The game was originally set to release Mabut was delayed, and was eventually released May 23, 2019. The game uses the Warscape which is the same engine that has been used since Empire: Total War in 2009.
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It is part of a long running Total War series, and represents the latest entry in the 'historical' mainline entry of the series (as opposed to the 'fantasy' Warhammer series) since Total War: Shogun 2 in 2011. And then do the research required to make it logical – all good design is fundamentally based on reality and is believable.”Īnd Beth’s: “I’d say a good weapon design can tell a story just like a character design, so keep on with that style of thinking – even when it comes to small things like items and props.Total War: Three Kingdoms is a hybrid RTS and TBS game made by Creative Assembly. When designing a weapon, consider its place in the world, how and by who it will be used, its significance in the narrative, any mythology surrounding it, and of course its connection with any other special characters. Teo’s tips: “Weapons are not only small representations of the world in which they exist – so they need to be considered in the environment in which they are used – but they are also extensions of the hero’s identity, and the design should represent that identity. With video games, you could design anything as a weapon, really! But with THREE KINGDOMS being a more realistic title, in comparison to say WARHAMMER, we keep it more low key.” Best sword forwardĪnd finally, what advice would they give somebody designing weapons for video games themselves? And of course, as games completely virtual, it does give us the freedom to explore these more mythical ideas.”īeth similarly opines: “We’d like the weapons to be believable and grounded, but also varied so we add a sprinkling of design liberty in there. “However, sometimes when there is a lack of references or the source novel presents a more mythical weapon concept, we do allow ourselves a little more artistic freedom. “Realism in a historical title such as THREE KINGDOMS is very important,” Teo affirms. So where does the balance lie between trying to maintain historical realism and the potential freedom afforded by making virtual weapons for a video game? Variation and verisimilitude between large numbers of similar units wielding the same weapon is a key consideration when working on Total War games, as Beth explains further: “Just like characters readability at a distance is important, but unlike characters we don’t want something distinctively unique in the design! Since there’ll be hundreds of the same weapon wielded by lots of people, we don’t want parts that stand out in a weird way – like a big distinctive scratch across a blade.” And if the weapon is part of the character’s costume, you need to think about where you can position it so it doesn’t create skinning or deformation issues.” Teo agrees: “You don’t want it to be so large that is intersects with the character when used – or too small. Character animations will dictate where the weapon is held by the soldier’s hands, where the impact area of the weapon is, and how long and/or big it can be.”
The challenge with bespoke weapons for heroes is communicating their story through them, especially if it is closely related to the character’s identity.”īeth, meanwhile, is keen to emphasise the importance of medium: “Again, technical limitations are the biggest challenges. Teo believes that a lot of this hinges on who will be wielding the weapon, saying: “The challenge when making weapons for units is making weapons that won’t be too visually overwhelming when being held by hundreds of them at a time as part of a big army while also keeping them interesting. Much like when designing armour for Total War: THREE KINGDOMs, the process of designing weapons has its own particular intricacies.
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I’m also looking at museum artifacts and weapon props in Chinese TV shows and movies to inform myself as much as possible about shape languages.”Īnd what about the all-important question of whether handling actual weapons helps when designing them?Ī resounding “Definitely! All such experiences can be a source of good insight and inspiration!” from Teo, and as for Beth: “Oh, I bet it does! Sooo, CA – fancy giving us artists some weapon training?” Duelling dragons In Beth’s case, “it’s looking through that book and at our existing concepts, especially if it’s for a hero as the weapon should fit the character design if it’s for a particular person. Teo explains: “Some of the more elaborate weapons will have descriptions in the Romance of the Three Kingdoms novel, from which we get information and inspiration, but for the most part we rely on historical research online, archaeological findings, and descriptions from books – and some artistic liberty and imagination.” Briefing (and little books) aside, both Teo and Beth have their own approaches when it comes to the next steps of the research process.
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