07 Jul
Combustion is back with another development blog! This time, we are talking about the process of design that goes into the game's mood and atmosphere.
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Combustion is back with another development blog! This time, we are talking about the process of design that goes into the game's mood and atmosphere.
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The GRAVEN team has been going deep - dusting off the ancient tombs of Verzyphiir, gathering firewood for the icy winds of Granite Watch, and dredging through the swamps of Cruxfirth.
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Weapons are the cornerstone of any good FPS. And because of this, we asked designer Nate to talk a little bit about the hardware you can expect in Phantom Fury.
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Lead 3D Artist Sam Bryan is here to talk a bit about what goes into the creation of an immersive game world like that found in Phantom Fury!
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Music composer, Aleksander Kmiec, is talking about the process of creating the music for the official soundtrack to Phantom Fury!
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Phantom Fury game director, Daniel Hedjazi, talks about the game's concept, its vision, and shares some information about the idea behind the project.
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In this blog, VFX artist Philippe Mesotten takes us through the process behind the distinct GRAVEN look.
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In this dev. blog, Arturo Pahua takes us through the process of designing weapons for our upcoming game GRAVEN.
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In this dev blog, lead level designer Chris Holden describes the documentation process when creating levels in GRAVEN.
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In this dev blog, music composer Nikola Nikita Jeremić goes into detail about the music for GRAVEN.
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In this dev blog, level designer and director Romain Barrilliot describes the making of The Priory in WRATH: Aeon of Ruin
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In this dev. blog, Ben "Makkon" Hale takes us through the process of making procedural pixel art for our upcoming game GRAVEN.
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In this blog, GRAVEN's art director Bebeto Daroz lifts the curtain behind the concept art and style of the game.
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We gave our lead level designer, Chris Holden, almost free reign for this dev blog; only the title was chosen beforehand. What we got in return was an in-depth explanation of how a level is made for GRAVEN. We will let Chris tell the rest...
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For this first dev blog about GRAVEN, lead designer David "scar3crow" Queener delves into the lore aspects of the game and his thoughts on how the world is structured.
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Back in the early '90s most game music was either tracker based or MIDI music. Some games even had music on CD, but that of course meant you had to insert the CD to listen to it. When I was a kid I had an Amiga computer and Amiga's four channel sound chip Paula soon became my best friend. I was about 11 years old when I had my first experience with a tracker program at my friend's house. It was a mind-blowing (and school ruining) experience for me to realise that I could do my own music without having to buy expensive instruments or other gear than maybe a cheap sampler.
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Headshots, enemy patrols, autosaves, moving props and so on.. The choice of using the Build engine is not an easy one. Aside from the asset and engine limitations, one of the biggest things that sets an old engine apart from newer lies in its gameplay quirks.
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Plenty of modern independent games return to more old school visual styles. Often those call back to the era of 8 and 16 bit 2d console games, but not as many developers attempt making retro styled first person shooters, especially ones using the original technology. How do you approach creating artwork for such a game?
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Build engine games like Duke Nukem 3D, Blood, TekWar and Shadow Warrior all boasted 3D capabilities and it was all the rage. But like many know, Build wasn’t an actual 3D engine.
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