Hello, I’m Sean Jung, Art Director on Ember and Blade. This is my first time speaking to you directly, and I'm excited to share some thoughts in our second official devlog.

We’re now approaching the one-year mark since the project began. Honestly, I didnt' expect to be writing like this—at least not this early. As someone used to communicating visually, stepping into this writing role still feels somewhat unfamiliar. Nonetheless, now feels like the right moment to discuss how I began building this world and where it's headed.

Looking back, my first steps with this project felt cautious and tentative.

A temporary loading screen from the demo, featuring a keepsake left behind by Fenrix’s younger sister, Chloe.

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Before joining Ember and Blade, I spent most of my career in the animation industry, working across feature films, TV series, and short-form animations. Just before this project, I was on a TV animation series based on a well-known game IP. But as things often go in this industry, the project was put on hold. That's when J.Kim, our director, reach out with an opportunity. And after some thought, I took my first step into game development.

I wasn’t very confident at first. I believed animation and games were based on different foundations. In animation, visuals are built on a narrative base. In games, it all starts with systems and player interaction. Animation gives you full control over every frame. Game visuals have to respond to what the player is doing, moment to moment. It felt unfamiliar and intimidating. But the story of Ember and Blade helped me take that step.

At first, it seemed like a familiar set of fantasy elements—angels, demons, ancient seals, and great evils. These were tropes I had seen many times. But as I explored the story more closely, my perspective changed. It wasn’t just background worldbuilding to support gameplay. It was a story about pain, choice, and transformation. The characters felt real, and the emotions behind them were sincere.

For me, narrative has always been the foundation of visual design. That connection is what gave me the confidence to try something new. Ember and Blade’s unique and original story, which is unusual for an action game, was the main reason I felt prepared to step into this unfamiliar world.


One of the placeholder thumbnails from the internal 2024 build test. This image hints at the dreamlike tone of ACT 1 and the presence of a mysterious figure.

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Once I understood the tone of the story, I started thinking about its visual identity. What kind of look should this game have? How should the world feel to the player? Art isn’t just about creating nice visuals. It’s about helping players understand the story and connect with the world through what they see.

At its core, Ember and Blade is an action game. Because Ember and Blade is an action game, I naturally looked to classics like 'Diablo' and 'Path of Exile.' We could have followed that path—gritty textures, a dark palette, and a heavy atmosphere. There’s a familiar strength to that style. But I felt drawn to a different direction.

Two games stood out as alternatives: 'Hades' and 'AFK Journey.' 'Hades' made a strong impression with its comic book-style line work and bold black shading. It matched the game’s sharp storytelling and high energy. 'AFK Journey' isn’t an action game, but its watercolor-inspired palette, refined UI, and delicate textures created a lyrical, emotional rhythm that ran through the entire experience. Both of these titles had a clear and confident visual identity. They didn’t follow tradition. That gave me the freedom to explore something less expected.

Instead of heavy armor and gritty realism, I started leaning toward something more delicate and surreal. “Elegant dark fantasy” might sound like a contradiction, but it felt like the right fit for us. We looked to Art Nouveau patterns, soft pastel tones, and a quiet, unsettling kind of beauty. This wasn’t just about aesthetics. It was the most effective direction achievable given our team’s resources, time, and tools.

Style is about finding a visual language that plays to your strengths. It can also help you sidestep limitations. I wasn’t trying to make the game look impressive through sheer force. I wanted the visuals to feel meaningful, grounded in the story and characters. That search for something graceful and expressive shaped the visual direction we have today.

This is Baphomet, the first boss of Act 1. He was the first major boss we designed. There are definitely things I would change in hindsight, but this design helped us set the tone for everything that followed.

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In this devlog, I shared how the visual identity of Ember and Blade began and what inspired its earliest direction.

In future entries, I’ll go deeper into character design, environments, technical art, modeling, and animation. My goal is to show how we’re using art to shape the tone and emotional atmosphere of the game.

Thank you for reading through to the end. If you add Ember and Blade to your wishlist, it helps us reach more players and grow the world we’re building. I hope you’ll stay with us for what comes next.

This is a temporary placeholder of the Sanctuary, a symbol of the game itself. We put a lot of effort into capturing Ariella’s elegance and solitude here.

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Copyright Notice

│All game titles, trademarks, and copyrighted materials mentioned in this document are the property of
│their respective owners.

• Diablo © Blizzard North
  
• Path of Exile © Grinding Gear Games
  
• Hades © Supergiant Games
  
• AFK Journey © Lilith Games