While you load up Sunderfolk for the primary time, the factor that hits you, earlier than the talent playing cards, earlier than the quirky allure of the NPCs, is the artwork. It’s immediately heat, deeply textured, and effortlessly readable, even in the midst of chaotic battles. However past the visible attraction, there’s an intentionality to how the Sunderfolk visible design presents its world—one constructed on inclusivity, fantasy taste, and welcoming everybody to the desk.
To unpack how all that got here collectively, I sat down with Daren Bader, Sunderfolk’s Artwork Director and a veteran of each Crimson Useless and Magic: The Gathering. What adopted was a considerate dialog about design challenges, collaborative storytelling, toad-shaped regrets, and why typically the appropriate visible can trick you into falling in love with a category you didn’t assume you’d care about.
This interview has been edited for size and readability.
BUT WHY THO: The very first thing that hits individuals once they begin taking part in Sunderfolk is simply how stunning the sport is. What was your north star when creating the artwork path?
DAREN BADER: Gosh, we didn’t have one at first. The concept was, after all, we wished this dungeon crawl—we had been pondering of Dungeons & Dragons. However that kind of fell only a tad in need of what we wished to do, as a result of we actually wished to be inclusive. We wished a really low barrier of entry for individuals.
So we didn’t need it to be like, “Oh, it’s simply barbarians and knights,” proper? Or one thing like that. We wished to provide gamers one thing extra to possibly seize onto—one thing that felt like a wider scope. That’s the place the entire idea of animal people began coming in.
However I suppose, as a North Star… there’s the stylization we went with, the content material we went with. I feel, actually, the North Star was the idea of inclusivity, to be sincere. We wished it to simply be accessible to individuals. We didn’t need to put anyone off.
BUT WHY THO: Even within the chaos of battle, characters and results stay tremendous readable. Was that intentional from the bounce, or did readability evolve over time?
DAREN BADER: We knew we had been gonna be top-down, so readability was fairly outstanding from the start. However we didn’t let it fully cease us. If we had an thought we wished to pursue, and we thought it had some viability, we’d go for it.
Even the size variations—we’ve obtained the Berserker as a large polar bear, after which we’ve obtained a salamander. Our vary in scale was large. And we really tried ’em out actually near what they is likely to be—not a two-inch salamander and a twelve-foot bear, however nonetheless with some fairly large variations.
We discovered that there was a candy spot, although, the place we actually needed to convey down the large stuff and produce up the little stuff, simply so there was a little bit extra overarching visibility of what we had been doing. So yeah, I feel that top-down perspective—it got here in secondary, nevertheless it was positively an important issue. We simply didn’t need it to cease us from exploring concepts.
BUT WHY THO: I’ve performed the sport on a ton of setups—Steam Deck, Floor, even streamed over Discord—and it seems to be nice in all places. How did you deal with optimization with out shedding the creative element?
DAREN BADER: I’d really say that’s credit score to the UX/UI staff. Their capability to get all of that info legible—for every one of many characters and all the pieces occurring—that, to me, is… I imply, first off, that’s a nightmare from an artwork director’s standpoint. It’s like, oh my god, we’ve gotta convey all of this info visually.
After which we would like visually cool characters, and we would like an immersive setting, and all of these issues are type of contradictory. However I do assume the cleanliness of the best way the interface was carried out actually emphasised all the pieces accurately.
Even right down to among the fine-tuning that was taking place on the later finish of the event cycle, like getting every character’s ring beneath their mannequin contained in the hex. So you might do a fast learn of a monster, as a result of it’s obtained a little bit little bit of a spiky ring, versus a hero, which is smoother and a distinct coloration.
These fast cues show you how to discern the great guys from the dangerous guys, your self out of your different gamers, and issues like that. So there’s really so much occurring there past simply the character designs themselves.
BUT WHY THO: One in every of my favourite additions is coordination mode—it makes exploring the map and studying concerning the world so satisfying. Did you consider that type of visible curiosity into the artwork pipeline?
DAREN BADER: I feel to me, it’s positively rewarding. I’m the type of participant who likes to discover—likes to know what I’m taking a look at and have a look round at all the pieces. Once we added that performance, it didn’t open the floodgates or something, however on the identical time, we breathed a sigh of aid. Should you’re confused about what one thing is, yow will discover out.
We weren’t like, “Oh my god, you possibly can’t inform that’s a lava tile,” or something like that. It turned extra about understanding that folks would have the flexibility to actually examine every of the points they’re seeing. So we didn’t must rely one hundred pc on the visuals alone. That was a very nice second, feeling like we’re not going to confuse individuals. They’ve the flexibility to determine it out.
