This post is a reaction to lead producer Keith Lee's comments referenced in the article "‘Diablo III’ Producer Justifies Controversial Art Direction: ‘Color Is Your Friend’" on MTV Multiplayer. Ref: <http://multiplayerblog.mtv.com/2008/07/02/diablo-iii-art-direction/>
This is a respectful, formal criticism in no way meant to offend, disparage , or disrespect Mr. Lee or any member of the Diablo III team. In fact, were I to have anything but the utmost respect for Blizzard, the Diablo franchise, and the Diablo III team, I would certainly not bother with the effort put forth in this reaction.
In what follows I argue that lead producer Keith Lee's reasoning fails to justify the change in artistic direction from Diablo I and II, to Diablo III. Three premises will support this conclusion:
- The analogy made to Lord of the Rings only corroborates the claim of a disconnect between the Diablo fanbase and the in-game art direction of Diablo III.
- I show, contra Lee, that there is potential for great diversity within the traditional artistic style of the Diablo Universe.
- I demonstrate the likelihood of contrast between in-game and out-game, not in-game and in-game, as that which constitutes the success of the Diablo Universe.
I. The Analogy Made to 'The Lord of the Rings'
There can be no doubt that The Lord of the Rings is a fantastically successful franchise. There can also be no doubt that, at certain instances, the art direction in The Lord of the Rings is near to the wishes of the Diablo community for Diablo III. The problem in using this analogy is this: these instances occur only in The Lord of the Rings' darkest, most decadent moments (in the sense of the word that reflects a state of deep moral and cultural decline). Indeed, there is much darkness in The Lord of the Rings, but not much of it is dark enough, or decadent enough to satisfy the Diablo fanbase.
The moments that do are comparatively few in relation to the whole, thus they do not characterize the artistic style of Lord of the Rings. Darkness and decadence does, however, because it is so prevalent in Diablo I and II, characterize the aesthetic style of the Diablo Universe. A vast majority of the Diablo fanbase wishes to preserve the aesthetic character of the Diablo Universe. Therefore, the analogy made to The Lord of the Rings, because it is different in aesthetic character from the Diablo Universe, only corroborates the claim of a disconnect between the Diablo fanbase and the in-game art direction of Diablo III.
It could be responded that these decadent moments in Lord of the Rings, to which the traditional style of the Diablo Universe is analogous, are effective only insofar as they stand in contrast to its many bright and colorful moments. Therefore, it could be argued that Diablo III ought to incorporate bright and colorful moments. I hold this to be fallacious mainly for reasons shown in premise three; but, in addition to the theoretical reasoning put forth there, I shall hold the following empirical reasoning (reasoning based on observation) to dismiss this objection: 1) the traditional style of the Diablo Universe contains only a small range of in-game contrast, and 2) despite this (or, as I will later argue, because of this), Diablo I and Diablo II were tremendously successful.
II. Diversity within the Traditional Artistic Style of the Diablo Universe
Mr. Lee holds that the traditional artistic style of the Diablo Universe does not allow for the diversity necessary for Diablo III. Contained in this position is the following proposition implied by it: Diablo III should be diverse to the point which requires deviation from the tradition artistic style of the Diablo Universe.
The problem with this proposition implied by Mr. Lee’s position is obvious and two-fold.
First, the Diablo fanbase is mostly and seriously opposed to it; Diablo III, they say in great number, does not require deviation from the traditional artistic style of the Diablo Universe. Second, the fanbase is right; but not for any reason I have seen explicated thus far. They are right because diversity in any increased amount does not require deviation from the traditional artistic style of the Diablo Universe.
The best example of this claim is Heaven. For example, the overwhelming darkness of Hell could be complimented by overwhelming lightness in Heaven. This would add enormously to the diversity of the game without at all violating the traditional artistic style of the Diablo Universe. Therefore, there is potential for great, even infinite diversity within the traditional artistic style of the Diablo Universe.
What is opposed to the artistic style of the Diablo Universe? The answer to this question is simultaneously that which would be the most egregious error against the will of the fanbase: anything cartoon-like in form, color, texture, or tonality.
“[C]olor is your friend,” Mr. Lee correctly states. Nevertheless, its usage must be responsibly dictated in ways that do not transpose another universe on top of it, but enhance and diversify this universe, the Diablo Universe. The potential for this within the traditional artistic style of the Diablo Universe is unlimited.
III. In-Game and Out-Game Contrast
In this premise I wish to put forth a theory which would partly explain the enormous success of the Diablo franchise. The traditional Diablo Universe, we know, includes some but no great amount of contrast in color and tonality. Why, then, if contrast is so important, is the Diablo franchise so successful?
