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Unreal Engine 3 Powers New Twist On Camelot Legend In Gameloft Wild Blood

 
John Gaudiosi
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John Gaudiosi is co-founder of GameHub Content Network and Editor-In-Chief of GamerHub.tv. He's covered the video game industry for 20 years for outlets like Reuters, The Hollywood Reporter, Forbes, CNN, Entertainment Weekly, Geek Magazine, NVISION and Tegrazone. 

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 Published December 31, 2012 9:55 AM

Gameloft’s first Unreal Engine 3 project, the hack-and-slash adventure Wild Blood, stands out for many reasons. The new action game forges an original tale in King Arthur’s Camelot, while painting one of the most visually stunning mobile gaming worlds since Epic Games’ Infinity Blade franchise.

The critically acclaimed game has been singled out for its simple but deep gameplay and its amazing visuals, which feature a variety of demons and extremely detailed Arthurian environments for exploration. The development team said Unreal Engine 3 brought “increasingly realistic and dynamic lighting and shadow effects, all kinds of particle effects and excellent and brilliant scene rendering abilities. We also found a very efficient use of performance.”

Gameloft’s team was able to utilize multiple aspects of the Unreal Engine 3 toolkit to bring the mobile action adventure to the portable screen. During the development process, the team was able to use Kismet for editing the visual gameplay, Cascade for creating hundreds of particle effects in the game, and LOD for devices with different performance. Matinee was employed for creating a cinematic game with rich story, audio components and events. In addition, Frontend, iPhone packager, and the deploy server made up a complete tool kit that improved the overall development efficiency.

“We used the texture editor to implement the fog light, lighting placement, rendering and scene preload,” said the team. “Additionally, we also used the animset & animtree, which are both convenient and completely different form the old workflow. We can now control the skeletal animation and morph targets base on the animation which we can easily access without having to create a new one. We can also blend the animation in the editor in a very simple and easy way. Furthermore, by using the level editor, we were able to build the greyboxes, play in the them to get a sense for the scale and the view of the level, and then use the Kismet to control the flow of it (e.g. starting a level, triggering an event, spawning enemies, playing with the cinematic, etc.).”

Throughout the development process, the team was able to tap into the Unreal Development Network when questions arose.

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