With a preview of the sound design
Blizzard blogged a new quarterly update on the development of Diablo IV. This time the ticket is presented by Joe Shely, new Game Director of Hack’n’Slash particularly awaited.
Employee at Blizzard since 2007 and who has long worked on the continuous development of Diablo iii, Joe Shely therefore has the heavy responsibility of taking over from Luis Belly. The former director has resigned following the major crisis that is going through the Californian studio at present.
- I’m Joe Shely from the Diablo IV team. I’ve been working as a design lead for this dark open world action role-playing game from the start. This is why I am honored to continue the vision of Diablo IV as the new Game Director and also to represent the team that is fully invested in the creation of this game.
- Like many of you, our team has had to deal with recent events. Much has happened since our last article, and we owe it to ourselves to perpetuate the values to which we aspire while pursuing the development of Diablo IV.
- Over the past few years, we have assembled a strong team, driven by an incredible passion for Diablo IV, of which you, the Diablo fans, are an essential part. Thanks to your valuable feedback, we have been able to gradually refine and deepen the gaming experience. While we still have a long way to go and there has been a lot of change, our commitment to the game is unwavering.
This trimester, the Diablo IV team really only tackles one topic, but does it in depth, especially since there is nothing more underestimated than le sound design. We are still talking about a series instantly recognizable by his gold coins that fall to the ground or of gurgling of his potions.
Sound and music solidify the invisible foundations of storytelling and connect you to your character and their in-game actions. Creating a game’s sonic universe is an exciting artistic endeavor that is not visible, only audible. You can literally to feel sound waves reverberate depending on what you are listening to. This is an incredible medium that can also affect your emotional state when playing a game. Most of the time the sound is subtle, but it can also be intense in order to punctuate all the important moments of the game.
Kris Giampa, the sound supervisor takes his time to explain a good sound environment is a lot of work, especially via quite evocative examples and a sound recording demonstration for fire spells. Sound engineer is a more dangerous job that it seems.
If you like l’ASMR, you are even entitled to videos lasting one hour that transcribe atmospheres of different environments. It is also an opportunity to take advantage of the impressive light simulated by Blizzard’s in-house engine.
Spell sounds, monster noises, environmental atmosphere, destruction of the decor, everything goes. feel free to browse the post to know more about the creative process from the next Blizzard game.
But yes, it is the only aspect of Diablo IV which is addressed this time around. As pointed out Shely, the studio is going through a difficult time, and it is assumed that work at Blizzard shouldn’t have been easy these last months (or even for much longer, if we go back to the origin of the crisis).
We hope that the next report will be more consistent.