Origines des Big Ass Monsters

Ecrit par Proteus, le 13-11-2011

Que de monstres dans TERA! Cet univers très riche est aussi peuplé de ce qu'on appelle les BAM, ou "Big Ass Monsters", des monstres énormes qui sortent tout droit de l'imagination débordante des designers. Ces monstres sont visiblement très appréciés par les joueurs, où ils devront unir leurs forces pour pouvoir espérer en venir à bout. Un challenge collectif, qui dépassera largement toute idée de rivalité et de faction.
Cette semaine, En Masse Entertainment souhaiterait partager avec les joueurs quelques pistes sur l'origine de ces BAM. C'est à découvrir à la suite de cette news, avec une vidéo de l'Ovolith.



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En Masse Entertainment Reveals New TERA Development Details Highlighting the Origins of Big Ass Monsters and Artistic Vision

One of the early call outs from critics and fans alike about the upcoming action MMO, TERA, has been the creature bosses known as BAMs (Big Ass Monsters) from the creative minds of developer Bluehole Studios and western production partner, En Masse Entertainment. To provide more insight on TERA prior to its North American release in 2012, En Masse Entertainment is sharing insider development details on the origins and inspiration behind the art style and game mechanics of these menacing BAMs. The BAMs help to support the game’s “all action, no faction” aspect as players are encouraged to work together to defeat them while taking full advantage of TERA’s contextual and positional combat system. They deliver huge hits to players who aren’t carefully avoiding the real-time attacks. By working together, players can flank and outmaneuver BAMs to deliver lethal hits—an essential tactic in TERA, where timing and positioning always matter.

Due to their massive size, strength, and intelligence, combined with TERA’s pioneering real-time combat system, developing creatures with footprints as large a as a BAM's poses challenges not found in other online titles.

One such BAM is the ovolith—a spider-like giant that morphs into an egg-shaped cocoon. Capable of spraying poison at its enemies—which players must actively work to avoid—the ovolith is especially fast-moving and capable of dealing massive damage with its monstrous pincers. As it can shiftshape between spider and cocoon, the development team had to take both shapes into account as they affect both the ovolith's hit detection and damage.

To give more insight on the origins of TERA's signature BAMs and unique art style, En Masse Entertainment is sharing a full document provided by the Bluehole Studios art team which you are free to share with your readers. From initial concepts to complete in-game objects and monsters, Bluehole Studio explains their creative process.

“The monster’s outer shape matters a lot in combat because TERA lets players aim their attacks naturally. Auto-targeting games only need a normal attack with different attack motions, but we have more aspects to consider because the player’s character actually gets hit in TERA. But this extra challenge is one of the joys of creating monsters for TERA,” says the game’s Monster Concept Lead Artist, Junghyun Kim.

“After we make some sketches, we discuss our ideas and make decisions on how to create the monster so it’ll work in the game. Then we complete the animation in perspective view to deliver the feel of the monster, make three-view drawings (useful in creating 3D), figure out how the monster moves, and so forth,” says the game’s Monster Concept Lead Artist, Junghyun Kim.


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The Artistic Process

Our internal process is not too different from other design companies. Here’s how it flows:

Research -> a lot of drafting/sketching -> confirmation/finalizing ->finished art

Especially for monsters, we proceed with research and drafting some sketches after we receive information on the monster’s background and combat style from the game design team.

After we make some sketches, we discuss our ideas and make decisions on how to create the monster so it’ll work in the game. Then we complete the animation in perspective view to deliver the feel of the monster, make three-viewdrawings(useful in creating 3D), figure out how the monster moves, and so forth.

The most critical part of the process:the ideas of the concept artists and the people who lead the artists when they bring the concepts to life.

The Challenge of Originality
One could say that medieval elements have been infinitely repeated in the MMORPG genre. So we’ve come to ask ourselves whether we should follow along with medieval-looking elements that have been standardized after repeated use, and how original a game can be if it only has images with medieval-like elements.

Instead, we began to insert other artistic elements into medieval components, creating a fusion with medieval concepts as the base. And we sought ways to add originality and popular appeal to medieval clothing—another element that no longer seems exotic due to its frequent use.

Furthermore, TERA has realistic graphics, so we havean environment that canincorporate design elements that exist in the real world.

Rather than looking at character clothingand armor design as a simple concept art task, our design goal is to make clothing look good on the player’s in-game character and to emphasize what makes that character special—like a “good fit” when a real person wears clothes. And because of this, many fashion designers give us inspirations.

We also carefully consider the materials for our clothing and armor. Because the outfitslookso real, we have to research each material’s texture, shine,and finish, so we can incorporate the materials’ characteristics into the art. For this reason, we need the perspectives of many different kinds of designers: fashion designers, industrial designers, and graphic artists, for example. Getting all these perspectives together is quite a challenge.

For monster concept creation, we have an additional challenge. The monster’s outer shape matters a lot in combat because TERA lets players aim their attacks naturally. Auto-targeting games only needa normal attack with different attack motions, but we have more aspects to considerbecause the player’s character actually gets hit in TERA. But this extra challenge is one of the joys of creating monsters for TERA.

Final Thoughts
An online game has everlasting life as long as the game is in service. Our task, then, is providing the necessary variety to make that virtual reality flourish. It will take more research on players’ different perspectives to match their numerous expectations.

With TERA, wetry to deliver a new feeling to the players—something they’ve never experienced—and we will try even harder in the future. Thank you for your continued support!

PC Concept Lead Artists:Yoonkyoung, Kim, Jeongmyoung Lee
Monster Concept Lead Artist:Junghyun Kim

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Ovolith - Behind the Scenes

Story Niche
Ovoliths are the largest arachnens, the children of the goddess Arachne. Like Arachne, arachnens are greedy and prone to collecting things simply to satisfy their material lusts. Arachnens are tough creatures, able to survive the deserts of Val Aureum and the icy hills of Westonia. Ovoliths are the most solitary of the arachnens—even when found in numbers, they usually work alone. Ovoliths are aggressive, capable fighters—ripping through groups of soldiers with ease.

Behind the Scenes
We wanted a monster that piqued players' curiosity when they first encountered it, then surprised them as it transformed into this creepy killer. The initial concept called for the creature to morph from egg shape to its spider-like form for battle. This worked out very well. We affectionately refer to ovoliths as Fabergé death eggs.

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