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New Character Models: Blood Elf
New Heirloom Collections Tab
Garrisons, Followers, and Outposts
Cosmetic Transformations and Toy Effects
World Environment and Events
Creatures and NPCs
Dungeons and Raids
Battlegrounds and Arenas
Patch 6.1 will have a new Raiding with Leashes III: Drinkin’ From the Sunwell achivement.
There are 12 pets to be found in the last three raids from TBC.
When you get the 12 pets, you will get the cute None Battle Pet Battle Pet K’ute.
Thanks to the overwhelming generosity of World of Warcraft players around the world who purchased the Argi pet, we’ve raised a total of more than 1.9 million USD to support the ongoing Ebola relief efforts in Africa by the Red Cross. In December, we announced that for every Argi purchased by December 31, 2014, 100% of the adoption fee would be going to assist in aiding in the fight against this deadly disease — and the community embraced this cute little intergalactic nibbler, helping out a great cause in the process. Thanks again to everyone who helped make a difference.
We have a new feature coming in Patch 6.1 that’ll allow you to send out Tweets directly to your Twitter feed while playing World of Warcraft. It includes the ability to send out text-only Tweets; easily take, crop, and Tweet out in-game screenshots; and let your friends know about your recent accomplishments.
It’s easy to get started; all you need is a Twitter account! Under the Social section of the in-game Interface options, just check the Enable Twitter Functionality option, and then the Sign In button. You’ll be taken to a standard app approval page that will allow you to send out Tweets using the in-game UI.
Once you’ve authenticated the app, you can initiate a new Tweet by typing /share into chat, or by clicking the small share icon that’ll appear in-chat next to Achievement and item drop notifications. You can also add an Achievement or item directly to a Tweet with the Twitter UI open by shift+clicking the Achievement or item.
Tweets from within World of Warcraft are only ever initiated by you, and we will never automatically send out Tweets on your behalf—we’ve disabled Addons from sending them too. Our goal is to make it easier for you to Tweet while playing World of Warcraft, and more convenient to share fun moments with friends.
Of course if you don’t use Twitter or don’t want to see any of this stuff, just don’t check the ‘Enable Twitter Functionality’ box and it’ll stay out of your way.
We’re excited to see how people enjoy this new feature, and encourage everyone to jump on the 6.1 PTR to test it and provide feedback.
When authorizing the World of Warcraft app it says authorizing it will let you see who follows me, allow you to change my profile, and some other things; why do you need access to do all that?
The Twitter app authorization system only has a few tiers of access that we as app developers can choose from, and the one we chose was the most basic with the least access required. It will list out a bunch of features this integration does not use, and have no plans to use, like those mentioned. The World of Warcraft Twitter app only exists to allow you to Tweet while playing WoW if you want to, and only you can initiate and send out a Tweet.
So I’m going to see a bunch of Tweets in-game now
No, there’s no in-game Twitter feed; this feature just sends Tweets outside of the game.
What if I don’t want to see anything related to Twitter in-game?
If you don’t authorize a Twitter account through the Interface option you won’t see anything related to the feature.
Are you going to start requiring Twitter use for in-game activities?
No, we just think it’s a cool convenience feature for those who do like sharing their gaming activity on social media—if you don’t like doing that, no problem.
Isn’t this going to cause a lot of spam, or issues with people sending out inappropriate content from the game?
This doesn’t add any functionality that isn’t already achievable through Twitter. This simply makes it more convenient to link items and share achievements and screenshots while playing.
Is there a separate login per-character, or is this account-wide?
Your Twitter authorization is Battle.net account-wide. Any WoW license (as well as any characters) within the same Battle.net account will be able to Tweet from an authorized Twitter account. You’d want to sign out of Twitter through the Interface options before logging out of the game if you don’t want the authorization to persist between logins.
My child uses my WoW account sometimes; will they have access to Tweet from my Twitter account?
The Twitter authorization will remain active until you log out of it through the Interface options.
I don’t use Twitter, but I do use some other social platforms, when could this be implemented for those?
We’re starting with Twitter, but the /share functionality certainly could be expanded to other social platforms if you would find it useful. We’d appreciate your feedback and ideas on where we could go next.
This seems cool but I haven’t tried Twitter yet, how can I get started?
Twitter has a helpful guide to get you started, and we maintain a list of official and employee accounts right here that you can follow to start building your list.
How moddable is this by Addons?
The UI is fairly locked down to keep access to sending Tweets secure, and ensure that you—and only you—are choosing when to send them. Addons may still perform some light functions, such as helping to populate the chat field in customizable formats.
Bal’a dash, malanore!
Barring any unforeseen issues, the next PTR build pushed out will contain the first iteration of the new models for both Male and Female Blood Elves.