I theorize that the fanbase is so loyal and loving of the traditional artistic style of the Diablo Universe not because in it (in-game to in-game) there are great contrasts, but because its dark and serious character contrasts with the character of the world around them (in-game to out-game). The character of the world around us can sometimes seem silly and superficial, and for this immersion in a dark and serious universe is a deeply satisfying antidote. Therefore, it is possible that the contrast between in-game and out-game, not in-game and in-game, is that which constitutes the success of the Diablo Universe. In light of this theory and the premises above, lead producer Keith Lee's reasoning fails to justify the change in artistic direction from Diablo I and II, to Diablo III.
Conclusion
I again state that this reaction is meant in to be taken as formal critique, and thus attached to it are no intentions to offend, disparage, or disrespect Mr. Lee or any member of the Diablo III team. I would have no desire to explicate my views were anything but respect and admiration for Blizzard, the Diablo franchise, and the Diablo III team, especially Mr. Lee, present in me. Nevertheless, his positions on the tonal character necessary for Diablo III, as they are represented in the above referenced article, are mostly fallacious. This conclusion is adequately demonstrated by the above premises.
We give to the creators of universes freedom to do what fans least expect, and sometimes what they least want. This can have explosively wonderful consequences, as these creators are trained as experts and they know, most times, what fans will enjoy better than the fans themselves. Nevertheless, the success of creators is wholly determined by how well their judgements align with fan preferences, whether in the fan they be realized yet or not. The following, however, is a preference certainly realized: that the traditional artistic style of the Diablo Universe be upheld. Many things may be diversified within it, but Diablo III will not be a success without it.
About me: I am a graduate student in philosophy at West Chester University and an avid gamer, which explains both the style of this reaction and my passion for Diablo.
Dont micro-analyze everything...hes breathing fire...most likely Blizzard told the artist to draw up a banner for Blizzcon and include every title...there isnt a subtle hints in this banner...and have you ever played diablo? what is Diablo most damaging attack? when he smolders your ass with flames
Oh, I'm well aware of his attack! The point is that if it IS his fire, it was deliberately placed in the foreground, above the Blood Elf hottie.
Well, the Blizzard logo is there because it probably has to be. Also, World of Warcraft is a game, not a franchise in itself. The franchise is Warcraft. On the other hand, I haven't seen Blizzard use a generic Warcraft logo in quite awhile. Who knows!
Also, I feel like if anything, that there is no Diablo logo down the left hand side of the Blizzcon site is a sign it might be coming. The other logos all reference specific games, not franchises, so it's possible Blizzard is waiting for the announcement of Diablo 3 to include a Diablo logo.
It's just something to chew on that I found interesting Does anyone else remember seeing that previous to BlizzCon?
EDIT: I didn't mean to ask if anyone saw it on the the site for the first Blizzcon. Rather, has anyone noticed it on this year's Blizzcon site previous to today?
That's true that there's a hint of it in the illustration of the blood elf chick alone to the right of the news. However, I looked at this pic several times before as well, closely too for any sign they might not be shafting Diablo at Blizzcon, and I never noticed it.
I noticed this on the official Blizzcon site. I was initially disappointed to see Diablo shoved in the back of this image, but upon closer inspection there seems to be a mysterious red glow, almost like he's breathing fire, IN FRONT of the blood elf chick. A subtle hint that he's coming to the forefront tomorrow? Am I reaching?
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This is a respectful, formal criticism in no way meant to offend, disparage , or disrespect Mr. Lee or any member of the Diablo III team. In fact, were I to have anything but the utmost respect for Blizzard, the Diablo franchise, and the Diablo III team, I would certainly not bother with the effort put forth in this reaction.
In what follows I argue that lead producer Keith Lee's reasoning fails to justify the change in artistic direction from Diablo I and II, to Diablo III. Three premises will support this conclusion:
- The analogy made to Lord of the Rings only corroborates the claim of a disconnect between the Diablo fanbase and the in-game art direction of Diablo III.
- I show, contra Lee, that there is potential for great diversity within the traditional artistic style of the Diablo Universe.
- I demonstrate the likelihood of contrast between in-game and out-game, not in-game and in-game, as that which constitutes the success of the Diablo Universe.
I. The Analogy Made to 'The Lord of the Rings'
There can be no doubt that The Lord of the Rings is a fantastically successful franchise. There can also be no doubt that, at certain instances, the art direction in The Lord of the Rings is near to the wishes of the Diablo community for Diablo III. The problem in using this analogy is this: these instances occur only in The Lord of the Rings' darkest, most decadent moments (in the sense of the word that reflects a state of deep moral and cultural decline). Indeed, there is much darkness in The Lord of the Rings, but not much of it is dark enough, or decadent enough to satisfy the Diablo fanbase.
The moments that do are comparatively few in relation to the whole, thus they do not characterize the artistic style of Lord of the Rings. Darkness and decadence does, however, because it is so prevalent in Diablo I and II, characterize the aesthetic style of the Diablo Universe. A vast majority of the Diablo fanbase wishes to preserve the aesthetic character of the Diablo Universe. Therefore, the analogy made to The Lord of the Rings, because it is different in aesthetic character from the Diablo Universe, only corroborates the claim of a disconnect between the Diablo fanbase and the in-game art direction of Diablo III.