BUT WHY THO: I’m colorblind, and whereas I like the sport, there are moments—particularly with internet tiles or lava—which can be arduous for me to learn. Are there plans to develop accessibility in artwork and UI?
DAREN BADER: Yeah, I do assume we might’ve carried out a greater job at that, to be sincere.
Chris Sigaty, our studio head, is definitely colorblind, so he was type of our litmus take a look at. I do know he’d say issues like, “I can’t inform my greens from my browns right here. I don’t know what I’m taking a look at.” In order that type of accessibility was positively one thing we had been conscious of, and we relied on Chris. If he was having points, we knew it was one thing we wanted to deal with.
That stated, I’m positive there have been instances the place Chris was like, “I’ve stated this earlier than, however I do know what I’m doing, so it’s not that complicated,” and possibly he eased off a little bit. However we in all probability might’ve taken one other go—simply actually pinpointed the precise spots that had been inflicting issues and requested, “Okay, how will we deal with this?”
Whether or not that’s with extra distinction or readability, mild/darkish distinction is actually your greatest good friend in these moments. But it surely’s difficult—a few of our terrain is darker, some lighter. The sand, for instance, can fluctuate in tone. So all the pieces has to learn throughout these adjustments. It’s a fragile stability.
Actually, I’d love to listen to extra about the place you had been personally having bother. Let’s get these spots bugged and have a look.
BUT WHY THO: The NPCs are energetic—from Zuri to Bugger. Did the artwork and writing groups work collectively to develop these character personalities?
DAREN BADER: Once we had been doing authentic character designs, we had been simply going full bore, and we got here up with all several types of animals and creatures and issues that we actually wished to see taken a little bit bit additional. And that was really previous to having a full staff for narrative.
Then, as soon as the narrative staff got here in, they’d this full palette to work with. It actually got here alive as soon as they began writing for these characters, particularly ones just like the puffin. That’s when the entire city began to really feel actual.
BUT WHY THO: Any favourite character designs? Or ones that didn’t fairly make it in, however you’re nonetheless rooting for?
DAREN BADER: I gotta say, I feel our toad character is without doubt one of the best-designed characters. I simply love the face. While you see a toad standing there with that tight little waist, the large stomach—that type of barrel-chested form—and people big eyes, it simply actually works. It was an excellent design.
That was really one of many ones that nearly made it in as a hero. However we had been like, “Okay, we’re at our restrict right here.” There are such a lot of animals. Personally, I like animals, so every time I see something, I’m similar to, “Oh, that may very well be a very cool character.”
And I’m tremendous proud of the place we landed, however actually, that’s in all probability top-of-the-line issues about this IP: there’s a lot floor to cowl. So many alternative instructions we might go along with all these creatures on the market.
BUT WHY THO: The fungal characters particularly stand out. How did these designs come collectively?
DAREN BADER: While you consider conventional fantasy tropes, it’s simple to fall into, “Oh, we all know what a dragon is. We all know what a chimera is. We all know Pegasus.” There are such a lot of creatures that we have already got clear expectations round.
However then, whenever you flip round and take a look at the world round us, there’s this whole setting of fungi in our world. While you begin studying concerning the mycelium community, how bushes are interconnected, how they really feel and feed and talk with one another… that complete idea simply lit one thing up in us.
We had been like, “This must have illustration in our world.” It’s this invisible life type that exists throughout us, and it felt like the proper time to convey that in.
And there’s ambiguity to them—are they good? Are they dangerous? Are they detached? They deal with their lifeless in another way as a result of to them, loss of life brings extra life. There’s an entire philosophical thread to it. That fungal perspective has depth, and it simply opened up so many concepts for us.
We had been actually comfortable to incorporate that society—that neighborhood—as a result of it’s not one thing individuals take into consideration usually. And it matches so effectively in our world. We’ve obtained the underground, we’ve obtained sentient animals, and all types of issues. And should you can settle for a speaking polar bear, then why not a mycelium community of fungal individuals speaking throughout the underground?
I simply like it. There’s a lot depth there.
BUT WHY THO: The Sunderfolk visible design balances cinematic cutscenes with storybook-style interludes. How did you determine when to go full animation versus that paper-flip really feel?
DAREN BADER: I feel “storybook” is definitely an excellent phrase to make use of there.
After all, from a online game perspective, you need to have cutscenes. The animators need to do the animations—that’s how they need to inform the story. And there’s quite a lot of depth, actually, within the 3D world that you could discover with that type of animation.
However there’s additionally this storybook vibe taking place. You’ve obtained Anjali Bhimani voicing all of the characters, and also you’re studying by way of the narrative in that sense. So leaning into that type of supply—it actually matches.
