Modulus News

[p]Welcome back to our mini-series on The Art of Modulus. Last time we took a look at how Thomas and Antoine blend creative vision with technical art, and the constraints that puts on how we design the look of the game. Plus we shared a rather exciting spoiler.
Today we are diving into how the look of Modulus has changed over time and we take a peak at Creative Mode, discussing our crazy creative community! [/p][h2]EVOLVING THE LOOK OVER TIME[/h2][p]HOW HAS THE VISUAL STYLE CHANGED SINCE THE ORIGINAL PROTOTYPE?

Thomas: The design process involved significant changes. Initially, we prototyped with another team (no longer present) and had artists conduct R&D on how the game would look, which was  very different from the current iteration. The design has evolved considerably, even since your arrival. There was a phase with more detailed operators, not quite gothic, but represented with a greater number of voxels.[/p][p]Antoine: We experimented with various voxel scales, aiming for a balance between detail and performance.
Highly detailed meshes increase complexity and production time. Given our team size and the number of operators, variations, and buildings needed, we can't afford two weeks per building.[/p][p]Initially, we tried an all-voxel art style for operators, buildings, and environments. However, this resulted in too much noise, making it hard to distinguish player creations from the game world, similar to Minecraft.While visually appealing as concept art, it didn't work for a game. We've since settled on voxel art for operators and buildings, with a low-poly environment. [/p][p]ANYTHING THAT WAS CUT OR CHANGED SIGNIFICANTLY ALONG THE WAY?[/p][p]Thomas: I have one, the HD modules. To provide context, our process involved making a module, and because the buildings tended to appear too dull or lacking in detail, we aimed for every module to have a high-definition counterpart. This high-definition version featured extensive details, utilizing significantly more voxels, perhaps ten times the amount, or even more… Antoine:  Not that much. While it looks vastly different, it was only about 3 to 5 times larger, which is already a significant increase in the voxel.[/p][p]Thomas: But yeah, I remember that. Just got stripped at some point because of scope probably.[/p][p]Antoine: We did strip down some features due to scope but also because of player understanding. Initially, in early playtests, HD modules caused a discrepancy between the player's creation and the final building, making them appear too different. This confused players, who didn't realize their modules contributed to the final structure. Removing these modules simplified the building's appearance, making it more consistent with player input.[/p][p]Other features that were cut, but might return, include biomes and elevation. Biomes, such as desert and ice, were removed primarily for scope, aiming to diversify environments further from the starting island. Elevation, which would have introduced steps and mountains requiring elevators to reach higher factory levels, was also cut due to its visual complexity and gameplay implications. Although concept art for elevation looked cool, it felt like adding another dimension to the game, thus impacting scope. We may revisit this feature in the future.

Thomas: Yeah, for sure. Maybe in Modulus 2?[/p][p]Antoine: (Makes a shocked face) Maybe…
[/p][h2]CREATIVE MODE & PLAYER EXPRESSION[/h2][p]HOW DID YOU APPROACH BUILDING A SYSTEM THAT LETS PLAYERS MAKE BEAUTIFUL THINGS?
[/p][p]Antoine: From the very beginning, the idea was to let players be creative in a factory setting. Our job is to provide tools that let them push the systems to their limits.[/p][p]This isn't a spoiler, as it's not currently planned, but we'd love to implement it. I secretly envision a future where players can construct their own unique buildings using the modules they create, rather than being limited to our existing building recipes.[/p][p]Thomas: It would be fantastic if players could share blueprints and attempt to replicate each other's creations.[/p][p]HAS ANYTHING SURPRISED YOU IN THE COMMUNITY SCREENSHOTS OR BUILDS?[/p][p]Antoine: The community has already surprised us, things like building a QR code, linking to the store page, or even a world map inside the game. Players have pushed the tools further than we expected.[/p][p]Thomas: The concept of pixel art wasn't initially considered due to the module's size limitation, which was 12x12 back then. While simple pixel art like a smiley could be created, it wasn't until someone discovered that conveyor belts could perfectly combine multiple 12x12 squares that the possibilities expanded. This "happy accident" meant that any size of pixel art could now be created, a development that was both surprising and rapid. Within a day of the game's release, players were already creating intricate designs like bunnies in the grass, cars, and even chessboards, leading the the team to be like, "What? What do you mean? Is this the same game?” It's crazy.

That's all for Part 4. You can watch the full interview in video format below:[/p][previewyoutube][/previewyoutube][p]
We'll be dropping the 5th and final part on Monday, where we explore the tools of the trade and take a sneak peek at what's to come for Modulus.[/p][p]Thank you as always for your support. Don't forget to wishlist the game, it really helps us out.[/p][p][/p]