While we’re excited to share with you our progress on these new models, I do want to stress that the models, textures, and animations are not entirely finished. Bug fixing and iteration can and will occur, and that’s where you come in!
We’d like to consolidate all feedback on the Blood Elf model updates to this thread, to make it easier for our Artists and QA team to read over your feedback, concerns, and bug reports. Constructive criticism is the best approach, and detailed, actionable feedback will help us the most!
Right now, the new models are more or less using the same facial geometry set – as in, all the males will have the same chin, eye shape, nose shape, etc. These are currently slated to be added to the models in an upcoming 6.1 build.
For more information on what Facial Geometry Sets are, refer to the Artcraft posted last year. Please keep in mind that these different customization options are not yet complete when providing your feedback on the new models.
Blackrock Foundry was the ancestral home of the Blackrock orcs, wherein master smiths smelted and worked the impossibly hard ore that is the clan’s namesake. Now, massive giants captured and broken by the Thunderlord heat the great forges, flamebenders of the Burning Blade imbue the ore with an inner fire, and engineers shape the slag according to otherworldly schematics. Warlord Blackhand’s foundry is the center of the Iron Horde’s military might, churning out the weaponry that will be used to raze Azeroth.
Just when you thought you’d become comfortable (as comfortable as one can get in a gladiator pit) with Highmaul, we thought it was time to shake things up and show you what’s waiting in our next Raid—Blackrock Foundry—and introduce you to Rukhmar, the latest world Raid boss.
We asked senior 3D artist Andy Matthews to provide some insight into the dungeon’s visual development:
The Foundry’s spark of inspiration was the creation of the Slagworks’ “furnace room;” it created iconic silhouettes that we carried throughout the rest of the Raid, which has a very strong industrial look and feel.
The Dread Grotto was my favorite shot to establish in the Raid. In its early development, we wanted to show the Iron Horde’s shipping area from multiple angles, foreshadowing later content. The Workshop shows the daily grind of factory life for the Ironworkers. Most workers dread the “flame-jet Fridays.”
Some say the Iron Horde motto is, “When in doubt, add a spike!”
You’ll need a minimum item level of 635 to tackle Blackrock Foundry via Raid Finder. The Foundry’s rewards range from item level 650 (Raid Finder) to 695 (Mythic).
Let’s take a look at the bosses that await you within Blackrock Foundry. . . .
Gruul- Garrosh knew that the surest path to breaking the gronn lay in subjugating their great father, Gruul. Known in another time as the Dragonkiller, here Gruul has been reduced to the role of menial laborer. In a cruel mockery of the Shattered Hand’s warrior tradition, his hand has been replaced with a hook to enable him to more easily haul pallets of fuel to the furnace.
Oregorger- The storehouses of the Blackrock Foundry, laden with heaps and pallets of unprocessed Blackrock ore, represent a grand banquet feast for the ravenous rock-eating goren who have burrowed into the chamber. Oregorger is by far the largest of the invaders, gluttony swelling his frame far beyond the size of any goren previously seen in Draenor.
The Blast Furnace- The Blackrock clan’s unique ability to smelt the black ore, a substance so dense that ordinary flame does not even soften it, has always been their most closely-guarded secret. Deep within the Foundry, their furnace contains a primal force as old as Draenor itself, raging within the confines of its prison as it emanates a preternatural heat.
The Black Forge
Hans’gar and Franzok- Hans’gar and Franzok are twin brothers raised and trained as masterful brawlers of their clan. Both carved paths of glory as warriors, but destiny had other plans. The brothers, each unwilling to slay the other in the rite of mak’gora, were banished from their clan and left for dead. They survived as outcasts in the savage wilds of Draenor and when the Iron Horde called, these powerful warriors found a new home in the massive war machine.
Flamebender Ka’graz- Under the banner of the Iron Horde, Blackhand has enlisted Flamebender Ka’graz of the Burning Blade to imbue the Blackrock-forged armaments with the essence of flame. Along with her assistant Aknor Steelbringer, Ka’graz toils before an ever burning forge in support of the Iron Horde’s conquest of Draenor.
Kromog- The magnaron are mysterious in their ways, ancient and inscrutable. Miners excavating an expansion to the Foundry, in support of the Iron Horde’s massive production needs, were horrified to unearth a chamber containing a living magnaron. To their astonishment, Kromog began to assist in their endeavors, and now uses his massive stone fists to hammer out the gigantic plates needed for the Iron Horde’s dreadnaughts and siege machinery.
Beastlord Darmac- As a young orc, Darmac quickly rose through the ranks of the Thunderlord as a gifted trainer of beasts. Where others only saw animal instincts, he recognized intellect and drew forth untapped potential from brain and muscle and bone. When the Iron Horde demanded his service, Darmac saw no greater honor than to outfit and train the most savage beasts Draenor has to offer.
