Inside Pokemon Sun: Concept Artwork

As far as tutorials goes, we can see numerous things on the net about 3D modeling and texturing, that is why I’m not really going to go into details about that; besides, that’s not my field of expertise anyway. First hand experiences is mostly the source of this article which happens to be concepting, game design and user interface. So without further adieu, let’s get started towards realtime 3D RPG’s – since that’s Pokemon Sun is all about. Apart from the mentioned topics below, anything related to Pokemon Sun is welcomed to be discussed in the future articles. Just email it and I will see what I can do about it in the future.

 

Concept Artwork: Brainstorm and do it The conceptual phase is where it all starts. This is where artists really love, as far as the whole process goes. These early sketches is the foundation of it all. Everything is a matter of action. The artist, the programmer, everyone in the team is in the process of putting into action their concepts. This is the most crucial part as it sets the tone for the whole team. Artists, designers must block the ideas as quickly as possible, the team leads in the world that you are going to do together, but you also need to understand the limits of the game and use these drawings as a tool for building the world. Creatures And Characters: When we think of the conceptual art, first thing comes to mind are those horrible monsters.

Pokemon Sun – Gameplay Walkthrough

Pokemon Sun – Gameplay Walkthrough – Part 2

This is an important part- what’s RPG without it, after all? But everything will revolve to the character because this is where players spend most of their time playing the game. When thinking with the costumes for the characters, everything starts with the research. There are only so many ways to cover the human form and we had a couple of centuries to play with suggestions, hit the books and do a lot of drawings. I have hundreds of quick sketches, which are only “exploratory work” trying to look that is fresh, and work with the form in which we build models on the nails. It took a lot out of my comings and goings, drawings and prototypes that our character model, until he had an instinctive understanding of what won’t blow the polygon budget and this would also support. At that time, I could begin to draw characters with some degree of certainty, that reality could be used.

 

One important point, you must have your designs on an agreed technical standard base – make sure to communicate it with your programmers to test the engine and make sure that you know your limits. How many polygons to do, how much texture memory, what kind of hair solution? In POKÉMON, we get use Sun-based character-piece. Environment And The Rest Of That Stuff: In an RPG, the world is the most important part. Your game play takes place on or within the limits your modellers build. Environments takes most of the time probably out of your total allotted money. Planning here is very crucial. 2 things that is distinct in making the Pokemon Sun is the characters and how it interacts with the cities they are living. The different towns we used to seeing with the previous versions of the game. Of course, movement and interaction within the realm of the virtual world takes consideration. Is this game passable? Is this building wide enough to be the main holding area for some characters etc? Limits are set on this process. Thus communication with other team members is important. Adaptation of natural landscape how decide more jungle or limestone caves in realtime 3D, what is considered, which omit in cram. The game has to wear the feel of the place, but it has to play well. And that means that players able to be the card with a minimum of swearing to get.

 

Use to work out our sketches for artistic inspiration – and also to technical details in rough shape together with Tobyn Manthorpe and his team of tile modeling doing it before the construction of the actual geometry. The strict rules of the building tiles could be completed, and it has been implemented to the designs and in the game engine. It’s important to realize that concept art is not over after the visualization phase. That’s just round one – once the game development actually begins, the sketch artists have to keep up with the many revisions and rules that are coming into play. It is important to recognize that the concept art is not over after the visualization phase. It is only stage one, there are still a lot of stages to come.

 

I think you’re beginning to get the picture now – at least here that’s what we do in Game Freaks with Pokemon titles. Conceptual art is an ongoing process, developed for the duration of the project. It helps jump start at the beginning, the first ideas of the project, and the game style and technical procedures in the course of the project to nail down. Concept artist must quickly and accurately do it, and it does take a lot of research to use the ideas down. And they know how the actual game is made and believes the technical limits that is there. It is fulfilling to know when you get to know your ideas so it translates in glorious 3D with the rest of the team. Thank you for your time – I hope that I have inspired some own drawing to. And be careful for the next entry, tune in, if I give you a little background on the creation of a main character in Pokémon Sun also if you want to know  the game well try to visit this site.