Other than the truth that absolutely executing all these cutscenes can be costly and quite a lot of work, leaning into the storybook high quality, the place the story is being informed by anybody, simply matches the tone so effectively. It creates this sense of having fun with the method, such as you’re experiencing this unfolding story with a way of surprise.
BUT WHY THO: How a lot do you assume character silhouettes and magnificence affect which heroes gamers decide?
DAREN BADER: I’ve seen a little bit little bit of each, however once more—going again to accessibility—it was actually vital to us that folks really feel snug. We didn’t need them to really feel threatened by the complexity of what this recreation may very well be.
That preliminary response of, “Oh, I like that character. I don’t even know what they do, however I’ll play that one.”—To me, that’s the key sauce. You’re being tricked into studying concerning the mechanics as a result of the character is cute, otherwise you’re simply drawn to them. That’s how we convey individuals in.
And actually, the Bard is strictly that for me. My idea of a Bard has at all times been, like, “Ugh, I can’t stand Bards.” The lute-playing, the stereotype, all of it. However the Bard in Sunderfolk? It’s certainly one of my favourite characters, proper up there with the Pyromancer. They type of compete for the highest spot.
The concept of this bat strolling round, taking part in the lute, being flamboyant and rock ‘n’ roll—it completely bought me on the Bard trope. I get it now. I admire it. I perceive what a Bard could be as a result of I picked that character simply primarily based on type and ended up falling in love with what they really do.
[Sunderfolk’s visual design] creates this sense of having fun with the method, such as you’re experiencing this unfolding story with a way of surprise.
BUT WHY THO: Are there any plans for bodily variations of the talent/Destiny playing cards or beauty upgrades so gamers can have the great thing about the Sunderfolk visible design of their arms?
DAREN BADER: We’ve positively talked about it. We’re all board players, so the thought of minis, six-inch figures, or printed playing cards is actually thrilling to us. I can’t say something formally, however yeah, we’ve explored it. I would like all of them on my shelf.
BUT WHY THO: Even the merchandise descriptions have a definite tone—humorous, however delicate. Did the artwork staff assist form that world taste?
DAREN BADER: I’d say that the humor was there from the second we determined to go along with the animals. So the artwork staff positively was leaning into that.
You may see that in all of the meals. You may see it simply within the descriptions of all of the trinkets and stuff like that. That simply felt like a pure existence in our world. So the artwork staff and the design staff and the narrative staff, we had been hand in hand, like on the lookout for alternatives to have a few of that humor.
The place are we gonna present it? How are we gonna have enjoyable with it? And lean into it on the proper spots. Which is fascinating too, as a result of we needed to additionally tone it again at some moments, as a result of we nonetheless wished to have some weight. We wished you to really feel like, “Hey, that is threatening. I’m gonna die. The queen’s gonna get me right here. I’m not gonna make it.”
So there was that stability that we had been strolling. However I’m fairly proud of that line that we’ve ended up on.
BUT WHY THO: Final one. A recreation like this asks quite a lot of its creators. What did you find out about your self whereas engaged on Sunderfolk?
DAREN BADER: I’ve been doing video video games for 30-something years. I labored at Rockstar without end—on Crimson Useless and all that type of stuff. I’ve been throughout doing that. And on the identical time, I’ve been portray Magic playing cards because the ’90s, in addition to interiors for Monster Manuals and all that stuff for D&D.
However I by no means would sit down and really play Magic, or I by no means would sit down and play D&D. I preferred the work. I at all times liked the fantasy and the visuals, as a result of I’m an artist and I like creating that stuff.
However that is the primary time I really turned extra within the gameplay, and the enjoyable of the sport, and the neighborhood, and the interactions with individuals. And it actually sank in—that is what’s so enjoyable about this complete world, about this neighborhood. It was sitting down and taking part in these video games and having that enjoyable collectively.
So it felt like, for the primary time, the artwork itself… it wasn’t only for me. It wasn’t solely concerning the artwork. It was really about bringing in individuals and making them really feel a sure approach, due to the sort of recreation, due to that group of individuals getting collectively to play a recreation.
Whether or not it’s the choice to lean into storybook allure or the lovingly crafted silhouettes that show you how to spot your social gathering at a look, Daren’s fingerprints are all around the Sunderfolk visible design. However greater than something, what stood out throughout our dialog was how a lot care went into making the sport approachable for gamers of all backgrounds, playstyles, and setups.
In a recreation the place you possibly can fall in love with a hyena or push an ogre right into a pit whereas guffawing like a child once more, it is smart that the artwork path can be as playful and layered because the world itself.
Speaking to Daren solely strengthened one thing I already felt: Sunderfolk isn’t simply stunning—it’s intentional, inclusive, and completely brimming with coronary heart.
Sunderfolk is accessible now on PC, PlayStation 5, Swap, and Xbox Sequence X|S.
