There were obviously things set in stone in terms of story and what the world was, but they sure wanted to open up the world into a lot of different areas and bring the story into some new areas. I think it was more of a mood and feel thing, where we ran into areas that we didnâ€™t want to touch, and it was more us searching around and trying to find that Diablo sweet spot for our story delivery and our tone. We knew what we wanted; we had a really good idea of what it was, but for us to put it down in a game and have other people feel that was the biggest challenge, I think. It took a lot of iteration. We were changing dynamics, the player now spoke a lot more, we delivered dialogue in a different manner; just all that stuff.
I think early on it was a bigger issue, and through the iteration process weâ€™ve really dialed it in. I think thatâ€™s one of the things that weâ€™re fortunate of here at Blizzard; we have time to iterate and have great designers on other teams. Any game youâ€™re working on, just by the nature of the beast, you get too close to it to actually be able to see what you need to see. To have fresh eyes to look at it and give you feedback is invaluable. I think the challenge with Diablo that Iâ€™ve found, thatâ€™s been a little bit more than some of the other games Iâ€™ve worked on, is the economy of delivery systems.
We donâ€™t have a huge amount of dialogue with which to convey ideas, we donâ€™t have a lot of the RPG conventions that I fell back on in the past, like dialogue trees, to really convey a lot of the stuff, so for us to convey the mood and vibe in a really succinct manner was a really big challenge, but I think after a lot of iteration and a lot of great feedback from other designers I think weâ€™ve pretty much hit it. The End of Days draws near as Diablo III is going to launch on May 15. To prepare you for the defense of the mortal realms, the Blizzard Film Department recently unveiled the gameâ€™s intro cinematic at the Spike Video Games Award Show.