As a gamer with over two decades of Diablo under my belt, I can confidently say that the Vessel of Hatred expansion has me more excited than a Hellhound on Red Bull. Nahantu is not just a location; it’s a piece of my gaming history, a jungle of memories from Diablo 2 that I’ve cherished for years.
The expansion for Diablo 4, titled Vessel of Hatred, is nearly here, and although the excitement leading up to launch understandably revolves around the new Spiritborn class, I can’t help but be thrilled at the prospect of revisiting the world of Nahantu once more.
The site has been significantly showcased in both Diablo 2 and its updated version, Diablo Resurrected. However, the Vessel of Hatred offers an entirely fresh opportunity for it to dazzle a new group of spectators. I had the pleasure of conversing with Brent Gibson, Associate Game Director, and Aislyn Hall, Systems Designer at Blizzard during Gamescom about the process of revamping this location, and what sets this iteration apart from previous ones.
Nahantu doesn’t “betray the brand” of Diablo 4
“I had the pleasure of working on D2R, up-rezzing Nahantu for that experience,” Gibson explains.
“Our original concept was rather confined, but the jungle presented endless possibilities for exploration. Therefore, we’re combining classic elements such as ziggurats and familiar enemies from previous games, while also incorporating the open-world inspiration drawn from various rainforest and jungle cultures worldwide.”
He explains they drew significant inspiration, yet nothing was directly copied. He expresses satisfaction with their ability to create something entirely new that complements the existing gothic ambiance.
“What truly stands out to me is how much it maintains the Diablo feel, despite a lack of churches and cathedrals. It offers a unique perspective while remaining faithful to the brand.”
Hall remarks, “The first time I set foot on Sanctuary, what truly astonished me was how, despite being a gothic realm, Nahantu managed to exude an intense vitality through its jungle. Yet, it did so in such a way that was both ominous, brooding, and genuinely mysterious and frightening.”
“Jungles make me feel somewhat uneasy. I can’t help but wonder about the creatures lurking behind trees or hidden beneath the foliage.”
A “sense of scene”
“This is the first environment that has the sense of a scene,” Gibson says.
“Experiencing a roof-like cover overhead, I notice beams of light filtering through, casting dappled patterns of leafy shadows below. This task proved to be an intriguingly captivating endeavor for my team.”
“It’s those types of things that start to set it aside from the other regions.”
I inquired from the duo whether this situation might result in an open world that’s more asymmetrical, as different parts of the game might be pieced together haphazardly.
According to Gibson, “It’s clearly stated in our background information that this is the final region we’re dealing with.” This means figuring out how to depict the border between Gea Kul and Kurast without making it seem like an abrupt teleportation for players into a totally different game required a significant amount of effort.
As a passionate enthusiast, I excitedly point out that we leverage the mighty river that cuts right through our game world. It’s the very same waterway that adds grandeur to our cinematic experience.
“We make full use of the mountainous terrain. Being adjacent to Hawezar, our territories share some extent, and the planning and execution for this area have been extensive.”
According to Hall, transitioning to Nahantu seems incredibly smooth, and players might be taken aback that it isn’t part of the main Diablo 4 game if they haven’t experienced it before the release of Vessel.
“It’s likely that if you haven’t played Diablo 4 previously and begin using the Vessel of Hatred, everything will seem incredibly smooth and natural to you.”
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2024-08-29 16:12