From Aloy to Zagreus: 52 developers betrayed, like your favorite characters

How do our favorite characters be created? We wanted to go this question as part of our hero * indoor weeks on the ground. And because no one can answer this question better than the people who are responsible for our favorite video game characters, we have asked exactly them.

In recent weeks, we talked about 52 developers of different studios and publishers to learn more about how to approach character design. Whether Creative Director, Studio Founder, Narrative Designer, Art Director or Writer, they all have given us a little insight into their work and how they approach the hero * of their games.

Therefore, we asked you three questions:

1. What is the most important aspect in your eyes when you create a new character?
2. Do you have a design philosophy to create characters and distinguishes themselves depending on whether it's about a main or a minor character?
3. What kind of characters would you like to see more often in video games?

The answers to the first two questions can be found in this article, the latter question is discussed in a second article, which we will be linked to appear here.

Hades: Nobody is perfect

Greg Kasavin, Creative Director at Supergiant Games (Hades, Transistor, Bastion)

In Supergiant Games, all characters represent unique and significant aspects of the world that dismiss them, as Creative Director Greg explains Kasavin. They all would embody the values ​​of the world, as well as the tone and the mood of the settings.

In Hades, for example, they would have had figures ranging from Ernst to silly, they wanted to make sure that each character would have their own voice and no two "serious" or "silly" figures feel the same.

"If players meet our characters, they should really understand how it is to live in this world. Therefore, all characters should embody the underlying themes of the game in a unique way. In games with clearly defined main characters, as in Hades, should Characters also produce a different dimension of the personality of the protagonist. As in real life, no two relationships are absolutely identical. "

As a design philosophy of SUPERGIANT GAMES Greg Kasavin calls the undermine of archetypes.

"I like characters that are very clear at the first meeting, but increasingly becoming more complex or unexpected, the longer you get to know. I think so it is, if you get to know people in real life."

When he works at characters, he does not try to write them deliberately sympathetic or cool, it would only be on the fact that players would feel empathy for the figures and understand their actions.

"Characters can have serious mistakes, misguided or just terrible people, but they can still make you empathy, as soon as you understand what's wrong in their lives or what are the intentions they have. A really horrible character can still have admirable qualities , On the other hand, good, moral, heroic characters with good intentions can have negative properties. Nobody is perfect. "

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Grounded: great attention to detail (and ants)

Kazunori Aruga, Art Director at Obsidian Entertainment (Grounded, Pillars of Eternity)

As Obsidian Art Director Kazunori Aruga writes, everything depends on the type of project.

"For RPGS or title with story focus, characters are needed to identify players with them. In this case, I try to stay with what I know. That means: I take details of the people I do in real Taking life and attempts to take them as a core for my characters. You can then expand and reject them at will, but to have this core, anchors a character and gives him authenticity. "

On the other hand, Survival games like Grounded look different, because here, for example, the appearance of insects the readability plays the biggest role. There you can orient yourself to size rods, proportions or silhouettes to ensure that players quickly recognize which creature encounter them.

As with many Concept Artists, Kazunori Aruga's work always begins with research and searching for references. Next, the detail, which are suitable for the respective project selected and put together. But it does not create every little thing in the game:

"Although we go in Grounded on cloth constituting with insects, we deliberately leave nightmarish details in their faces. Gladly happened."

In doing so, Grounded's Art Director also likes to "inspirational discoveries" like the fact that ants have a symbiotic relationship with leaf lounges.

"The ants protect the lice and slurp the honey to produce the lice. While we do not constitute this behavior exactly in Grounded, but leaf lips leave honeydew drops as a result of the research."

Return: human, multi-layered, realistic

Gregory Louden, Narrative Director at Housemarque (Return, Nex Machina)

At the start of the PS4, the Finnish Developer Studio Housemarque with games like Resogun was not exactly known for exciting characters. On the PS5, however, this changed with Return, in which we meet Selene for the first time whose story is told by their deaths.

"Depending on every character, we have a different philosophy depending on the position in history. It does not matter if it is an NPC or main character, every figure is a figure. With Selene we tell your story through the death cycles and show The progress up to the climax. The further players progress inwards, the more you will learn from Selene, their past and why they came to Atropos in Returnal. "

In general, it is important in creating a great character for Housemarque that they work out someone who is complex, intelligent and realistic.

"A figure should not be completely good or angry, but to be sustainable and human. For us a great character has a story, ambitions and unique making, making them special and complex. With Selene we wanted to create someone who has made someone up to a mistake Powered, intelligent and complex is also hit. "

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Returnal Selene is what many women are not allowed to be: not young anymore

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Horizon Zero Dawn: Show something that has never existed

Ben McCaw, Narrative Director at Guerrilla (Horizon Zero Dawn, Horizon Forbidden West)

"Most importantly it is to offer players something that they have never seen before"

Says Ben McCaw from Horizon Zero Dawn Studio Guerrilla. He also remembers that the main character Aloy was seen as a risk that would have paid out:

"When we started developing Horizon Zero Dawn, we wanted to create a new and vibrant world with a great main character in the center. After many iterations, Aloy became the central figure. At the time there was hardly convincing, female protagonists in gaming. It was called by many as a risk to build a series around such a figure. In the end, players wanted to play in the inside with Aloy. Their history and personality has found more appeal at fans, when we had ever dreamed of. They were hungry a change, according to something else. We believe that that is always the case. shows players in the inside another character, a special person - someone with whom they can carry, but also inspires the imagination - and it will be a reaction to it give."

