![]() ![]() The idea that the ships were the ‘characters’ of the game was a reoccurring theme for us as we went about designing the fleets. Again, characterized by fine detailing that did not simply repeat over and over down the hulls. The art of the Star Wars movies and Masamune Shirow’s comics were big influences as well. The logic-driven design of the ships, right down to the heavy use of painted decals and tight industrial functional details, it made them feel so real and well scaled to each other as the player zoomed out to the large capital ships. We were drawn to the simple forms and bold colour schemes these artists were playing with. So, the art of the series was heavily inspired by the incredible sci-fi artwork of Peter Elson, Chris Foss, John Harris and others. ![]() For the ships themselves, articulating a believable scale was a big objective and a huge challenge given the technical limitations of the time. ![]() Rob Cunningham: Homeworld was the first ‘truly’ 3D RTS, so Aaron Kambeitz and I wanted to make the most of the innovative orbital/zoom camera design and create a world where the ships and environment really felt real and very huge. In short, what would Homeworld never be Homeworld without? Tell us about the inspirations behind your work and some of the design elements that define the series. But, like the films of Hitchcock or the music of Led Zeppelin, Homeworld was more than a genre milestone it was a defining point in video games with an influence that can still be felt nearly two decades after it's original release.Īs the Art Director for Homeworld and Homeworld 2, and now the CEO of Blackbird Interactive - the studio behind Homeworld: Deserts of Kharak - few people are as intimately familiar with the series as Rob Cunningham. Homeworld is a name that needs little introduction to fans of real-time strategy. ![]()
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