• [p]Team Happy Volcano
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[p]Welcome back to our Art of Modulus mini-series. Previously, we looked at the voxel building blocks that make Modulus tick. But voxels alone don’t make a factory game beautiful. This time, Antoine and Thomas talk about the collaboration between art and tech; how shaders, constraints, and even “happy accidents” shaped Modulus’ identity. We’ll also dive into how colour and lighting keep your sprawling factories both stylish and easy to read.[/p][p][/p][h2]TECHNICAL ART MEETS CREATIVE VISION[/h2][p]HOW DO THE TWO OF YOU COLLABORATE, ART AND TECH, TO MAKE IDEAS WORK IN-GAME?[/p][p]Thomas: So far, our collaborative approach to game development has been effective. We discuss all necessary effects and find the best solutions. For shader work, I aim to create robust solutions with public parameters, allowing for easy adjustments.[/p][p]However, there have been instances where initial settings required significant changes later. For example, elements like grass or water have undergone numerous revisions as the game's art style evolved. This iterative process often leads to deprecating old effects and creating new ones that better align with the current theme. Ultimately, it's a process of constant back-and-forth communication and adaptation.
[/p][p]Antoine:  I agree. I recall that at the project's outset, we experimented considerably before finding our rhythm. Now, our workflow feels natural and efficient, largely because our vision is clear.[/p][p]I'd also like to add that sometimes my own visions are limited by technical constraints. It's incredibly helpful to collaborate with tech artists, who are true magicians and can overcome any technical challenge. They are invaluable.[/p][p]Thomas: That's not true. We make the tools and then you have the vision. You know?[/p][p]Antoine:  Let’s say it’s a team effort! [/p][p]CAN YOU SHARE A MOMENT WHERE TECH CONSTRAINTS SHAPED THE ART (OR VICE VERSA)?[/p][p]Thomas: Beyond the module constraints on building design, which is the most substantial limitation imposed on the artistic elements, other crucial constraints influence level design, such as the size of operators and their shapes (e.g., a line or T-shape).[/p][p]Early prototypes involved numerous iterations to optimize the organization of these elements. Different models were created for various operator shapes because certain configurations proved more effective. The same applies to building sizes and even platform dimensions.
[/p][p]The environment's visual appeal is also constrained. Relying solely on tiles, for instance, reduces player engagement regarding operator placement. Ultimately, almost every aspect of design seems to be constrained, and these limitations are what define the art. This inherent challenge is also what makes the artistic process enjoyable. I’m always amazed by what Antoine manages to achieve. [/p][p]Antoine: The other way round too, art influenced design, particularly in balancing creative expression with practical constraints. For instance, our Game Designer prioritizes a maximum number of free tiles on islands for player flexibility. However, I advocate for incorporating environmental elements like ponds and mountains. An 80x80 grid of white tiles isn't visually engaging, so we sought a middle ground. These "blockers" also contribute to level design. This iterative process involves constant negotiation.[/p][p][/p][p]ANY "HAPPY ACCIDENTS" WHERE A LIMITATION TURNED INTO A STYLE-DEFINING FEATURE?[/p][p]Thomas: One “happy accident” was the decision to define floors for buildings quite late in development. That choice ended up shaping the visual identity of all buildings. Initially, the entire building was constructed with modules at once. [/p][p]This evolved, however, to a system where each floor represented an upgrade to the building. This change introduced a new design constraint; buildings now needed to feature duplicated floors. However, it also transformed the appearance of the structures. The introduction of floors gave them the distinct look of proper buildings.[/p][p][/p][p]Antoine: I would also add, the platforms. They were crucial for module delivery. Instead of leaving empty spaces, the platforms provided a dedicated space to connect and deliver modules, with the building then constructed above. The platforms also served a second purpose: separating the buildings from the rest of the factory floor.[/p][p]Our previous attempt to place buildings directly on the ground level alongside operators hindered readability, as everything was too cluttered. The platforms significantly improved clarity by providing this separation.[/p][p][/p][h2]COLOUR, LIGHTING & VISUAL CLARITY[/h2][p]HOW DO YOU USE COLOUR AND LIGHTING TO MAKE COMPLEX FACTORIES READABLE?[/p][p]Antoine: Readability is one of the main reasons we use white tiles for the ground. It makes everything on top of them much easier to read. Operators are designed with a dark base, either one or two voxels high, to create a clear contrast against a white tile background. This ensures instant visibility and separation.[/p][p]Additionally, a two-voxel margin is maintained on all sides of every operator. This prevents operators from appearing as a single module when placed side-by-side, maintaining clear distinctions between them and facilitating the visualization of production lines.[/p][p]For colors, I avoid using the main building colors to maintain clarity.  Regarding lighting for clarity, it's designed for full-day illumination, ensuring readability at all times. We minimize VFX, such as fog and clouds, by placing them below the level (under zero). This is why clouds appear between islands, preventing them from obscuring operators.[/p][p]The goal is to keep the space between the camera and models clear.[/p][p]Additionally, I avoid using LUTs (lookup tables) or post-process color tweaks for lighting. This ensures that the colors chosen during the design phase are accurately represented in the final game. [/p][p][/p][p][/p][p]Antoine: I may be spoiling a little here. A significant challenge with the upcoming day/night cycle will be managing lighting to maintain readability. When we initially concepted this, we opted for a bluish tint rather than complete darkness. This allows for clear readability while still conveying the feeling of night, enhanced by boosted emissive elements. The goal is to achieve a cool aesthetic without sacrificing legibility; it shouldn't be too dark.[/p][p][/p][p]A FAVOURITE COLOUR PALETTE OR VISUAL MOMENT IN THE GAME?[/p][p]Antoine: I have two main points to make. First, I really like how we used the colors of the environment, especially the grass and trees. Instead of basic green, the bright yellow and bright green make the game pop and give it a zen-like, reassuring vibe. I really like these colors.[/p][p]Second, in terms of assets, the yellow buildings are my favorite right now. They are made of white, black and yellow modules, a color combination that I’ve always liked.[/p][p][/p][p]That's all for this part Modulue Makers!
From floor systems to platform clarity, to a future day/night cycle, Modulus’ art direction is shaped by both technical challenges and artistic ambition. In our final part, we’ll look at the tools behind the style, how player creativity feeds back into development, and what exciting visual upgrades you can look forward to in Early Access.