Important in creating a character - whether the main character or NPC - be the dramatic core that must be comprehensible to produce conflicts. Aloy's dramatic core in HZD was to find her mother. This concern for intensive empathy, but also for conflicts with the trunk of the Nora, her mentor and ultimately the world - and that is also important for villains.

"This approach is also important for antagonists. A good example comes from the background history of Horizon Zero Dawn. Ted Faro, who started the robot pipe and thus destroys the world, would like to get straight for his mistakes, which is understandable. But he also wants the Uploading mistakes, which is why he makes vile things. The inner conflict makes him authentic, but also inevitable - just as a villain should be. "

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Spider-Man: The human core in hero

Ben Arfmann, Advanced Senior Writer and Lead Writer at Insomniac Games (Marvel's Spider-Man: Miles Morales)

Ben Arfmann of Insomniac Games was with Spider-Man: Miles Morales from a particular challenge, as he did not create a new character, but had to implement a figure already established in Comics for a new medium. It is particularly important to reward why fans love a character. It is possible to change elements and collapses, but the nature of the character must always remain recognizable

"In the case of Marvel Heroes - especially here Miles - the core is something that many have a relation to the ambition. Miles is a hero who creates great. He jumps from buildings, defeated opponents, saves cities. He is the hero who we all want. But he is also a normal teenager with problems at school, friends and relatives. We can track the human aspects even if we are overwhelmed by his heroic deeds. If we combine the superhero life with the human Let's get a character that reflects the best of ourselves. We understand his problems and strive to achieve his heart, compassion and courage. Miles helps to see the waiting heroes in us. The ambition of the character was our The most important job when we have developed the history of Miles. "

For the Spider-Man games, insomniac games ask themselves first how a character is organically fit into their world, whether this is an already existing figure or completely new. Especially NPCs can make a lot of fun here:

"Main characters are becoming more and more attention as a random NPCs, but the writing of minor characters can also be a lot of fun. The smaller the combination of the character for the main story, the more freedom has an author. Some of my favorite characters is exclusively in the social media posts In the game. You can pack a lot of heart blood in 140 characters. "

Ratchet & Clank: same love for all

Lauren Mee, Lead Writer at Insomniac Games (Ratchet & Clank: Rift Apart)

With RIFT Apart played players for the first time Rivet, a new heroine in the Ratchet & Clank Universe. According to Lauren Mee, it was particularly important to show that Rivet is not just ratchet version from another dimension, but also its own Lombax with a long history in its own universe.

"The most important thing during the development process is honesty. During rivets, the team tried the team trying to be balanced and authentically work. Who is she? Needs? Fears? What are your strengths and weaknesses? How does she look at the world and how does it look Considered by the world? For all these questions, we had to find a deep trench and find out what makes you rivet and that needed much honesty from the developers but also from the characters. "

At Rift Apart, according to Lauren Mee, insomatac did not just want humor and charm, but also real emotions and draft stories - both for the main characters and NPCs.

"What distinguishes our playable figures from the rest that you have the (exciting!) Task have the shell for players *. Therefore, you can do some things that NPCs can not. But our NPCs get the same love as the same love, The main characters. Your roles are small but the impression can be the same strong and we also take you seriously. We do not look so deep into your soul but we take the time to think about who you are as you are with the events bypassing and what they did before to land here. Most importantly, however, their relationship with the main characters is. "

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Boyfriend Dungeon: Real people as a template

Tanya X. Short, Creative Director at Kitfox Games (Boyfriend Dungeon)

Characters are as important in a few games as in Visual Novels or Dating Sims, after all, this gameplay side are often rather minimalist and therefore completely rely on figures and story. While this may not apply to the upcoming date-your-weapon Roguelike Boyfriend Dungeon, yet it is Creative Director Tanya X. Short especially important that your characters remain in memory:

"As soon as you see a character I have worked on, a strong impression should be left behind. The more time you spend with a character, the more interesting and unforgettable you should become."

As an example, she calls the character Talwar from Boyfriend Dungeon, which should initially wear sportswear. But because so many thought he was athletic and not just fixed to his appearance, he woke wrong expectations and therefore experienced a redesign to better fit the archetype "Flirty Part Bad Boy". Talwar is also based on Tanya X. Shorts ex-boyfriend.

"To write a felt real character, I are based on personality on people and friends I've met in my life. Depending on how players interact with them, the properties can be different. Whether by words, actions , Reactions, the voice or more. Talwar should be the Bad Boy, which is why I based his design on my ex-boyfriend, in which all had warned me in front of the data (he was ultimately very nice, sorry talwar). The big ones The challenge was to not lose the "voice" of the character, even through my standard writing style, over the years of development. "

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Deathloop: The most exciting way to the destination

Pawel Kroenke, Lead Narrative Designer at Arcane Lyon (Dishonored, Deathloop)

Game development is always a balancing act of different goals. The Pawel Kroenke of Deathloop \ - and Dishonored Developers Arkane also knows about the question of the most important aspects of creating characters:

"Each character should first first meet his predetermined design goals, such as the role, on the most exciting way as possible. My colleagues in production would be very happy if I would say:" Within the scope of available resources "."

In addition, it is important to create characters whose properties and motivations do not overlap because the help and interactions are advanced when creating conflicts.

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Gollum: Every character is a snowflake

Tilman Schanen, Game Writer and Lead Narrative Designer at Daedalic (Lord of the Rings: Gollum)

"Imagine someone who really is, really cool. Then make the opposite. At least if your goal is to touch people."

Rates Game Writer Tilman Schanen, who in Lord of the Rings: Gollum just gush one of the most famous figures of pop culture.

