Exploring the Artistic Depths: The Application of a 3D Production Process in Crafting 2D Animation for Dead Cells
In the world of video game development, Motion Twin's indie team has made a significant mark with their critically acclaimed title, Dead Cells. One of the key figures behind this success is Thomas Vasseur, the artist responsible for the game's Art Direction, characters, monsters, animations, special effects (FX), and most of the background.
Before embarking on Dead Cells, Vasseur worked on five games with Motion Twin, honing his skills and laying the groundwork for the masterpiece to come. These games included Brutal Teenage Crisis, Green Witch, FAFI 360, Uppercup Football, and Monster Hotel.
Vasseur's journey with Dead Cells began as the only artist on the team, working diligently for a year to design and animate every aspect of the game. To streamline the process, a unique 3D workflow was adopted, which would prove to be a game-changer.
This workflow allowed for the quick and easy creation of 3D models and environments, serving as the foundation for the game's pixel artwork. Each frame of the animation was exported as a .png along with its normal map, enabling the rendering of volume using a basic toon shader.
The 3D workflow also automated the generation of interpolation frames for smooth animations, saving time and energy. Retakes on animations could be handled efficiently by moving keyframes in the timeline or adjusting the pose to the new timing. The reuse of the same animation on various models was also made possible, further expediting the production process.
To maintain visual quality and stylistic coherence, a lighting system was designed with the 3D Dead Cells workflow in mind. This system avoided the need for drawing shadows by hand on all frames, saving additional time and effort.
As the project progressed, Gwenael Massé joined the team, effectively doubling the number of artists on Dead Cells. With the combined efforts of Vasseur and Massé, the game's art production was managed efficiently, resulting in the high-quality visuals Dead Cells is renowned for.
The 3D Dead Cells workflow was inspired by popular fighting game series such as King of Fighters, Blazblue, and Guilty Gear. This hybrid technique, which combines the flexibility and productivity of 3D tools with the aesthetics of 2D pixel art, represented a significant leap forward in the production of pixel-art styled games.
The Gamasutra Deep Dives series, an ongoing series that aims to reveal the intricacies behind specific design, art, or technical features in video games, has previously analysed the creation of drama through multiple tasks in Bomber Crew, maintaining player tension levels in Nex Machina, and achieving seamless branching in Watch Dogs 2's Invasion of Privacy missions. Dead Cells' art workflow, while not explicitly mentioned in the series, follows a similar path, showcasing the innovation and creativity that Motion Twin brings to their projects.
[1] This assessment depends on the common known practices studios mention when referencing 3D workflows for pixel art-style games and on the brief note from the Instagram snippet suggesting working closely with concept art tied to 3D modeling.
- With the hybrid technique inspired by popular fighting game series, Motion Twin's indie team applied data-and-cloud-computing technologies to their 3D workflow for Dead Cells, employing artificial-intelligence to automate the generation of interpolation frames and reuse animations across various models, enhancing productivity in the pixel-art game production process.
- The high-quality visuals and stylistic coherence of Dead Cells are a testament to the integration of smartphones and gadgets in the team's workflow, as they leveraged 3D models and environments for the quick and easy creation of pixel artwork, fostering innovation in the world of video game development.
