Forged of Blood Mirlitas Ruins Area Overview
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The latest development update for Forged of Blood talks at length about tactical maps, using the game's Mirlitas Ruins area as an example. So, if you want to read a lengthy tag-team post that describes the process of creating a Forged of Blood tactical map, look no further. An excerpt:
With so many little projects going on concurrently, I teamed up with Joe to get the map designed. Going into the design, I had a few story specific objectives that Joe needed to translate into a blocked out map in-engine. First, I wanted the opening engagement to take place in the center of a map where the player’s party will be surrounded by NPCs at an elevated position – an ambush. The story I had in mind gives players the option to engage in a bit of diplomacy instead of outright combat, the map had to be designed to put players in a tactically inferior starting position, but have multiple egress routes to disengage and regroup. Part of the lore I had written also pointed to an inherent weakness in the enemy forces that could help the player end the battle quickly – if they could see the right avenues of approach and had the character builds required. All this plus the need to build a assets and architecture that are unlike the rest of the maps we’ve created so far make this one of the more time intensive maps to produce.
With that I’ll pass this on to Joe for a look at how he interpreted the tactical needs of the story into the map.
Joe:
Hi, Joe here. When I chatted with Igor regarding the map, I started to think what sort of maps would be suitable. Given the pivotal moment where the protagonist will either face a powerful enemy or gain new allies, I thought of the idea that the protagonist will have to make a pilgrimage to seek help. I immediately thought of The Seven Thousands steps on the Throat of the World in Skyrim and like the idea of pilgrimage steps.
For the ambush Igor mentioned, I was thinking that the area where the protagonist spawns will be pretty open with very few cover objects to hide behind. The area should also be enclosed with enough “spawn” points for the ambushers to spawn. Finally, since the protagonist will also meet and have a chance to engage in some key dialogue, I wanted a memorable place for the entire conversation to be set in. [...]
Given the background of the factions and faction leader, I thought it would be a powerful image for the player if negotiation for the faction’s help is held while the faction leader stands on the ruins of the previous civilization. Ultimately, we decided to change the platform into another building as this map exceeds the time budget if we were to implement half destroyed statue as platform.
As usual, I tried to make multiple solution approaches for the map so that the player does not have to complete the scenario exactly the way that we designed it to be.
One example in this map is how the player’s respond to the ambush (if ambush happens). If the player decides to retreat, then one way is to run down the stairs, drawing and taking multiple attacks by the ambushers. Or the player can try to make use of this “collapsed” section of the wall as a shortcut and jumped down instead of going through the stairs. However, the player has to charge through multiple ambusher should they chose this route. A fast but fragile party might prefer to sprint through the enemies while the slower but defensive party might prefer wider route. That’s all from my end, once Igor and I liked where the map was, we could hand then pass it on to the art side.
Igor:
Once the map was blocked out by Joe, the next phase was to sit down with Ken and set the environmental theme for the map. In the Forged of Blood lore, this was an ancient city and the architectural style is one that would permeate throughout the world, and what the current world’s architectural stylings are derivative of. I knew that I wanted it to be grand and ornate. Something appropriate to the architectural tendencies of powerful beings, and the style had to reflect a race that was based on a matriarchal society. Anyway, the heavy lifting then went to Ken really bring the map to life.
Ken:
With this map, my goal was to design a part of the city for the tactical gameplay area. The map was designed with a huge staircase leading up to the big open area, I imagined that this could be the entrance to the city. Visitors coming from the mountain go up through the staircase where the area opens up to a big square. Of course, it’s hard to depict scale with limited resource and pre-determined greybox blocked by the game designers, so there were some liberties taken with the layout of the main square. It’s definitely going to feel more condensed than what an actual city square will look like.
During my first dip into the map, I had to find reasons why the map (or this part of the city) is blocked off. There needs to be a sensible reason why the playable area is restricted. I thought maybe it could be cool visually to show that the mountain where the city is located, was starting to split and slide off, thus causing the destruction of the bridge that leads to the inner city area and also the divide between the main square area. As the mountain split and the city destroyed, the place has now become desolate and deserted. We went off with that idea.
For the design of the architectural style itself, I took a lot of inspirations from gothic architectural styles with the arches and flying buttresses. Gothic architectures were supposed to reach the heavens so they are typically very tall and I think it’s very fitting because the Volgisi was the ancient civilization that was formed from all the different Volgisi clans. My goal was to make their architectural style more elegant, thus the arches and the lighter colored materials used for the buildings. Once the art was done, we passed it on to Lienny.