"Do not worry about formulas or personal style. Every character is a snowflake. Biography or history books to read me, because my own life is very boring. Then I often start with the frequent question: Who would be the core problem of our game Really challenge? You have to win a race? How about a driving companion? Heart conquer? No women's hero or a beauty queen. Save the world? A hobbit. That's just the starting point, but absolutely no requirement or no guarantee for a good character. "

Little Nightmares: The psyche of children and monsters

Lucas Roussel, Lead Producer at Bandai Namco (Little Nightmares 2)

At Lead Producer Lucas Roussel depends on whether it is a playable child or a monster. Children are a glimmer of hope in the nightmare world of Little Nightmars 2, whom we trust that they feel the innocence and the playfulness of the human psyche. The antagonists of the game, on the other hand, are our own ugly reflection, a transcribed representation of the monsters in us.

For monsters, the Little Nightmares team works according to the following principles:

"

• Archetypes: We remember a cartoon of the character and turn to the extreme. How would this look? How would the character behave?
• Cultural references: We think of films, books or series in which characters are particularly scary. We isolate the interesting elements and refer to the character design to make it unique.
• Diversities: Characters must distinguish themselves from each other. They should all feel different, look different and behave differently in unexpected ways.
• Twist: We find something unexpected or inexplicable in the way a character looks or behaves. There is no sense.

"

For children, on the other hand, they focus on the silhouette, a simple and sweet design as well as animations. Hero * inside should always stand out (e.g., by the yellow coat), but not to the stereotype:

"If several children work together, we need to make sure that their designs complement each other from the artistic perspective. Especially with the animations we need to make sure they reflect the personalities of the protagonist."

Psychonauts 2: Vibrant characters in the head

Lisette Titre-Montgomery and Lauren Scott, Art Director and Senior Systems Designer at Double Fine (Psychonauts 2)

In Psychonauts 2, the main focus is on the characters and their background stories, such as Lisette Titre-Montgomery and Lauren Scott characters tell in the interview. One of the benefits to work with video game Veteran Tim Schafer, be it that he has a very clear idea of ​​the characters.

"They live in his head in his mind and were there in meat and blood before we even put ourselves to the design. For us is really important to see who a character is what his or their mental challenges triggers and how the mental problems influence , Everything comes together when we approach the design. For us it's all about strong background stories and Tim's ideas and suggestions about personalities and motivations of the characters. "

Double Fine have a long story with games in different styles, which you never change the many hours that spend the developer team with the background stories.

"We really put a lot of time in the research to determine exactly who our characters are at all. That's something you can see in all Double Fine games and one of the main reasons why so many people love our games - they can love the characters comprehend"

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Witchbrook: NPCs as trunks

Abi Cooke Hunt, Lead Writer at Chucklefish (Starbound, Wargroove, Witchbrook)

According to Chucklefish-Lead Writer Abi Cooke Hunt is the first important step for writing that a figure is created, people want to have.

"The goal is to make the character sympathetic, adorable, ridiculous or even a villain. The main thing players * inside look forward to interacting with the figure."

For main characters, the Witchbrook studio usually starts with the archetypes, ie a verifiable and easy-to-understand basic framework, the player * can be classified immediately. After that, the personality comes right now.

"The story, attitude, motivation and philosophy defines the character. All this does not manage it directly into the text of the game, but for development is important. Some of the personalities support the original archetypes, others want to undermine this. Ultimately Differentiated and captivating character arise. "

In NPCs, the difference is above all in the depth and the individuality of the personality. NPCs act like trunks, groups of challenging individuals with a common experience and world view. Of course, they can give several, but within a tribe, the NPCs benefit from homogeneity. Abi Cooke Hunt explains the example of Wargroove:

"In Wargroove, the rebellious troops have the same anarchistic philosophy and the same strange, intelligent stupidity, making them as a group as a single character. These NPCs bring a consistency with themselves, help build the world and underpin the sound of the game "

Sea of ​​Thieves: Scope must be clear

Victoria Hall and Hendrik Coppens, Principal Concept Artist and Principal Character Artist at Rare (Sea of ​​Thieves)

At the center of their work stands for Victoria Hall and Hendrik Coppen of Sea of ​​Thieves developer Rare the meaning of the figure where they are working on.

"If you visit a faction, then the core feel of that should be reflected by the design of the character. We always remember."

Hendrik Coppens adds:

"The character must be interesting for the player, it should be immediately recognizable, with whom you have to do it. The design must make the scope of the figure clear."

The Longing: Interactions as a natural vehicle

Anselm Pyta and Benedict Bumblebee, founder of Studio Sigh (The Longing)

Characters have to make curious. This conviction is Benedict Bumblebee of Studio Sigh, the creators of The Longing. Only then could you work with the audience. His colleague and studio co-founder Anselm Pyta, on the other hand, explains that a character will be sympathetic to him in some form - even if it is a rogue handle. After all, he had to spend a lot of time with him.

He explains to his approach:

"I also take care of myself from myself, with minor characters from the environment. Because the main figure you have to know very well, with minor characters you can rather spin. But even a major character is always a fragment of a self, a certain Atmosphere about. "

According to Benedict bumblebee, characters that he himself designs, also always explore their own thought and emotional worlds and at the end of metaphorically and personalized for the knowledge.

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The Elder Scolls Online: Micks create personality

Rich Lambert, Creative Director at Zenimax Online (The Elder Scrolls Online)

The personality of characters is most important for ESO-Creative Director Rich Lambert.