Operator Thogar- Known more for his cruelty and cleverness than for brute strength, Thogar oversees the operation of the Grimrail. From the Foundry’s depot, he coordinates the ongoing ground battle against the draenei in Talador, with entire battalions of troops and artillery at his beck and call.
The Iron Maidens- With little opportunity to exercise her tactical brilliance under the ancient social structure of the orc clans, Gar’an was thrilled to be one of the first warriors to volunteer for naval duty under the Iron Horde. Instantly successful in battle, she was named Admiral of the iron Horde fleet and selected Marak and Sorka as her lieutenants. Together, they are called the Iron Maidens, and have crushed any who have dared face them.
Blackhand- A ruthless tyrant and fierce warrior, Blackhand is Warlord of the Blackrock clan, second only to Grommash in stature within the Iron Horde. Bathed in sweltering heat that few other mortals could withstand, Blackhand oversees the operations of his Foundry from atop its Crucible, wielding his smoldering slag hammer to forge weapons of peerless quality.
For more information on each of these bosses, their abilities, the items they drop, and more, check out the in-game Dungeon Journal.
World Boss: Rukhmar
Rukhmar occasionally appears as a blazing firehawk soaring through the skies high above the Spires of Arak. The origins of the great bird are unknown though Rukhmar is venerated as a deity by the arrakoa, seen as an embodiment of the sun itself.
Check out the Raid unlock schedule here.
If you can’t wait to get into the Heroes of the Storm beta, you now have the opportunity to purchase beta access that comes with some gold, heroes, skins, and mounts. This pack costs $39.99.
Hi, I’m Chris Robinson, senior art director of World of Warcraft. In this last installment of this four-part Artcraft series, WoW community manager Bashiok sat down with a few of the level designers who created Nagrand to pick their brains a bit more on the process of creating the zone.
Hey everyone—so for all the peoples out there, go ahead and introduce yourselves, and for fun, name a zone you’ve worked on in the past.
Victor: Hi, I’m Victor Chong, senior level designer, and people probably remember Vale of Eternal Blossoms in Pandaria.
Ian: I’m Ian Gerdes, level designer on World of Warcraft, and the zone I was probably most involved with in Mists [of Pandaria] was Isle of Thunder.
Ed: I’m Ed Hanes—I’ve been at Blizzard for 13 years, and the first zone I ever worked on was Ghostlands for The Burning Crusade expansion.
Kevin: I’m Kevin Lee, a four-year vet here at Blizzard, and I worked on the Jade Forest in Pandaria.
Damarcus: Hey there I’m Damarcus Holbrook. I’m the new guy, so all my focus has been on Warlords; specifically for this discussion, the exterior of the Highmaul Raid in Nagrand.
What were some of the specific challenges you had with creating Nagrand?
Ian: I think a lot of it was trying to preserve the original layout as much as we could. Nagrand was kind of the one zone that was never really as wrecked as the other zones were from being shattered. It’s kind of blue skies and green trees, and there’s not fel energy everywhere. So I think trying to preserve some of the landmarks and maintaining the spaces was something we really wanted to make sure remained intact—while still making sure it feels new to the player.
So you obviously had to do some translation of the Outland version. How did you decide how to fill in the areas that were previously destroyed?
Ian: We wanted to preserve some of the silhouette on the world map, so that it still felt familiar. I know Tanaan Jungle was similar in some respects where the edges were broken away, but we still wanted to retain what was Hellfire Peninsula. It was the same for Nagrand. We had a little bit of freedom, however, because there were some parts of the zone that were more obviously destroyed than others, like the southern edge of Oshu’gun and the western border. There were some ogres hanging out there, but nothing substantial in terms of structure, so we decided to add the Raid over there, because it felt like it would be a good extension of the story that fit with the timeline. It ended up getting quite a bit bigger than we had originally planned for. It’s pretty impressive as a zone point of interest (POI) that you can see from a distance, and really breaks up the skyline.
Ed: The biggest challenge was giving a fresh look to something players are familiar with. It’s definitely a zone that players who had that experience in Burning Crusade know; there’s a defined image that comes to mind of what that zone is and what it’s about. A lot of people remember the Nesingwary stuff—the sweeping plains, the angular trees, the floating rock islands, the Throne of Elements. It was one of those zones that was around where a lot of people were hitting their max level, and so it’s got that association with it as well. So that was a huge challenge, figuring out how to keep it fresh while keeping it familiar.
Any stories from Outland people might remember represented in this new old Nagrand?
