The following contains the text found within the fifth part and acknowledgements of The Art of Mass Effect, published in 2007. The commentary was written entirely by Casey Hudson.[1]
Alien Worlds[]
In giving players a galaxy of places to explore, Mass Effect required the design of countless alien landscapes and architectural styles. The earliest concepts simply helped the team understand the basic style and format of the game itself. As the story developed, however, specific locations-such [sic] as the spectacular space station known as the Citadel-could [sic] be developed in great detail. Many of the early production paintings established the look of areas as they are seen in the final game, but as these images illustrate, the entire mood of some areas continued to change until very late in production.
Early Concepts[]
These paintings were done at the very beginning of the project, to help visualize the combat experience of Mass Effect. Though neither of these areas were built as shown, they established an overall style that can be seen throughout Mass Effect.
Even before the initial story outline was written, these early paintings explored ideas for interesting science fiction-inspired [sic] locations. In some cases, they inspired the design for planets that would eventually be built for Mass Effect.
Eden Prime[]
In the first concepts, the human colony of Eden Prime was shown in its natural state, with rolling green hills of farmland. This scheme was used for developing early prototypes of Mass Effect (below). As it became necessary to set a darker tone at the beginning of the story, colors on this planet shifted to a red palette with burning embers raining from the sky.
Early layouts featured a tall bridge that transferred cargo between enormous towers. While this bridge was eventually removed, the final version of Eden Prime would still involve a cargo train.
In this "after" shot, it's clear how much damage has been done to the planet by the arrival of Sovereign. The sky is clogged with smoke and entire buildings sheared in half. On the ground, the enormous ships' [sic] powerful engines have left a huge circle of burning crops.
Eden Prime Train Station[]
This complex structure would not only have to appear functional, but also offer useful combat positions for the fight that would take place there.
Therum Mining Complex[]
n [sic] early story drafts, Therum had a mining facility with a wide atrium (above), complete with a seedy bar.
Therum Mines[]
While much of the mining equipment was actually used in Mass Effect, some of the interiors were ultimately not required by the story.
Silos and gatehouses created a sense of heavy industry on Therum.
Prothean Ruins[]
Liara is discovered inside a huge, long-buried Prothean tower. Only part of it was excavated, revealing its tremendous size.
Thorian Lair[]
Living beneath the human colony, the gigantic Thorian hangs from the ruins on long tentacles (opposite).
Feros[]
A small human colony amid the ancient ruins of a Prothean city, its combination of architectural styles with a destroyed look was particularly difficult to lock down.
These rough 3-D models illustrate the complexity of this world. With rubble and debris forming much of the environment, it was a challenge to ensure that players would know where they were, and where they needed to go.
While rough 3-D models helped sort out geometric problems for areas like the Thorian lair, materials and lighting were applied to portions of the level to lock down a final "look." The reflective foil that lines the walls is presumably the remains of ancient insulation, but was inspired by the gold foil that covers many real-life spacecraft.
Despite its irregular appearance, much of Feros was made with re-usable parts, making it easier to build and less demanding on memory. To test re-usability, the parts were first modeled and assembled in a blocky form.
As the 3-D level art took shape, it continued to bear a strong resemblance to the initial painted concept of Feros (below). Later, the artists pushed for an ever higher visual quality, while the color palette shifted into a high-contrast blue-grey scheme.
Ilos[]
Throughout most of Mass Effect's development, Ilos was a lush jungle world, an idyllic planet whose Prothean inhabitants had long since vanished (above). But as the setting for the dark beginning to the third act of the story, it needed a more ominous feel.
These early 3-D models of the environment show the development of the Prothean aqueducts and the Archive. The near-final color scheme (bottom) makes use of dried and twisted vines, as well as an orange color palette with green mid-tones that makes the area feel unsettling and "dead."
Ilos Archive[]
The Archive housed the bodies of thousands of Protheans in suspended animation. Though they were to be awakened when rescued, no rescue occurred. This area was meant to simultaneously capture a sense of wondrous scale and deep sadness.
Noveria[]
Initial designs for Noveria were heavily inspired by the idea of a spaceport in the Swiss Alps. But as the story became more detailed, the snowstorm was intensified and the wooden materials were changed to exposed concrete to create a colder, isolated feeling.
Though the structures of Noveria were planned in great detail, they were rearranged several times to optimize the story and combat.
Early concepts for the Mira computer (above) and a generic hallway section (right). Even though many of the locations on Noveria are underground, the hallways feature windows that reveal the dim blue glow of the icy cavern walls outside.
These early screenshots show the development of the ice and wall materials that would eventually give Noveria its unique look.
The Citadel-Presidium [sic][]
The Presidium was inspired by a classic idea from science fiction: [sic] the ring-shaped space station. In Mass Effect, this circular environment blends sleek architecture with natural features, such as trees and winding shoreline, where the political elite of the galaxy can discuss matters of the highest importance. High above, a holographic sky completes the "outdoors" feel.
The Citadel[]
Whereas the Presidium has an open and airy feeling, other areas of the Citadel are more cramped, resembling city streets and office buildings.
The Citadel-Apartments [sic][]
Although this area was never built, this painting captured the cosmopolitan lifestyle that would be enjoyed by those who live and work on the Citadel.
The Citadel-Docking Bays [sic][]
With a sheet of energy holding the air inside these large bays, the entire Citadel can be seen beyond the docking arm in a stunning vista. These rough 3-D models helped work out the angles and dimensions that would allow the Normandy to approach while showing off this amazing view.
The Citadel (2)[]
A large number of different architectural schemes had to be developed to provide opportunities for exploring the Citadel's diverse locations.
The Citadel-Exterior [sic][]
Though it wasn't always needed, it was useful to know how the entire structure worked, including how the joints moved when it folded into its defensive shell, and how transportation systems would carry millions of citizens around the Citadel.
The Citadel-Presidium Tower [sic][]
At the center of the Citadel, the Presidium Tower holds the pinnacle of galactic power: the Citadel Council (left).
The Citadel (3)[]
Marker renders (top) established the basic structural shapes while 3-D models allowed final materials and colors to be defined (bottom).
Whereas both the Presidum and Council areas used a limited color palette, the "grungier" areas of the station used saturated colors and high-contrast lighting to capture the feel of a city at night.
Virmire[]
Inspired by the uniquely-shaped islands of Palau, Virmire is the location of Saren's oceanfront fortress. The combination of white-painted concrete, lush tropical vegetation, and stormy skies creates a memorable atmosphere for the assault that leads players through a series of important revelations.
Painted-over screenshots of blocky versions of the level, these concepts helped artists define the details, lighting, and materials that would eventually be added (middle, right). Even though these quickly-drawn paintings lack color, the mood of each area is strongly portrayed.
For each different type of area, artists created an entirely new set of materials and details. For Virmire, rusted materials and weathered paint were applied to structures, while detailed railings, steps, and cable anchors were built for this tropical location.
Acknowledgements[]
The concept art that is the focus of this book was produced by the following artists, without whom this unique vision of the future would not have been possible.
Derek Watts
Matthew Rhodes
Sung Kim
Adrien Cho
Fran Gaulin
Mike Spalding
Mike Trottier
Michael Jeffrey
Sasha Beliaev
Mike Higgins
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References[]
- â Beyond the Game, Derek Watts section