"The backgrounds and actions bring nothing if the figure has no quirks or interesting personalities, as it is very hard for me to be interested in them. It does not have to be exaggerated, but the character must be consistent through the entire action form. "

Therefore, in Elder Scrolls Online The Drake of Blades is one of his favorite characters, as they were something strange. In conversations with her we should not feel comfortable, which considers it consistently to the end.

In the core, it makes no difference for the Crative Director whether it develops a main or minor character, the former would cost more time in terms of personality and history.

"With regard to a design philosophy, it is most important that the characters to be created live in the world. They have everyday life with successes and failures. It is important to show both."

Tomb Raider: An eye for detail

BRENCH ADAMS, PRINCIPAL DESIGNER at Crystal Dynamics (Tomb Raider)

The devil is in detail for Tomb Raider Designer Brench Adams. If he is a new character, the most important thing is to think carefully about every single element to tell a clear, focused story.

"My goal is to maintain visual landmarks and aesthetic motivations that enhance the rich narrative background. Think about all these things, including equipment, skills, expressions, movements or even the voice, helps strengthen my intentions when I create new ones Want to create character. "

Main characters must be able to stand for BRENCH ADAMS and serve as an armature for occupation. By contrast, minor characters are designed to support the needs of history and enrich the general experience. To ensure a good balance within the CAST, therefore, he visualize all the characters in a group as he designed them.

"In terms of character development, main characters, of course, get most of the time, but NPC play a major role in the perception of the main characters. My goal with NPCs is that they are more likely to work in a group."

Tomb Raider: unique and remembrance

Noah Hughes, Studio Creative Director at Cystal Dynamics (Tomb Raider)

With Lara Croft, Crystal Dynamics dared with the Tomb Raider reboot from 2013 to one of the most iconic figures of video game history. According to Studio Creative Director Noah Hughes, it was helpful to have a fundamental inspiration for the identity of their character. So they could combine the adventurous identity of Lara Croft with a survival action aesthetics instead of starting new zero with their design. According to him, there are different ways to protect themselves to the design of a character, in the end be it the most important thing that a unique and memorable figure would come out.

"To define where this uniqueness comes from, is part of fun."

In addition to memorableity, Crystal Dynamics also attempts to designally design and give characters to designable properties:

"In the new Tomb Raider trilogy, we have our best to emphasize Lara's determination and resilience, in addition to their brilliance and sportiness. Although NPCs do not have to offer a straightforward property, but an element of traceability is also necessary. The same applies to Schurk * Inside."

Life is Strange: Characters have to be fun

Jonathan Zimmerman, Narrative Director at Deck Nine Games (Life Is Strange: True Colors)

At Jonathan Zimmermann von Deck Nine Games turns in the case of Life Is Strange: True Colors all about one thing: fun.

"If you are the main character: makes it fun to explore the world through your eyes? To hear your thoughts, to be confronted with your decisions, to interact with your environment? If you are a NPC: It's fun with it Interact to help you with a problem to love or hate you? "

Or at least almost everything:

"Of course we are thoroughly worried about dramatic storytelling, exploring significant topics and authentic representation. But in the heart of our work, the constant question is how we can fun for players * inside."

In terms of design philosophy, the Narrative Director relies on repetition and flexibility:

"Characters are not fixed objects - they develop continuously during our development process. During the concept phase we spend a lot of time with the construction of the characters. Then we sharpen them, try out their voices and adapt them to the course of the story. Then we shape them Continue, often dramatically when we have found their actors inside and they take shape. Sometimes themselves, even the smallest details of a character live - as they set up their glasses or special expressions in their voice. Such things can appear at any point in the design process While we try to stay out of time and react. "

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Guardians of the galaxy: balancing act between new & familiar

Jean-François Dugas, Senior Creative Director at Eidos Montréal (Marvel's Guardians of the Galaxy)

According to Jean-François Dugas, according to Jean-François Dugas is one of the most challenging creative tasks:

"Most creative trying to create a brave, strong original character that exactly embody what they stand for - while they have to be sympathetic, appealing and fun. These are all simple words with a simple goal. To succeed However, a completely own journey. "

In the case of Peter Quill from Marvel's Guardians of the Galaxy, they were unique to the challenge of making an already established character, which is already in various forms in the Marvel Universe. Your Peter Quill should be an original version that has never been there, but still remain familiar and resemble the version, knowing the fans from the MCU.

"Whether we work with an IP of Marvel or with its own: we always try to create characters that chap the chap. We believe a character must attract your attention on several levels. The design must offer enough depth that Your eyes automatically come back to him. It has to offer something that you have never seen before. You have to automatically ask yourself how your story is - or yourself a suitable thinking. "

There is no magical formula for that and even if you would think of all these things, this is not a guarantee for success. For this you would need additionally brilliant writing, talented artists and voice actors - and a little luck.

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The medium: Why is that the main character?

Grzegorz Like, Writer at Bloobe Team (The Medium)

For the author of the horror game The Medium, Grzegorz Like, is certain:

"The action strand ultimately makes the character to a well-written figure. You have to tell how the figure overcomes your weaknesses and fears. Especially for a horror game, the latter sounds easy, because there is a lot that makes a fear. But the most important And scary elements are hidden deep in the character. You should not exagger it! "

In his eyes, there is always one thing that makes the main characters to the hero.

"This can be a special strength, a rare quality, a complex background story or simply a legend status, such as Rutger Hauer in Observer: System Redux. In the end, this unique thing should answer the question: Why is this type of the main character? Because no one else would be Create it through the story ... "

NEO: Individuality as a design basis

Kobayashi and Miki Yamashita, Character Designer at Square Enix (Neo: The World Ends With You) **

Gen Kobayashi and Miki Yamashita have both worked as a character designer at Neo: The World Ends With You, which may be one of the reasons why they are pretty similar views regarding character design. For both, the individuality of figures plays an important role.

