1C Entertainment technical art director Alexey Vlasov has shared some details about the development of King’s Bounty II. The main production took only about two years, so it was a challenge for the whole team to make everything on time and optimize the game for all platforms.
Vlasov’s article appeared on 80 Level on September 18.
- All the geometry and textures for vegetation are procedurally generated, which accounts for 95-98% of the environment’s content. Vlasov cited No Man’s Sky as an example of this technique, although it had more stylized graphics, and King’s Bounty II is more realistic.
- The pipeline consisted of SpeedTree, Substance Painter, and Substance Designer, which made optimization a lot easier. According to Vlasov, the team had to individually adjust models for Nintendo Switch only in 2-3% of all the cases.
- Every blade of grass and flower in King’s Bounty II is animated and moves according to the wind.
- The studio developed the UVW Pivot Animation tool to animate leaves. As Vlasov noted, this method, first used in Ultimate Spider-Man, works like this: “The texture defines the coordinates of the base of the leaves which can be rotated relative to these coordinates.”
- The team used a single skeleton for all 1300 characters, including citizens, to meet deadlines (all characters should have been created in less than one and a half years). It let them change proportions and model different body types, and all clothes were also automatically adjusted to bone sizes.
- To make the game look similar on all platforms was one of the biggest challenges, both in terms of content and code.