Ian: On the mountain range north of Nagrand, in the Burning Crusade version, as you were going to Zangarmarsh there was an orphanage that…
Ian: …it was a little…creepy. There’s an NPC there, and I think they’ll be making a return. I actually just put a cage in at the Burning Blade POI today, so I’ll be talking to [the quest team] to see if they want to do anything with that. Corki was certainly one of the more memorable quest lines in Nagrand.
Victor: The Ring of Blood is coming back. It’s a bit more upgraded, but the visual style is very similar.
So you put a cage there, but want to go talk to the quest designers. How does that work as far as who is designing what? How much of it is your team coming up with the story of an area, and how much of it is the quest team bringing it in?
Ian: It’s bi-directional. Sometimes we’ll have a cool idea and they’ll latch onto it, and sometimes they’ll have the cool idea and we’ll latch onto it. It’s definitely a partnership.
Victor: We spend a lot of time with the quest designers, specifically on coming up with really interesting ideas. This expansion specifically is doing a lot of vignette stuff…
Sorry, what’s a vignette?
Victor: It’s an internal term we use for a cool little area or thing you stumble across, something that’s not necessarily part of the main quest line. We’re putting a lot more Easter eggs into the zones this time around, so it doesn’t matter if players find them or not…
Ian: But it’s cool for them if they do.
Victor: We’ve added a lot more vignette stuff, and I was working with Kurt Sparkuhl, a quest designer, on how I could add hidden stuff on the tops of mountains. So we have a lot of vignettes where players have to figure out how to get up there without just being able to walk up. It’s stuff like doing some jumping around to get into an area, and then when you get to the top, you find a goblin with a glider that’ll let you glide to specific areas that aren’t normally accessible. Then if you get through all of that and land on a specific spot, you’re rewarded with whatever the prize is there from a chest or something. We’re doing a lot of that, and Nagrand was a good test bed for those kinds of things.
What’s your favorite area or detail in the zone?
Victor: There are a lot of very cool things we did in Nagrand. For me specifically I did the whole canyon area, so there’s like three big canyons within the zone.
Ian: And that’s kind of a callback to the original zone…
Victor: We originally weren’t even planning to do that stuff.>
Ian: It was kind of an iteration of the process, because we had originally gone super crazy with the rolling hills, which looked fantastic, but we needed something to break it up.
Victor: That’s actually kind of an interesting story. The first thing that comes to mind for Nagrand was the rolling hills, and the big open grass areas where you were just killing animals—that was a lot of fun and really stood out to me. I started doing a very elaborate rolling hill layout, where every hill is perfectly molded and you have these perfect views of the zone from every angle. Most of the level designers thought it looked great, but when the quest designers looked at it they thought, “What are we going to do with all this open space?” and it didn’t work—it was just too big of an open area. And so when you start looking at the elements of the zone there are trees everywhere, and I think [lead quest designer] Craig Amai said that what he remembered wasn’t the rolling hills, but the canyons, which was surprising to me. Turns out, it was actually a zone full of canyons. It got me thinking about why I never really remembered these canyons, and looking back it’s that they were pretty bad; there wasn’t really any good gameplay there. Spawns were far apart, they were very narrow, and if you accidentally fell down into one they were just this annoying trap you couldn’t find your way out of. So I looked at what I could do to make them better—made them wider, added multiple sub-zones within them, and added more pathways in and out of them. They turned out really well and we ended up adding two more of them.
What do you want players to experience when they enter Nagrand for the first time?
Victor: I’d like them to see that it’s familiar, but that this is definitely a different time, and that the Warsong clan is here. This is their place.
Ed: Familiar but new. It’d be awesome for people to feel like it’s familiar, but that there’s a lot of new stuff, that it’s a new experience and not just the old Nagrand that’s just been touched up a little.
Could you tell us more about some of the POI’s, how they developed, and what kinds of inspirations were taken from inside and outside of World of Warcraft?
Let’s start with the Warsong clan camp.
Ian: The idea originally was that the Warsong were nomadic, and seasonally would move from the highlands to the lowlands. The idea being that the flood plains would indeed flood, they wouldn’t want to hang out there, and they’d move up to higher ground.
Victor: We ended up using the canyon to illustrate that while their city is both nestled in the canyons and up above them, it still feels like a cohesive city. There’s a river that goes through the entire center of town, but it’s dried out, and it’s supposed to show that when it’s the rainy season it would fill up, so we still tried to pull off that same feeling. We also have where Garrosh is supposed to be sitting in his throne there.
How about the Highmaul Ogres? How did they influence the zone, and how did you try to create a sense of history?