"I'm trying to create a design that best communicates the individuality of a character."

Explains Gen Kobayashi while Miki Yamashita emphasizes how important the role of a character is:

"As soon as I understand why a character is needed and what is needed by him - only then I start with the design. In Neo: The World Ends With You, I have paid attention to the design of the characters in terms of individuality and charm in terms of individuality and charm can compete the fascinating characters from its predecessor. "

Seben characters and NPCs are supposed to mix themselves with the background, according to Gen Kobayashi, to better stand out main characters.

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Scarlet Nexus: Problems and worries as part of the design

Kouta Ochiai, Art Director at Bandai Namco (Scarlet Nexus)

For Scarlet Nexus-Art Director Kouta Ochiai, the problems and worries of characters need not only be easy to understand, but also their reasons to be part of their design. Specially speaking, Kouta Ochiai talks about the silhouette of the finished characters that should be simply recognizable and quickly burning into memory. The main component of this silhouette are the above-mentioned problems of the character.

"Whether I characterize main characters or NPCs design, greatly no role. I always try to meet the figures of their role as a character. To be more accurate: At NPCs, I pay attention to the fact that their appearance corresponds to the cultures and spiritual circumstances of the countries from which they come. "

OOBLETS: the main thing oblique

Ben water, Game Director at Gumberland (Ooblets) **

Who knows ooblets, should not be surprised that all characters of Gumberland should be "oblique" according to ben water.

"We try to design all our characters" diagonally ". We combine different topics and tones, so players do not get what they expect whenever they talk to someone."

A real philosophy does not pursue the small studio. They are open to all ideas that they find interesting, making them a lot of fun with their designs.

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CURIOUS Expedition 2: Character Design as a puzzle

Riad Djemili and Dennis Kogel, CEO ZND Author at Machinery Man (Curious Expedition 2)

Creating a new figure for a game is for Curious Expedition 2 Author (and characters / Gamestar Freelancer) Dennis Kogel like a puzzle:

"Author * inside, designer * inside, artists etc. can not just get started and inventing a figure, but we have to think about how you fits in the existing design. So I always ask myself: which function meets the figure verberlisch and game-mechanical? In What does the figure exist? With which other figures does she interact? How much space does the character get? Are there any dialogues, certain animations? And if we have answered these questions (and probably a whole charge more) questions, then it works Therefore, creating the figure and that is a totally collaborative process. "

Riad Djemili explains that the figures in Curious expedition would be pretty placative (e.g., the chef has a cooking apron and a cooking hat), as it does not give much narrative for characters in the game. Therefore, machine man grabs back to clichés to make it easier to classify the figures. Nevertheless, it is important to you to avoid negative tropes, such as e.g. in relation to women or minorities.

Smaller figures find Dennis Kogel in comparison more complicated as the main characters, as a personality must be conveyed here in shorter time.

"There must be a lot about the look and the sound. Then I try to find a way as an author, like, for example, figures such as salamander or the mole in Curious Expedition 2 through certain species as they speak, a particular feeling gives. What is important to me in all figures, is that they are not cartoons, but that you realize your humanity somewhere that you get as a player * in the feeling: there is more behind it! "

Back4Blood: Who survives the Apocalypse & Why?

Phil Robb, founder and creative director at Turtle Rock Studios (Left 4 Dead, Back 4 Blood)

For Turtle Rock Studios founder Phil Robb, a certain kind of familiarity is important in characters to better identify fans with the figures. It is important that players want to listen to them and interact with them.

Even at the Left4Dead studio, classic archetype play an important role, with some more acquainted than others, such as the Creative Director, using the example of their latest game, Back 4 Blood, explains:

"Walker is, for example, a warrior archetype, he is the classic hero. He is an ex-soldier, courageous, a hard guy but with a heart of gold. You can clearly see this archetypes immediately. I think everyone will be Walker directly recognize the "cool". Then we have the somewhat inconspicuous, but also more nuanced something more. My favorite figure is Holly, even if I can not directly describe your archetypes. It is the glue that holds the group together. It is charming Funny, likes to talk and looks very positive. I think every one of us knows a Holly in real life. As a result, she feels very familiar. "

To a certain extent is also important for him including inclusion. This is difficult to do that because it could always give only a limited number of characters, but there is a variety of different people. It is therefore not possible to map each type of character. Nevertheless, they would try to put together a great and various crew.

"To ensure that, we ask ourselves at the beginning: Who survives the Apocalypse and why? We think about how they made it, such as Doc, who is a doctor. [...] Doc may not have the Physical skills like Jim or Walker, but this survival capability. So it was intended: I am a doctor and very valuable in the Apocalypse, which is why I keep my coat to realize me in the midst of the chaos. This could survive the Apocalypse. Exactly such stories are looking for with our characters. "

The Dark Pictures Anthology: Fear of death

Will Doyle, Game Director at SuperMassive Games (The Dark Pictures Anthology)

According to Doyle, Doyle is about horror stories such as Little Hope or House of Ashes always to bring characters from their comfort zones and throwing them in stress situations to challenge them. There must always be something that is important to you and what can be taken.

"If your life is at stake, the spectators should know why the characters are fighting for that. As far as possible, every character should have" something untarded "that drives them through history. If they die before they reach their goal, it is more terrible "

In addition, it is important that figures are sympathetic in horror games (so that we are not happy if they die) and that characters show fear:

"It is important that the figures are afraid of danger because we subconsciously reflect us in the characters in horror films. If you are not afraid, we are less intimidated."

