longer, more directional grasses that react to the driving offshore winds. The beaches are bleak and littered with seaweed, kelp and rotting carcasses. Rugged clifftops ascend high whilst promontories are carved by the continual pounding of waves below. Through the process of creating our biomes, the Environment Art team has set out to communicate that this coastline is rife with peril.
For the main settlements along the coast, it is important to us that they feel woven deep into the fabric of the coastline. Dwellings with deep-rooted foundations skirt the clifftops. In a futile attempt to withstand the harsh elements, these structures are comprised of whatever materials the locals could lay their hands on and are in various forms of disrepair. Stone walls, salvaged wood, and thatch for the roofs. A place of consolation for the brave fishermen that trawl these treacherous seas.
Fishing plays a significant part in the day-to-day life of these weary locals, so we’ve latched on to that idea and placed emphasis on these villages being centered around fishing. By adding supporting elements like rudimentary docks and slipways, it really helps set the stage for the Interactives team to come in and layer on their culture kit throughout the area.
Chaz Head: Many of the props here are dynamic. The ships swaying in the ocean waves, the fish mongers’ nets hanging to dry in the marketplace. Our main purpose here is to breathe life into the awesome architecture and terrain work. Our props and culture kits help provide that tangible real-world scale that the Diablo world represents.
The Drowned culture kit here is all interactable or breakable. When we set up these props, we push ourselves in terms of destruction. We use a constraint system to hinge specific pieces together. This allows us to orchestrate distinct, realistic and variable types of destruction.
We do our best to tell the story of what has happened here. The drowned dredging with them hoards from beneath the sea, littering their conquest with relics of long-lost cultures as they raid across the beaches of Sanctuary.
Ben Hutchings: As you explore Diablo 4’s open world you’ll experience a lot of variation in the lighting and weather – here in the Scosglen coast you can see the foggy, frigid atmosphere taking cues from highlands and moors. Across the game we’re striving for a grounded and natural palette,allowing us to create visual space for gameplay that also achieves a gritty tone suiting the world of Sanctuary.
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