Development of Halo: Combat Evolved: Difference between revisions
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For Russel, the Forerunner visual language solidified during the production of the level "[[The Silent Cartographer]]", during building the segments in which Master Chief descends into the interior of the map room. During development, Russel found the architecture beginning to evolve the deeper he went, and he kept improving and refining the formula as he continued on the level until he reached the bottom.{{Ref/Reuse|AOH80}} The swamps of Installation 04 found in the later level "[[343 Guilty Spark (level)|343 Guilty Spark]]" were designed with lots of fog in the level for both mood and atmosphere reasons, but also to hide level geometry and save performance.<ref>[https://www.gamasutra.com/view/news/126782/343_Industries_OConnor_Speaks_Out_On_Halo_Anniversarys_New_Visuals.php#comments ''Gamasutra: 343 Industries' O'Connor Speaks Out On Halo: Anniversary's New Visuals'']</ref> During the production of the level, artist [[Michael Wu]] spent a lot of time working on one of the signature mangrove trees in the level's start, characteristically referred to as the "evil tree".<ref name="AOH82">''The Art of Halo: Creating a Virtual World'' - ''p. 82''</ref> Late in production, Griesemer worked on the level, placing the blood decals and Covenant barricades around.{{Ref/Reuse|commentary}} | For Russel, the Forerunner visual language solidified during the production of the level "[[The Silent Cartographer]]", during building the segments in which Master Chief descends into the interior of the map room. During development, Russel found the architecture beginning to evolve the deeper he went, and he kept improving and refining the formula as he continued on the level until he reached the bottom.{{Ref/Reuse|AOH80}} The swamps of Installation 04 found in the later level "[[343 Guilty Spark (level)|343 Guilty Spark]]" were designed with lots of fog in the level for both mood and atmosphere reasons, but also to hide level geometry and save performance.<ref>[https://www.gamasutra.com/view/news/126782/343_Industries_OConnor_Speaks_Out_On_Halo_Anniversarys_New_Visuals.php#comments ''Gamasutra: 343 Industries' O'Connor Speaks Out On Halo: Anniversary's New Visuals'']</ref> During the production of the level, artist [[Michael Wu]] spent a lot of time working on one of the signature mangrove trees in the level's start, characteristically referred to as the "evil tree".<ref name="AOH82">''The Art of Halo: Creating a Virtual World'' - ''p. 82''</ref> Late in production, Griesemer worked on the level, placing the blood decals and Covenant barricades around.{{Ref/Reuse|commentary}} | ||
The human aesthetic - primarily that of the interiors of the {{UNSCShip|Pillar of Autumn}} - was driven by Paul Russel's inspiration from the works of the artist Ron Cobb, who had done a number of instrumental work on developing the look of the ''Nostromo'' in ''[[Wikipedia:Alien|Alien]]'' and the colony in ''[[Wikipedia:Aliens|Aliens]]''. The interior of the vessel was designed to look believable and interesting, with drink vending machines, [[bulletin board]]s, and | The human aesthetic - primarily that of the interiors of the {{UNSCShip|Pillar of Autumn}} - was driven by Paul Russel's inspiration from the works of the artist Ron Cobb, who had done a number of instrumental work on developing the look of the ''Nostromo'' in ''[[Wikipedia:Alien|Alien]]'' and the colony in ''[[Wikipedia:Aliens|Aliens]]''. The interior of the vessel was designed to look believable and interesting, with drink vending machines, [[bulletin board]]s, and signs denoting various areas of the ship for the crew and the player. Paul tried to take the industrial look developed by Cobb for ''Alien'' and riff on that without turning into a blatant copy, wanting to show things in a functional way that looked like it fit together. The final result was a design direction which looked like it had been built by human hands.<ref name="AOH75">''The Art of Halo: Creating a Virtual World'' - ''p. 75''</ref> Smith also provided concept artwork for the interior of the ''Autumn'', with [[Lorraine McLees]] developing some of the exterior look. McLees' involvement in the game's production was primarily to do with visual branding and marketing and began working on the ship as everyone else on the team was too busy to do so. Griesemer and Lehto specified they wanted the vessel to look distinctly human, but the only human designs in the game at that point in time were the Warthog, weapons and a now-cut boat. McLees did a handful of sketches, and the team was drawn to one reminiscent of the shape of the assault rifle. At the request of Lehto, the ship was lengthened about three hundred percent to make it longer than tall.<ref name="AOH125">''The Art of Halo: Creating a Virtual World'' - ''p. 125''</ref> | ||
===Weapons=== | ===Weapons=== | ||