The team of Supermassive Games is also a special challenge as they create stories with decisions that can be played differently. Although each character has a fixed personality based on archetypes such as "the athlete" or "Witzbold", whose basic features remain the same, but the main decisions determine how a character comes over. Concern characters, on the other hand, are easier because they are often only there to drive the plot in a particular direction. Nevertheless, Doyle wants to provide at least one twist for you - as undermining clichés and archetypes, finally fun.

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Kena: Little Cast, larger focus

Josh Grier, COO and co-founder at Ember Lab (Kena: Bridge of Spirits)

According to Josh Grier, characters must be motivated by their own wishes and goals. These must be so set to fit the circumstances and provide us with important information and communicate certain parts of the world or history.

"However, a character is not complete until we have developed past and up-to-date circumstances, wishes and goals that underpin your actions and personalities. This allows us to enable authentic interaction with figures that are really feeling."

In Kena: Bridge of Spirits, Ember Lab holds the story focuses on a handful of figures, so that each character gets enough time and attention to be drafted.

"The smaller cast enables us to dive deeper into the background story, which was also a destination in our development. This also results in the friendly NPCs that accompany Kena and the reds on their journey. They expand the story and the game through their design , They are lovable and appealing characters that deserve to get help from Kena. As inspiration we had Japanese animations, Pixar films and other adventure games. "

Also for the bosses was focused on character motivation, as players are supposed to feel more fighting against them - no matter how spoiled or cheered out the spirits.

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Wonder Boy: readability and attractiveness

Ben Fiquet, Creative Director at LizardCube (Wonder Boy: The Dragon's Trap)

For Ben Fiquet, who worked on Wonder Boy: The Dragon's Trap and Streets of Rage 4, a character must be understood from an animation stand at first glance. Readability and attractiveness are the most important thing about the character design for him.

"I try that a character looks cool and it's fun to watch him or her. This is to be self-contained for opponents. The most important thing is that one is both clear and applying this rhythm and contrast to the whole cast."

Streets of Rage: A character for every game style

Jordi Asensio, Lead Game Designer at Dotemu (Streets of Rage 4)

According to Jordi Asensio, it is important in a major character that he fits the different scoots or suitable for the role-playing game. His approach to characters differs depending on whether it comes to playable characters or NPCs:

"For playable characters, there are fewer restrictions. If we do ideas brainstorms, take shape. On the other hand, we treat the form as features of the game. An example: I need an opponent with spacers or a pious carpenter. Then I design the opponent around this idea And we try to follow the shape of the character of the function. "

Dolmen: The look is the most important

Allan Marlon, Art and Creative Director at Massive Work Studio (Dolmen)

As a kind and Creative Director, Allan Marlon is visually visually approaching characters. Appearance is the most important for him. In addition to mechanical functions, he always attempts to introduce the design team visual details that tell more about the character and the world.

A real design philosophy does not have the studio around the upcoming action RPG dolmen, but the Creative Director often thinks about the functions combined with the concept according to:

"Opponents are designed to fit possible combat techniques while NPCs have to match the scenario more."

The Last Oricru: Figures must develop your own life

Pavel Jiri Strnad, Creative and Game Director at Studio Goldknights (The Last Oricru)

Before it goes to personality and background history, Pavel Jiri Strnad has to be stuck, for which the character is actually there and how his relationship looks like others.

"Then he is placed in a world that Story wrote and developed interactions with other characters. At once, he takes over more and more of the game and the layers of layers of his personality stack. In the end, the ideas must be cut as they do not have to be cut Match more about the character. "

The Creative and Game Director of the Last Oricru, a recently under the new Koch Media-Label Prime Matter announced RPG, is of the opinion that a good character must develop organically a separate life. Then personality, faith and wishes would then be defined - not about the wishes of the * the author * in.

According to Pavel Jiri Strnad, a credible world is based on the interactions of the characters. Their main philosophy is to remove the player's character and to look at the world without players inside and their actions.

"The world must give sense with a story that progresses and evolve. Only when we have such a story, we add the playable character and consider how this influences the world and does not change things - but the playable figure should not be the only one Be reason for changes in the world. Otherwise, the world would be filled with predefined puppets, which only exist when the main character is in the picture. "

The Last Oricru: Time pressure ensures character focus

Abdulazis "Aziz" Aldigs, Character & Co-Art Director at Studio Goldknights (The Last Oricru)

At Abdulazis "Aziz" Aldigs starts everything with important words:

"For example, for our main hero, we defined atha eyes, ambivalence and sarcasm, as we need someone who has developed a kind of protection mechanism through the constant death and revival. But we keep him unique through factors such as scars and implants. To characterize the character to make a background history. I then have searched for the reference material for our conceptual artist to find out of other works the features we need. For our hero, we have oriented to Long John Silver and Alfie Solomon from the series Peaky Blinders. "

The Character and Co-Art Director of the Last Oricru also explains that he would like to have the time to give every figure the same attention because every hero can only be as good as the figures he interacts with. However, one is always under time pressure in the game industry and so the main characters would have to be prioritized.

Night is coming: uniqueness is the key

Sergey Kornilov, CEO and author at Wild Forest (Night Is Coming)

At Wild Forest, according to CEO Sergey Kornilov, it is most important to show the uniqueness of a character. That could be both the personality, part of the body or the soul or ability.

"You have to take out one or two uniqueness and have completely emerged. We also believe that it is impossible to select more than three, otherwise the character loses the balance."