Ed: They were originally supposed to be in the background of the Warsong. However, as the kit was developed, we had a bigger and stronger art push on the look of those guys, and they became a much bigger presence in the zone. Now most of the max level content is focused around them, with that kit being so robust that we were also able to use it in other zones. Their culture actually expanded, I think, as people got on board and dug the vibe of this kind of elevated status of ogre society and their seat of power, and it spread across the expansion.
Ian: Yeah, I think the idea for them was kind of the twilight of the Roman Empire, where their society used to be very grand, and you kind of see how it’s devolving as you look at Frostfire and the Stonemaul. Kind of how ogre society is getting more brutish and less sophisticated and the Highmaul are this last remnant of what they were, or what the Highmaul still are.
Victor: It’s interesting too, because when we first started it was all Warsong—we had this giant Warsong warpath, this giant road, and then we ran into what we called orc fatigue, where the entire expansion just had too much orc. Which fits thematically and makes logical sense, but from a gameplay standpoint gets boring really quickly. So in that process the ogres got elevated quite a bit.
Ian: You get kind of a layered history too, where the ogre empire used to reach across all of Draenor—but over time it’s deteriorated, other races have moved in, and so Victor did a really nice road treatment where you have the sort of ancient and broken ogre tiles, with the newer Warsong paths crisscrossed on top of it.
Ed: And we knew we were going to have the Highmaul Raid, and so once the art started taking shape for that we were able to pull pieces out of it—like this wall or column looks really cool—and were able to use a lot of that to build out their story in the exterior environment.
Tell us more about the Highmaul Raid.
Damarcus: It’s the stronghold, the final stand for the ogres to hold their ground. The orcs are pushing against them, but they’re holding out. You and your friends roll up through their arena first, and you get some cool options on how you want to progress through the first few bosses before you get into the big keep.
Ian: It’s a little less linear than newer raids have been, so it’s kind of a throwback to that old style of non-linear raids and choosing which way you go and which bosses you want to kill in what order.
So is it as open as, say, Firelands?
Damarcus: Actually, so this was the first thing I really got to work on at Blizzard. I ended up making the exterior areas of the Highmaul raid and working with the team who made Firelands—so I looked at that a lot and worked with them on how exterior design works for raiding. Ed and I jammed on layout a bit and we kind of thought a triangular layout would work best where you hit the first boss, and then have three options before coming back in before you get to the keep itself. The layout itself works really well.
What’s about Oshu’gun?
Ed: Kevin is really the guy who worked on a lot of it, but we knew it was one of those parts of Nagrand that we needed to keep. We also of course wanted to do something different with it, and one of the things we pitched early that stuck was to give it to the orcs. They’re there right now, but before that, there was a nice forest wrapping around it, and there are still some remnants of the impact when it crashed into Draenor.
Kevin: We wanted to draw on the crater vibe, to make it look a bit more raw—like this had happened recently versus how it looked in Outland. We also wanted to still have some of the runes around it kind of for the nostalgia factor because that’s how we all remember it looking. You can also go inside of it as part of a quest chain, and into an orc cave inside. It’s one of the main quest story lines and will have a lot more meaning to people when they play through it.
Finally, tell us about the Throne of Elements.
Ian: We really wanted to try to preserve a lot of it. Originally we had it elevated, where it was halfway between the top of the mountains and the lake surface, and the idea was that with the destruction of Draenor, it crashed into the lake. But it blocked the shot of the iconic waterfalls behind it, and there were some other technical constraints, so it ended up more as how we all remember it. Also up top on the Elemental Plateau where people probably remember farming motes, there were elementals kind of sharing a space, but we wanted to break that out into four distinct areas where each is represented. So for the fire area, the ground is all dried out and scorched, the water elemental section is where the waterfalls are up above the throne, and the earth and air sections are nearby.
Ed: Real estate–wise it commands a bigger presence than it did previously, for sure.
Hey there, Chris again. So this wraps up this exterior level design series, but this is by no means the end of the line. We hope that we’ve been able to provide a bit more insight on what it takes to create a zone in World of Warcraft, and look forward to seeing you make your way into Draenor. We’ve put a lot into trying to create some truly epic environments and experiences for those of you who take up the challenge of fighting back against the Iron Horde. Until next time, thanks for reading!
Hi again, I’m senior art director Chris Robinson. In this third installment, senior level designer Ely Cannon explains a bit more of the level designer’s role in bringing the landscape to life and how this role may be a bit different at Blizzard than what players, and even other level designers in the industry, might expect the role to encompass.
Hi, I’m Ely Cannon, a senior member of the Level Design team for World of Warcraft. I wanted to talk a little about the important role that our level designers play in developing the visual style for the zones. In a traditional level design role, you wouldn’t historically find artists; but we’re not what most people know as traditional level designers on the World of Warcraft team. We go out of our way to hire artists with design experience, or designers with art skills, for our level design team. This is essential to our process since each level designer is ultimately the gate keeper for the visual style and tone of the zone he/she is working on.