It could be responded that these decadent moments in Lord of the Rings, to which the traditional style of the Diablo Universe is analogous, are effective only insofar as they stand in contrast to its many bright and colorful moments. Therefore, it could be argued that Diablo III ought to incorporate bright and colorful moments. I hold this to be fallacious mainly for reasons shown in premise three; but, in addition to the theoretical reasoning put forth there, I shall hold the following empirical reasoning (reasoning based on observation) to dismiss this objection: 1) the traditional style of the Diablo Universe contains only a small range of in-game contrast, and 2) despite this (or, as I will later argue, because of this), Diablo I and Diablo II were tremendously successful.
II. Diversity within the Traditional Artistic Style of the Diablo Universe
Mr. Lee holds that the traditional artistic style of the Diablo Universe does not allow for the diversity necessary for Diablo III. Contained in this position is the following proposition implied by it: Diablo III should be diverse to the point which requires deviation from the tradition artistic style of the Diablo Universe.
The problem with this proposition implied by Mr. Lee’s position is obvious and two-fold.
First, the Diablo fanbase is mostly and seriously opposed to it; Diablo III, they say in great number, does not require deviation from the traditional artistic style of the Diablo Universe. Second, the fanbase is right; but not for any reason I have seen explicated thus far. They are right because diversity in any increased amount does not require deviation from the traditional artistic style of the Diablo Universe.
The best example of this claim is Heaven. For example, the overwhelming darkness of Hell could be complimented by overwhelming lightness in Heaven. This would add enormously to the diversity of the game without at all violating the traditional artistic style of the Diablo Universe. Therefore, there is potential for great, even infinite diversity within the traditional artistic style of the Diablo Universe.
What is opposed to the artistic style of the Diablo Universe? The answer to this question is simultaneously that which would be the most egregious error against the will of the fanbase: anything cartoon-like in form, color, texture, or tonality.
“[C]olor is your friend,” Mr. Lee correctly states. Nevertheless, its usage must be responsibly dictated in ways that do not transpose another universe on top of it, but enhance and diversify this universe, the Diablo Universe. The potential for this within the traditional artistic style of the Diablo Universe is unlimited.
III. In-Game and Out-Game Contrast
In this premise I wish to put forth a theory which would partly explain the enormous success of the Diablo franchise. The traditional Diablo Universe, we know, includes some but no great amount of contrast in color and tonality. Why, then, if contrast is so important, is the Diablo franchise so successful?
I theorize that the fanbase is so loyal and loving of the traditional artistic style of the Diablo Universe not because in it (in-game to in-game) there are great contrasts, but because its dark and serious character contrasts with the character of the world around them (in-game to out-game). The character of the world around us can sometimes seem silly and superficial, and for this immersion in a dark and serious universe is a deeply satisfying antidote. Therefore, it is possible that the contrast between in-game and out-game, not in-game and in-game, is that which constitutes the success of the Diablo Universe. In light of this theory and the premises above, lead producer Keith Lee's reasoning fails to justify the change in artistic direction from Diablo I and II, to Diablo III.
Conclusion
I again state that this reaction is meant in to be taken as formal critique, and thus attached to it are no intentions to offend, disparage, or disrespect Mr. Lee or any member of the Diablo III team. I would have no desire to explicate my views were anything but respect and admiration for Blizzard, the Diablo franchise, and the Diablo III team, especially Mr. Lee, present in me. Nevertheless, his positions on the tonal character necessary for Diablo III, as they are represented in the above referenced article, are mostly fallacious. This conclusion is adequately demonstrated by the above premises.
We give to the creators of universes freedom to do what fans least expect, and sometimes what they least want. This can have explosively wonderful consequences, as these creators are trained as experts and they know, most times, what fans will enjoy better than the fans themselves. Nevertheless, the success of creators is wholly determined by how well their judgements align with fan preferences, whether in the fan they be realized yet or not. The following, however, is a preference certainly realized: that the traditional artistic style of the Diablo Universe be upheld. Many things may be diversified within it, but Diablo III will not be a success without it.
About me: I am a graduate student in philosophy at West Chester University and an avid gamer, which explains both the style of this reaction and my passion for Diablo.
Post reactions or feel free to email me at louisdilello@gmail.com.
Thanks!
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Oh, I'm well aware of his attack!
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EDIT: Okay, it's a poll now. Let's see if anyone has seen it before.
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EDIT: I didn't mean to ask if anyone saw it on the the site for the first Blizzcon. Rather, has anyone noticed it on this year's Blizzcon site previous to today?
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I noticed this on the official Blizzcon site. I was initially disappointed to see Diablo shoved in the back of this image, but upon closer inspection there seems to be a mysterious red glow, almost like he's breathing fire, IN FRONT of the blood elf chick. A subtle hint that he's coming to the forefront tomorrow? Am I reaching?
- Zoc