A philosophy has the Studio of the Steering Play Night Is Coming also:

"The character should be quickly understood but can still be investigated as long as possible. We love to take basic properties and turn to the utmost. If we create a figure, then we ask ourselves what we show directly and what players * Inside, see to understand the character. "

The Chant: Interactions as a natural vehicle

Mike Skupa, CEO of Brass Token (The Chant)

The focus of Mike Skupa of the Chant Developer Brass Token is the development of characters that the personal motivation is fitting to the topics and mechanics of the story and gameplay.

"The more these contexts, the more credible is the personality and a resulting conflict. But that can also be a challenge when new mechanics come. It's good to always let a small gap in the background story to weld everything together to welcome everything together While is developed on the gameplay. "

Preferably develop the CEO relationships, which is why the process between playable characters and NPCs is very similar. The most natural is to find out something about characters through their interactions with others.

Desperados 3: The gameplay determines the figure

Moritz Wagner, Head of Design at Mimimi Games (Desperados 3)

Moritz Wagner of the German Studio Mimimi Games is mainly important that characters are directly tangible. Although they are supposed to have depth, but this comes only in the second step. In the first, he wants the figure to trigger something in player.

"I think - and that depends very much on the topic and the story - that a character should be sympathetic to some extent because I should play with him 20 minutes. If you have a standard character for one Video game makes, then this sympathetic and his role must be recognizable at first glance. In an antiheld history, some of these statements do not match these statements. Also in playing, where you are shaping his avatar and basically you are self, then the personification is Only after the external. "

The design philosophy between the main character and NPCs distinguish himself strongly with him. Once in relation to the time set in a character, but also in relation to Game Design and Skills.

"With us, the newer projects is now that we have about an idea, but nevertheless testify to the skills first. But then we develop the story and the visual drum around. Sometimes we say that we also say a certain personality but usually the gameplay determines the figure. If someone becomes a cool droppaw, then it is because our mechanics lay down cool. "

After the case: Characters have to represent the story

Jeff Dronkers, Character Artist at Vertigo Games (After The Fall, Arizona Sunshine)

The design of a character must always speak for himself, finds Jeff Dronkers from Vertigo Games. Whatever the character represents, must be obvious outward.

"I think about the existing emotional burden, the goals and motivation, as well as the world in which a character lives. The figures in After the case have this stress. They share a very laughed look, they are not soldiers but survivors and clubs Your strengths as a group. "

His design philosophy describes the character artist as very universal.

"For me, characters, head or NPC, represent the story of the game. As with their attitude and charisma. But also the exaggeration as well as distribution of these elements is important to convey the message of the characters and personalities. This is being created when creating NPCs something unimportant, as they should not be too unique. This allows them to be simpler repeatedly in an environment, which is important for efficient development. Hordes of opponents are a mixture of both. They should represent the story, but still look, but still look To be the same to avoid a repetitive pattern "

Eiyuden Chronicle: visualized personality

Junko Kawano, Character Designer and Illustrator at Rabbit & Bear (Eiyuden Chronicle)

Visualizing the personality of the characters is the most important thing for Character Designer Junko Kawano. Her work on Eiyuen Chronicle began with a simple description. Whenever she could not decide, she created several design proposals for the team to find out which would most likely fit their vision.

"I create concepts for the so-called" Tone and Style "principle. For example, I originally wanted to limit the number of colors. But at the beginning of the project Murayama-San said to me," This character should be designed in this color! ", And my plan went up in air (Haha!). So now we are looking for another approach, namely "sure that all colors look beautiful, even if several characters are at the same time on the screen." I think, for NPCs should be similar for NPCs , only with a lower color depth and lower detail density. "

Ghostrunner: with slogans on the hunt for the background story

Tomasz Pietrzyk, Concept Artist at One More Level (Ghostrunner)

Concept Artist Tomasz Pietrzyk, who has worked on the cyberpunk game Ghostrunner, emphasizes the importance of their role in the universe and their history during the design of characters. The exterior of a figure should reflect both.

"Hel, the right hand of the main antagonist in Ghostrunner, is a good example. Before I worked on your concept, I focused on writing slogans based on their background history that summarize the heroine in the simplest way: Cyborg, female Ghostrunner which was rebuilt by the antagonist, aggressive, unstoppable force, killing machine. Then I designed her appearance for these slogans: from the silhouette, about the colors, to the details that tell their story. And here the circle closes; the most important When creating characters is their story, which must be reflected in the final design. "

The design of a home character is often a reflection of the entire product, which it should make players easier to find themselves in the role. The immersion at Ghostrunner would be to be shared so that the face of the main character is never shown.

Glitchpunk: The importance of the WTF factor

Maciej Karbownik, studiofolder of Dark Lord (Glitchpunk)

Maciej Karbownik is a big fan of characters that go through big changes - good or bad. Therefore, glitching point focus on a world whose company is falling apart.

"That's why you'll see more tragic fates from people or androids than success stories. Well-written character sheets with a selection of mistakes and defects, needs and vulnerabilities that can understand players are a good basis for characters in my eyes."

An important aspect of character creation is the screetime of a figure for the studio founder of Dark Lord

"To tell a story, you need to know how short you have to keep yourself and whether you have the luxury to expand characters over a longer period of time or if they occur once. At the latter, it is helpful to take something that is easy Remembered: Strange features, fast plottwists, violent accidents, an exceptional exterior, fractures of the fourth wall or any other "WTF" factor. Sometimes I also go to my rules or turn them, simply with the "flow" too Go and experiment. The result is not always as good as I imagined, but it's always a great learning experience. "

Dragon Ball Z: The value of the original in view

Ryosuke Hara, Producer at Bandai Namco (Dragon Ball Z Kakarot)

Ryosuke Hara sees creating characters as a balance of replica and destruction. Especially when it comes to a well-known character like Son Goku from Dragon Ball Z Kakarot, who has been used several times in video games. In such cases one must define exactly what can be changed to provide fans a fresh approach.