This process starts with the preproduction work for a zone. Working with an environment artist, the level designer will help to guide and define the scope of environment assets needed. These assets include terrain textures, trees, bushes, accent plants, rocks, etc. The range of models and textures needed must address not only the main zone look, but the sub environment types needed to break up the zone, all the while bringing the concept to life while remaining within the capabilities of our game engine. It can be a challenge, and often is.
Take for example the new Nagrand. Not only do we have the environment that you know of as the Nagrand from Outland, but new areas, like a wetlands, and a higher elevation arid region. The visual clash of these disparate environmental themes could be quite jarring if not handled with care. There is a constant conversation between the level designer and the environment artist about shape language, color, diversity, scale, mood, model usage, and ultimately the visual tone of the zone as a whole that keeps the zone development moving in the right direction.
While the environment artists make the models and textures, it is the level designer who sculpts and paints the terrain, places the trees, rocks, and bushes, all the while considering gameplay and the art/design direction. We approach the whole process in a very considered and intentional way, balancing visual style and gameplay all the while. A typical day for our level designers will include big decisions about the overall look and feel of a zone as well as small decisions about how one plant looks when placed next to another plant in the scene.
Nagrand in Warlords of Draenor is a good example of the color relationships between textures. The vast sweeping savannahs of verdant green which make up a large portion of Nagrand presented a challenge for our level designers. How can we get color depth into massive green fields while staying true to the concept? At first glance the fields and rolling hills seem to be simply green grass – and lots of it. On closer inspection there is a carefully selected range of green tones used to render the savannahs of Nagrand. Each of the green tones is a unique grass texture which is carefully blended with the others in the set to create the effect seen in-game. Likewise, the subzones in Nagrand diverge from the main zone color scheme in very specific ways that were defined early by level design to ensure that players would experience a diversity of environment types while playing through the zone, and ultimately when they return for max level content.
Having capable and talented artists and designers sitting behind our level editing tool allows for fast iteration, and ensures that we can create huge play areas with a consistent level of visual quality. In the last segment of this Artcraft series you’ll meet five more of these designers: Victor Chong, Ian Gerdes, Ed Hanes, Damarcus Holbrook, and Kevin Lee.
Welcome back to our ongoing Artcraft series that takes a look at the environmental and zone design for World of Warcraft. I’m senior art director Chris Robinson, and today senior level designer Michael McInerney is going to take us through a more high-level design overview, again using Nagrand from Warlords of Draenor to illustrate our level-design philosophies.
Hello, I’m Michael, and I’ll be providing insights on some of the thought processes that go into designing an iconic zone like Nagrand. Our approach to level design begins with asking many questions, and defining the answers. The one big question we always ask ourselves is “what is the story we are trying to tell?” This usually keys off the initial pitch—in the case of Nagrand, we wanted to convey that this was the sweeping pastoral home of the Warsong clan. But we also needed to determine the specifics of how we were going to communicate that visually to the player.
The obvious answer to how we tell their story is to put their homes within the environment. But that’s not the only thing that makes a place a home. The Warsong are fairly aggressive and confident, so when you first enter the zone, you’re not so warmly greeted by their war banners and fortified towers. We also knew the Warsong clan were wolfriders and traveled in large packs. This was something we could show with the large beaten-down roads that their war bands travel along. Their home base is nestled into a wind-carved canyon, and has subtle references to an Orgrimmar long past, with buildings and living spaces shaded by cliff sides. We also knew that the way they care for their wolves says something about their culture, and is noticeably different from the reverence for them within the Frostwolf clan. We illustrated that by using animal pits to get across their relationship with their wolves, instead of integrating them into the villages as the Frostwolf would. All of these elements come together to paint a different picture of the Warsong and give them character.
Nagrand also had some equity we wanted to explore; players have experienced a shattered version of the zone in Outland, and this was a unique opportunity to provide a contrasting look. Giving places a sense of history is high on the list of zone design philosophies. Some of the more obvious ways to tell a zone’s history are with ruins, when they make sense. The Highmaul ogres were once a great power in Nagrand. Now they are on the edge of oblivion. All that’s left of their once great civilization is scattered remnants, as evidenced by their crumbling towers and roads you find throughout the zone. It’s not a coincidence that the area they occupy in the zone doesn’t exist in Outland.
We also wanted to touch on the floating islands, one of the classic visuals of Nagrand everyone remembers. We needed to figure out how could we could capture that vibe and still tell a story. One way was to create geography so delicate in places you could imagine it snapping off and floating into the sky—fel energies notwithstanding. The sweeping arches and impossible rock formations also lean toward that realm of magic, without fully committing.
