We knew the only way to truly bring this masterpiece to life would be through the hand of an artist classically trained in the Baroque style of the masters, with an eye for drama and realism. Working with 60-foot ceilings across 2,400 square feet of paintings, on top of building materials from hundreds of years ago, gave us a new appreciation for the original masters of this technique. Once we saw the scale of the church, we knew we had to expand our thinking. Now, we were going to have to dance with the devil. The Fiat project was a great success but also ended with us getting on The Pope’s official naughty list. Little did we know that our learnings on canvas preparation, working with a classically trained painter, and the nuances of working with Baroque painting techniques in unusually ambitious ways would prepare us for the project of a lifetime a decade later. Scott> 10 years ago, Wildlife recreated a portion of the Sistine Chapel inside a Fiat 500L, live on the floor of the LA Auto Show over a six-day period. Which church would we partner with? Is there an artist who can take on this project at such a scale? Kaleb> When we first discussed the concept, we all thought it wasn’t feasible. LBB> How did you react to the cathedral painting idea at first? New and emerging channels have become an authentic way to explore Diablo’s innovative and edgy approach to media, and ways to connect with our audience. The evolution of the media landscape has really opened the aperture for how we position ‘Diablo IV’ as the mature gaming moment of the year. Our programmes and activations will be a commitment to Diablo’s gothic dark undertones and deep lore that all our fans - current and future - are excited to explore. Kaleb> ‘Diablo IV’ represents the ultimate Diablo experience for our fans, while also introducing the IP to a new audience who will hop into ‘Sanctuary’ for the first time.
#DIABLO 4 ART SERIES#
LBB> The Diablo series is now over 25 years old! How has it evolved as a property since then, and how do you approach the marketing for a new release in such a long-standing franchise? It was important for us to honour the craft, storytelling and dark gothic roots of the franchise - so what better way to do that than cover the ceiling of a massive church with an epic Caravaggio-style painting of the battle through hell to Lillith herself? So, it made sense for us to give our game art and our story the same grand treatment, allowing us to showcase the game’s premium visual nature and the depth of its storytelling, while establishing ‘Diablo IV’ as a major blockbuster entertainment franchise.ĭiablo is an epic franchise that we, as fans and gamers, have been playing for years, making this a passion project for all of us. Tim> The game's concept art and illustrations were created by following an approach Blizzard called the ‘old masters pillar’, which took famous art styles from painters like Caravaggio and Michelangelo and blended them with Diablo world elements. In partnership with 72andSunny, we created a vision for bringing this style to life in the real world in a way that’s iconic to Diablo. Kaleb> Diablo’s art has always been rooted in gothic undertones, and takes inspiration from the Baroque style with a dark, gritty direction really ownable by the IP. LBB> Where did the creative spark for this installation come from? How does it fit in with the wider strategy for the launch of ‘Diablo IV’? Also discussing how this infernal idea came to life is Activision Blizzard’s VP, global consumer marketing, Kaleb Ruel, 72andSunny’s group creative director Tim Wolfe and Wildlife’s ECD and co-founder, Scott Friedman. To delve beneath the layers of paint and down to the depths of hell, LBB’s Ben Conway spoke with the artist, Adam Miller, about a monumental month of 10-16 hour days working on the murals. An accompanying spot featuring the voice of Charles Dance also showcases the Mephistophelian masterwork for those unable to visit the cathedral in person. To create the enormous, demonic hellscape, he combined the epic scale and storytelling of the murals and frescoes painted by masters like Michelangelo and Caravaggio, with the gothic art style and characters of the ‘Diablo’ video game series. Titled 'The Cathedral of Diablo', the artwork was designed and led by American Baroque painter, Adam Miller. To promote the fourth instalment in the hit gothic video game franchise ‘Diablo’, gaming industry giant Activision Blizzard has partnered with creative agency 72andSunny and production company Wildlife to take over a mediaeval cathedral in France and adorn its 60-foot-high ceiling and walls with 2,400 square feet of Renaissance-inspired paintings.
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