"Let's say you're a fan of the character yourself, then you should ask yourself what fans can trigger emotions to characterize what they want to know and what elements are important to exceed their expectations."

The specifications of a game are determined by the expectations of the fans to characters. Some changes are also necessary according to Ryosuke Hara, depending on what a game is a matter. Finally, never should be reduced the value of the original work.

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Tales of Arise: Characters as messengers of news

Minoru Iwamoto, Art Director at Bandai Namco (Tales of Arise)

At Character Design, it is very important that it helps to clearly communicate players * inside the news that developers want to share them, so Minoru Iwamoto, Producer at Tales of Arise. All characters in a game carry this "message", which want to communicate their creators in different ways.

"To name a few examples: all characters have different situations, positions, personalities, problems, goals or life paths. In combat, all characters have a different combat style or a separate role. This is also one of their" news ", which influences which influences which Gambling styles We expect from players. It is very important to think about how I communicate these news and how players can enjoy them. "

Particularly important is for him when players see a character for the first time. The first impression often leads to a certain expectation later.

"If I designed main characters, I think about the" message ", which you should wear due to your place in the story, in your way to live, your fight style or your world view, as I have already mentioned, and design you so that This "message" is clearly conveyed. But that would not automatically result in an interesting game. Finally there are over 100 characters in the valley series, which could lead to a sense of Déjà Vu. "

Therefore, Minoru Iwamoto tries to accentuate the personality of the characters by providing them from certain associations from the setting and the underlying motive, so player * inside, which see the figures for the first time, can easily feel their unique personality and are interested in them for them .

"In addition, I organize the visual information so that I rich unnecessary parts, but highlight the really essential things so that the character leaves a long-term impression. In Japan we call" iconic expression "."

Bloodstained: Grow with the story

Koji "Iga" Igaraschi and Shutaro Iida, President / Producer and Director at ArtPlay (Bloodstained: Ritual of the Night)

For Koji "Iga" Igaraschi is the most important of creating characters that you have the necessary skills to create the game and grow in history. Therefore, he always thinks exactly how a figure can keep their motivation in relation to their place in the story.

On the other hand, Bloodstained-Director Shutaro Iida thinks above all important that aspects he "likes" people are represented in a character. In this way he can make sure he creates a good character.

When it comes to protagonist * inside, he makes way of thinking about how they play and what movements and skills are created. At NPCs, however, the personality plays a greater role, meaning that they are exaggerated than the heroes.

"NPCS exist to make the main character more interesting. The accented the personalities are, the more they are an additional plus."

GROW: The meaning of strange fish

Joel Styles, Art Director at Prideful Sloth (Grow: Song of the Egree)

In the games of Prideful Sloth, players are supposed to express themselves. Therefore, there is the possibility to experiment with the appearance of one's own avatar - or as in the case of Grow: Song of the Egree even with that of NPCs and animals.

According to Art Director Joel Styles is always the question of who or what a character is.

"How come from? How was your previous life? What personalities and defects do you have? As a rule, we start with a purpose that a character must fulfill in the game. Mostly this is a specific role that the gameplay should support. We want to support the gameplay But also make sure that all characters contribute more than just this to the game, and that they produce a different world through representation. "

For example, do a game need a quester, you have to decide what is needed exactly: a neutral villager or maybe a grumpy neighbor with complex? Is dry dialogue sufficient or helps a little story about your past?

"Whether it's home characters, NPCs, a sweet fluffy animal or a strange fish, we want to make characters a meaning, but also provide more facets that enrich the world."

Elex: a road trip through the ruhr area

Björn Pankratz, Creative Director at Piranha Bites (Elex)

Play fun is at the design of Björn Pankratz of Piranha Bites at the top. A playable main figure must be just fun.

"If you want to design a figure that you would like to meet in the game and this along with your goals, history and problems is well-tempered, dialogues and quests are almost alone."

For example, Jax from Elex is a very dry character, which thus offers many answer options that would provide for situation combination and still allow different intentions. The Creative Director also has an interesting comparison, which means developing figures for your games:

"To design a character in a Piranha bytes game is like a road trip through the Ruhr area, Germany's number one of the industrial romanticism. It is important to the people" look on the mouth "and to find out what they like to hear and say in the appropriate situation In order to produce an immersive call situation. Characters are often humourably gripped from true life "

Spellforce 3: Everything, only no copies

Nicolas Lietzau, Writer at Grimlore (Spellforce 3)

Regardless of the medium, for Spellforce 3-Next Nicolas Lietzau Ambivalency is the A and O.

"Interesting characters regardless of the medium are always contradictory qualities that make it difficult to categorize, whereby players stay on the ball. Geralt of Rivia is so fascinating through the discrepancy between his cynical, cruel outer and his loving, unauthorized core."

The aim for Grimlore is always balancing characters in their games and to keep them diver - but not in terms of the way the word is often understood today.

"Divers are not to be understood in this context with contemporary meaning, but rather that the characters should not be copies and cover a bandwidth of personnel and backgrounds with which players are to feel the interior of a bond. Balance means that the properties The characters differ and thus automatically create an interesting momentum. "

Expedition Viking: Everything, only no copies

Jonas Wæver, Creative Director at Logic Artists (Expedition: Viking)

Which role is a character in a history and gameplay is according to Creative Direct