The player experience, and the way a player feels when they are moving through the environments is something we’re always thinking about. Moving from zone to zone, or even within the subzones and small microcosms we create, can dramatically impact someone’s perception of their progression and the game world around them. Stay too long in one area and it can get very tiresome, but move too quickly from one to another and it can feel overwhelming. We work very closely with the quest designers to move players through the world so they can experience a dramatic environmental change at the best possible points, or when we feel they could enjoy a change of scenery.
The challenge with Nagrand was creating enough variety within a theme while maintaining an organic feel. This is a zone that is essentially grassland, but we knew we couldn’t fill a space this large with only fields. Developing an ecology that feels fresh and real is an important tenet of designing a world. Mountains flow into valleys; the edges of a forest blend naturally into open fields. The high points are dryer with scrub bushes and dead trees. The low points are lush, sometimes flooded with water. The riverbanks are a subzone in themselves, covered in reeds and thick vegetation. These areas all offer variety yet stay within the fantasy we are trying to deliver.
The way the NPCs occupy the areas should also make sense. The panther-like Saberon live in roughed out caves below the rock arches. Herds of Clefthooves roam the fields. The Highmaul for the most part occupy the mountainous areas. These relationships to the environment tell a story without any reading required.
A great zone is one that, upon entering, you immediately “get” the fantasy of, and years later you still remember that moment, and I hope we’ve achieved that with the latest incarnation of Nagrand.
Tomorrow, senior level designer Ely Cannon will explain more about the role of level designers in the creation of a zone.
Hi, I’m Chris Robinson, senior art director of World of Warcraft, and welcome to a special edition of Artcraft focused on environment and zone design. Previously we showed you what it was like to create the Spires of Arak from a purely art-focused perspective, but over the coming days we’ll be releasing a series of articles focused on exterior level design, using Nagrand as a focal point. You’ll be hearing from the team who works with the artists, as well as the quest designers, systems designers, historians, and more to craft and create not only the zones we adventure in, but the visual story that is told about these locations and the creatures and races that inhabit them. For this first article, I’m pleased to introduce Julian Morris, our lead level designer.
Hey everyone, Julian Morris here, lead level designer for the World of Warcraft exterior level design team.
Exterior level design is the process of designing and constructing the zones of World of Warcraft, from Azeroth to Draenor and everything in between. Our team has planned, plotted, and designed the rise and fall of ancient cultures, as well as shaped mountains, forests, seas, lakes, rivers, roads, ruins, and every land feature imaginable. In addition to the land itself, we also design and create cities, towns, and Battlegrounds (with the random exterior dungeon or two in there every now and then, too).
The level design team is a hybrid of both art and design. We work hand in hand with the quest design team to build the environmental stories that support the content that defines Azeroth’s lands, cultures, and conflicts.
We also work every step of the way with all of the art groups on the Warcraft team. Working with the environment art team, we sculpt and paint the landscapes to create the rich, vibrant settings that form the foundation of the world. Within those spaces we work with the dungeon team, designing and constructing the thousands of camps, towns, settlements, and cities that provide the unique architectural beauty that anchors all of our cultures and creatures to the world. These locations in turn provide the scenes and staging for the finely crafted set dressing—the tables, chairs, books, and more—that our prop art team creates.
Level design binds the vision of many groups together, and it takes the passionate effort of all these teams to create an incredibly detailed, hand-crafted experience.
The zones of World of Warcraft are their own main characters that come to life before our very eyes during development. In this series, we’re going to draw back the curtains a bit to show you more on how we approach world-building and how we breathe life into a zone.
Join us again tomorrow as senior level designer Michael (Mac) McInerney gives you a deeper look into the level design of World of Warcraft using Nagrand from Warlords of Draenor.
|1||Companion Pets||Eye of Observation|
|1||Companion Pets||Frostwolf Pup|
|1||Companion Pets||Draenei Micro Defender|
|1||Companion Pets||Son of Sethe|
|1||Companion Pets||Bone Wasp|
|1||Companion Pets||Nether Ray Fry|
|1||Companion Pets||Indentured Albino River Calf|
|1||Companion Pets||Captured Forest Sproutling|
|1||Companion Pets||Sky Fry|
|1||Companion Pets||Son of Sethe|
|1||Companion Pets||Red Goren Egg|
|1||Companion Pets||Everbloom Peachick|
|1||Companion Pets||Sentinel’s Companion|
|1||Companion Pets||Doom Bloom|
|1||Companion Pets||Mechanical Scorpid|
|1||Companion Pets||Time-Locked Box|
|1||Companion Pets||Nightshade Sproutling|
|1||Companion Pets||Sassy Sproutling|
|1||Companion Pets||Kelp Sproutling|
|1||Companion Pets||Sun Sproutling|
|1||Companion Pets||Autumnal Sproutling|
|1||Companion Pets||Forest Sproutling|
There’s a new achivement called So. Many. Pets. (New) Collect 600 unique pets. Reward: Venus. 10 points. Account Wide.
