News And Announcements
Should you enter, let’s say, a castle for the first time, you would get lost in minutes. The debris of that ruined tower would not have fallen so handily as to be climbable to the top. The path to the Lord of the castle would not be perfectly illuminated with torches which leave empty, useless halls in darkness. And, should you enter a real battle, there wouldn’t be overturned carts conveniently distributed so you can move from one cover to the next. This is because there is a big (and obvious) difference between real life and video games: life doesn’t have to be fun. A level designer’s work is to create these set pieces where you live your great adventures: places and landscapes that present just the right amount of challenge, which, at times, guides you like an invisible, subtle hand, and evens the scales so that every fighter on the battlefield has a fair chance. In this week’s blog, we talk with Gökçen “Cuce” Karaağaç, one of our level designers, who will explain more about his job and what he is doing for Mount & Blade II: Bannerlord.
Animation is a complex and well-developed art with a long story, even longer than cinematography. Creating animations for a video game might look similar than doing it for a film or TV show, but it’s actually quite different – and much more complex. An animated character in a video game is not linear: it has to answer to the players’ feedback, be it because you should be able to direct its movement (if it’s the protagonist) or because it responds to your decisions (if it’s an NPC). Thus, on top of the artistic work, there is a technical side of things to make them look and feel natural, transitioning seamlessly from one animation to the next. And in a game such as Mount & Blade II: Bannerlord, where combat is so important, animation plays a key role in its gameplay: it gives you the visual feedback that you need in order to fight effectively, letting you know (in a subtle way) what your opponent is about to do. This is why Olcay’s work is so important, and today he will share with us some details about what he is doing for Bannerlord.
When you set on your adventures in Calradia, it would be wise to remember the old proverb: there’s safety in numbers. The world of Bannerlord is an unforgiving place and whether peacefully trading or engaging in warfare, players will rely on troops to stand and fight by their side in order to achieve their goals. In this week’s blog, we take a look at how players will go about raising their own army in Bannerlord by discussing the game’s recruitment system.
Concept artists are the backbone of an art department. A 3D artist or an animator might be constrained by technical limitations or by the particular engine that a game is using, but a concept artist can let their imagination run wild. Combining their research, their artistic sources, and their own skill, they explore new aesthetic possibilities and lead the art of a game to new territories, effectively pushing the boundaries of what a game can offer (in visual terms) to its players. In this week's entry in our blog about Mount & Blade II: Bannerlord and the team behind it, we talk with our concept artist Ali Eser, who created (among other things) the faction banners, many castles, interiors, clothes, and armours. When you look at some impressive-looking armours from Bannerlord: it's very likely that it started with Ali thinking, "hey, this would look cool in the game!".
From the steppe empires of Central Asia to the feudal states of Europe, cavalry was an integral part of medieval armies. Whether providing logistical support or charging the enemy on the battlefield, horses proved to be invaluable assets in warfare. In this week’s blog, we will take a look at these elegant and powerful animals and discuss the improvements and changes we have made to horses in Mount & Blade II: Bannerlord.