The concept of Elden Ring Nightrigt is familiar to Nightegn, but these differences – IGNET

FromSoftware Games has always had such a unique visual style that it is often easy to predict when the iconic “FromSoftware” logo suddenly fades into black will pop up, even in the announced game trailer, the upcoming FromSoft Game. This is thanks to the numerous talented artists in the studio, and while I was in the office, I had the opportunity to sit down with one of the concept and environmental artists Saori Mizuno, who talked about her inspiration, the art direction she provided for Elden Ring Ring Nightreneign, and how it was different from what she had done before.

IGN: So, in general, what's the difference before Nightreign and Base Elden Ring Game or before you're working on FrofSoftware?

Sairi Mizuno- Concept Artist on Elden Ring: Nightfreag: Usually, for Nightreign we will receive an order for design, and then if I am responsible for that particular concept myself, I will iterate over the kind of image I have, explain the design, and then I will be aligned with and collaborate with other designers and eventually make the final design. I think one aspect that has changed a lot in the design process of Nightreign is that we have a lot of people brainstorming back and forth in person, actually talking about these designs, not just getting text-based feedback.

Interviewer:

Can you talk about the setup of the night board and how to make it different from the basic Elden Ring Game, even though it is a derivative that uses many of the same assets?

We don't want it to be much different from the Elden Ring because it uses it as a basis for design and setup. However, a specific direction we do get very early is to create something that feels and looks familiar in the first place and gradually transforms into something that is strange and becomes unknown. So it's a good policy or the direction we have to take.

Elden Ring has this very gorgeous painting feel for many environments, but we want the Night Walker to feel like a beautiful look at it, but if you look a little deeper, it will be a bit sinister and there will be something darker there. Elden rings, maybe there are a lot of bright colors in the scenery and sky boxes, but we also hope that there will be darkness there, players can feel there too. So this is another aspect where the design is slightly different from the Elden ring.

One of the places that really attracted me was the roundtable, which was so familiar in the Base Elden Ring and had an interesting twist in Night Walker. Can you talk about what’s going on in the new design of the roundtable? What were some of the inspiration behind some of these changes?

With Nightreign's new faster, high-paced gameplay, we hope this is especially hopeful that the roundtable will feel like you can relax and relax after the intense three-day/night cycle of three-day/night. So we want to feel it more comfortable and enthusiastically at home from a design perspective. One inspiration is the Fire Contact Shrine in Dark Souls 1, and you will feel even hugged in the atmosphere. After a tough battle, you feel like you are going home and more important than anything else.

So from a design perspective, we used techniques such as soft lighting, the feeling of the surroundings, and the round table. And, although many places are in ruins, we don't want it to feel completely destroyed and desolate. We hope it feels like it is a safe place to go home where players can relax and spend time there.

Another motivation for the design of the Domes Round Table in Nightreign is this early morning feeling, and therefore a kind of dawn, dawn, players embark on a new adventure. This makes this come into some lighting and building options that change at night, and we want players to realize it. We hope they realize this as they embark on this new adventure.

So when players land on the third day, they are shipped to this brand new location, which is really different from any other location in Elden Ring. One is mostly white, mixed with a very colorful sky box filled with orange, blue and purple. What is the story behind this environment? What were some of the inspiration for this work? If you need visual representation, I have this.

So one of the first requests we get from the director about this environment is that it should feel like a sense of finality, and we should get this accumulated feeling before the storm. And we should also feel the impression you get from the sky box that the sky is falling and this disaster is about to end. So this is the boss at the end of day three, so we want players to feel this tightness in their chests, like they are ready to step on something bigger than themselves and hope this climaxes and achieves in the design.

To do this, look at the colors and compositions of the sky again, we want it to feel like something born out of that chaotic scene. Again, the boss climaxed at the end of the third day’s struggle. We want players to feel this feeling from the use of colors and the use of these design elements. Some inspiration we get from real-life cosmic events. So something we cannot fully understand, it is something very distant and comparable to conventional human perceptions, and we want it to be as abstract and grand even in the Nightreign world.

Personally, what are you proud of yourself for your work at Nightreign?

Personally, one of my favorite areas is actually the area we just talked about, the environment you entered before facing your boss at the end of day three. One of the keywords we found when exploring this kind of environmental design is the concept of shedding skin. So it really resonated with me and stuck with me. The idea of ​​turning the surroundings and buildings into things that once lived has been frightened or gone through these ages and has gone through the entire process. We want players to feel this sense of age, which is an ancient fantasy feeling gained from this particular scene.

Although it is a smaller, more condensed world, what surprised us was one thing about the environment. Is it difficult to achieve this breed in such a small and confined space?

So, often, as these emergency maps change and these terrain effects and events, we want it to feel like something fresh and exciting at a glance. Therefore, players will know the influential changes in the map and scenery and they will know directly what they need to do to proceed. So, for example, a volcano is a crater that appears, and you need to dig into it. Or, for the changes in snow terrain, you need to climb up to the top of it. We want this to work immediately and change the way players behave in the map by changing the sense of space.

Then, individuals are designers, they are your favorite artists, whether they are classic or modern artists, can you point to people who are particularly influential in your work?

One of my personal favorite traditional or classical artists is Zdzisław Beksiński. While designing, I drew a lot of inspiration from his various expressions. Again, after these repetitive dramas, the concept of the Daget style and fighting the Night King, which I feel is inherent in game design. So I hope that this feeling can also be done through the design I created. One feeling I get from this is that watching movies is away from Hayao from Miyazaki. This feeling of being unable to go home and being unable to escape the dream. I want to use this feeling when designing these worlds and try to convey it to the player as they play the game.

Even when I designed the original map, the original original environment, I hope it feels beautiful. Just like looking from the outside, it looks pretty and tempting, but soon you will feel like something is over or something isn't quite right. So, I think this is part of the inspiration we will definitely encounter in Nightreign design.

So it's really fast to switch to video games, can you talk about what your favorite video games might have inspired your work as well?

I love Diablo II and other such multiplayer games. I love the open world survival game where you have to start from scratch, build your own house and stuff like this world. I love all kinds of Indians and I also love Zelda legends, games like Majora's Mask are obviously fun, but they are also fun, but they also have this sense of repetition and this sense of darkness towards them. I think it has been bothering me since I was a child. Yes.

Then there is the last question. Many designers and artists love to make their own personal imprints in the game. Do you have any secrets or Easter eggs that can sneak into the game? Or anything you want players to see and enjoy while playing?

Yes. I don't think you'd call it an artist's signature, but one thing I'm going to pay attention to when designing Nightreign is all the covered topics of the night and how we express that. Obviously, we tried all kinds of things, all kinds of methods and Lingard is ultimately where you keep coming back as a player. So one way we think we can express is that these changes are throughout the three-day structure and what players will notice as the journey progresses. What makes them come back and what makes them interested.

So to talk more about the theme of the night, we have to explore what the night as designers means to us, such as the basic concept. So of course, nighttime brings some negative meanings like darkness and fear and unknown things, similar things. So when players jump into this world, we want to feel the direct communication of this negative emotion and have this sense of anxiety and fear of the unknown.

So we convey this directly through imposed time limits and eroded rain rings (similar things). But we found that night, we didn't want it to be completely negative. Again, once players get used to that cycle and get used to what they see, we hope it is more important than that. We hope that players almost begin to crave all night long and look forward to the darkness of this aggression, perhaps even feeling comfortable from habit to this rhythm and these aspects. So as the game goes on, players are getting used to these things, which is definitely an aspect of the design we want to merge and become part of that player’s experience.