I thought these Fire icons where interesting.
Today we learned that Warlords of Draenor will release – November 13, 2014!!
Here’s the Warlords of Draenor intro video.
Hello, and welcome to Artcraft! I’m your host Chris Robinson, art director of World of Warcraft, and today we’re going to tackle something I know a lot of you have been looking forward to: facial customization options.
When we began working on the updated character models, we knew it would be a huge project, and we weren’t sure we could do it all at once. The idea originally was that a few races would be available at launch, and all the others would be patched in throughout the course of the expansion. While it wouldn’t have been ideal to see a mix of lower-quality and higher-quality models running around side by side, it did seem like the most realistically achievable solution at that time. Since then, though, we’ve committed ourselves to getting all of the original character models in by launch. It’s been a monumental challenge for us, but we think the effort is worth it, and the finish line is nearly in sight.
Our next big focus is doing justice to the facial options. With the original models and their simplistic geometry and low-resolution textures, a lot of facial expressions were simply painted on. Now that we’ve moved to higher-polygon models with lips, teeth, and fully articulated faces—not to mention higher-resolution textures—recreating those same facial options isn’t as simple as painting them onto a flat surface. Previously, to get a sneer out of a model, you’d just paint a sneer on its face, and that was that. To do it correctly now—and make it look great—we have to fully pose a sneer, create a custom texture, and mesh that base pose with all of the existing emotes and animations.
These more detailed face customization options were also originally part of our earlier “update-as-we-patch” rollout plan. Our initial idea was to release the new models with their base face, and then add additional options in updates over the course of the expansion. Again, that plan was based on the sheer amount of work involved in creating what are effectively all-new races (art-wise) on top of all of the art a big expansion like this one generally requires. But stepping back, we came to the conclusion that it just wasn’t going to be a good experience to have everyone playing with the same face geometry and a slight texture change, not knowing what their character would really look like until some later patch. In the end, we decided it would be best to tackle all of a race’s facial options at once. Up to this point, you’ve seen one facial geometry set, but very soon you’ll start seeing more finished products for each option in upcoming beta builds.
The original Dwarf model (left) has his teeth painted directly on his upper lip to give him a snarl. With the new models, which have fully modeled and textured teeth, a simple paint job just isn’t an option—it would look terrible. In the middle, you can see what that same sneer looks like right now in the beta test; on the right is what you’ll see in an upcoming beta build.
On the left, we have a pair of original Orc faces. The second column represents what you’re seeing right now in the beta build, showing texture variation but the same facial geometry. The third column shows a posing rig to demonstrate how we’re customizing each of the face appearances further. On the far right, you can see the final product.
We’re working hard to ensure all of the updated character models have the high level of quality you expect from us, and that we expect from ourselves. This revamp is a truly enormous project that we care deeply about, and we know you feel the same. We’re looking forward to seeing all of these new, high-quality, awesome-looking models running around Azeroth, and we hope you enjoy seeing the characters you know and love in a whole new light.
Thanks for reading, and see you next time!
The Horde chopper is on its way, and you need to log in now to claim it!
Your votes for Azeroth Choppers were counted, and one faction’s war cry roared loudest: the Horde bike will now be turned into a mount in World of Warcraft! Anyone who logs in to the game between now and September 30, 2014 will automatically have their account flagged to receive the Horde chopper upon the release of the upcoming Warlords of Draenor expansion. Everyone can (and should!) claim their chopper by logging in now, but as a reminder, only your Horde characters will be able to mount up and take it for a ride.
We’re here with a brand-new Artcraft! I’m your host, Chris Robinson, senior art director on World of Warcraft, and today we’re showing you where we’re at with the female Tauren.
The original female Tauren had a lot of issues with too-angular geometry and stretched-out textures. It’s not her fault—it’s just what we had available to us at the time. Our new process has allowed us to add a lot of detail to her hair, fur, horns, and hooves, to build a far more detailed and expressive face, and to add a lot of definition to her musculature (while retaining her shape and silhouette).
One other change of note: Warcraft character design is commonly known for its stylized long arms, large hands, and big feet, but the female Tauren’s hands were just completely out of control. We brought them down to a more consistent size with the other updated models, and were also able to add a ton more detail and dexterity in the process.
We hope you enjoy her new look—let us know what you think in the comments!
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