Now at four days after the Gauntlet announcement we’re absolutely thrilled about the response we’ve received from fans as well as press. I won’t get long-winded this time but leave you with our very first released screenshots of our four heroes taking on a small horde of monsters, and a little sneak peek of an extra bad guy.
All the latest news heard about Arrowhead has been of our upcoming game Helldivers with Sony, but today we are thrilled to finally announce our other project together with Warner Bros. Interactive Entertainment.
We give you GAUNTLET, our completely modernized take on the much loved classic arcade game originally made by Atari Games.
Gauntlet will be completely remade but retaining many of its familiar features. The game will contain emergent local and online four-player gameplay and is a top down hack-n-slash adventure with the Warrior, Valkyrie, Wizard and Elf exploring the classical fantasy dungeon of many wonders, we’ve come to love from old school tabletop gaming, movies and paitings. And of course battling an overwhelming horde of monsters.
You may know Arrowhead Game Studios from our previous games like Magicka and today we’re excited to announce that we’ve teamed up with Sony Computer Entertainment and Foster City Studios to create our next game!
So, for all of you out there, both new fans and old, I give you HELLDIVERS. Built for both single-player campaigns and up to four player co-op missions, HELLDIVERS is a topdown shooter set in a satirical and dystopian future where mankind is ruled by a managed democracy.
My title here at Arrowhead is that of “Producer”. Basically, one could say my job is keeping track of plans, talking to publishers, making sure commitments we make are delivered upon, and making sure the talented people here at Arrowhead Game Studios are motivated, happy, and badass.
My name is Axel Lindberg and I am going to use this opportunity for intra-web-tacular exposure to share with you, a list of three kick-ass books on the topics of human behavior and leadership…
You’ve probably seen hundreds of scenes in movies where the hero, the animal, or the monster does some really advanced manouver and pulls it off perfectly… almost too perfectly…
In some scenes you really see how the director took 80 shots of that scene to get it just right, but if it takes 80 shots to get it right, maybe it shouldn’t be just right, maybe the hero should have slipped, or fucked up that jump.
For instance, how often does a person stumble randomly in movies, or hit his head on a lamp or get distracted by something that wasn’t of interest to the plot of the movie? Not often… but these things happen all the time in real life.
It gets even more obvious in animated movies, where the chaos factor of our daily movement isn’t directed or thought about.
Working as an artist at a game studio often requires more from you than drawing a pretty picture or making sprites in Photoshop once in a while since a lot of games these days are in 3d.
For a lot of people, making 3d objects for games and films is pretty hard to wrap your head around and it is also very hard to explain to people how it works, as Rob wrote in a previous post about Visual effects for games. (So how do you paint smoke?)
With this post, I’m going to try and cover another part of game graphics and hopefully straighten out a few question marks around the modelling of a 3d object.
With a few steps and images, I will show you the making of this car!
So it’s my turn to post something nifty on the blog and as usual the preparations have been perfect. Initially I had an idea of writing something cool about a new tech or a fancy implementation (I’m a programmer after all) but then life happened and time ran short. So I’m going to write a bit about my main hobby interest (besides from hanging around Plattan), which is to make noise in a somewhat rhythmic pattern.
In October last year, me and Peter began having nightmares about the foundation which The Showdown Effect code was written upon. This all started when the authors of it had left the building and the one who could see through all the fog was shot in the crotch by our lead artist and we never saw him again… This gave us massive aneurisms when we began implementing hot join in The Showdown Effect.
During the gaps of rage and despair, we began thinking and discussing ways we would write our own foundation for future projects (assuming that we would still use the Bitsquid engine). We dreamt of structure and rules, nicely ordered messages, separated data and event replication, basically adopting fascism. During evenings and weekends we began hacking away, building our new hope; The Arrowhead Code Foundation.