If you want to see the art in action, you can play the free demo right now. And don't forget to wishlist Modulus on Steam.[/p][p]You can catch a more detailed video version of this interview below.[/p][p][/p][previewyoutube][/previewyoutube][p]Catch you soon with Part 4 where we take a look at the evolution of Modulus' style. [/p][p]Thanks, as always, for your support![/p][p][/p]

• [p]Team Happy Volcano
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[h2]BUILDING BLOCKS: VOXEL ART & MODULAR DESIGN[/h2][p]Last time, we explored the origins of Modulus’ art style and the surprising inspirations that shaped its atmosphere. Today, we’re digging into the building blocks themselves: voxels. Why voxels? How do you balance clarity and creativity when everything in the game is built from modules? Antoine and Thomas break it down.

WHY VOXEL? WHAT MADE IT THE RIGHT CHOICE FOR MODULUS?[/p][p]Thomas: We opted for voxels early on due to technical limitations. Our initial prototypes required components that could be cut, stamped, and assembled, making voxels a practical choice. We didn't consider it an art style at the time, simply a method for resource creation.[/p][p]
[/p][p]I recall an instance where we were trying to build structures from modules. While procedurally generating buildings and researching best practices, I discovered someone attempting to mimic your work with procedural generation. I found it impressive, and when I saw their reference to your work, I was even more captivated. I showed it to David (the Game Director), who immediately suggested hiring you. That's how it all began.[/p][p][/p][p]HOW DO YOU BALANCE CLARITY VS. CREATIVITY WHEN THE WHOLE GAME IS ABOUT MODULES AND BLOCKS?[/p][p]Antoine: Balancing clarity and creativity is always a conversation. The Game Director defines the modules, and I give feedback on how usable they are for creating cool buildings. We go back and forth until we land on something that works both technically and visually. Later, we often add props to make player-built structures look more interesting without hurting readability.[/p][p]Thomas: He probably wants to change modules even after a building's been conceptualized right? Perhaps the perceived difficulty of a module is too high for the game's progression. I'm pretty sure I've seen instances where they needed to change something, and it's like, 'Okay, I guess I'll remake the building.'.[/p][p]
[/p][p]Antoine: We spent some time developing a secure workflow. Now, he creates the modules, and we discuss them, but I don't immediately start designing the building. He integrates the modules into the game without the building structure, testing and playing with them to assess difficulty. Once validated, I get the go-ahead. This approach is much better.[/p][p][/p][p]I design the building in Magica Voxel then I have to remake the building within our own tool called Diorama Editor , where each shape/module is separated so that in-game players can see the building being built “brick by brick”, before being merged into a single “polished” mesh that I prepare, for performance reasons. For gameplay reasons, I precisely build the structure using the designated modules. Then, I have creative freedom with props, like lights and chimneys, which form a second layer above the building, depending on its category. This allows for more creative expression while being careful not to obscure the underlying modules. It's crucial for players to understand that the building is solely constructed from the modules they create.[/p][p][/p][p]FAVOURITE TRICK OR SOLUTION YOU’VE USED TO MAKE THE VOXEL STYLE SHINE?[/p][p]Antoine:  This is my second game utilizing voxel art, and one of my favorite techniques is maintaining grid alignment. This ensures that elements like operators are never seen at odd angles, but always at 45 or 90 degrees, perfectly aligned with the grid. This consistent alignment makes all the voxels appear organized and visually pleasing, avoiding broken lines and contributing to the inherent appeal of voxel art. This technique is particularly suitable for this game, as it is grid-based.[/p][p]
[/p][p]Additionally, using a camera that is close to an isometric view greatly enhances the perception of the geometry. It's better to use an Isometric view or a very low Field of View (FOV); a 90-degree FOV, for instance, doesn't work well for voxel art. This is because the goal is for all voxels, regardless of their position on the screen, to appear as close to the same size as possible, and a low FOV helps achieve this.[/p][p]My final tip: fully lit voxel art lacks appeal in my opinion. I typically place the sun behind the model, or at least somewhat to the rear, causing shadows to fall towards the player. This adds depth, volume, and detail to the geometric art, as shadows are crucial for perspective since all voxels are the same size.


Voxel art is simple, powerful, and perfect for the modular systems at Modulus’ heart. But how do these artistic ideas translate into working systems in-game? In the next part, we’ll look at how technical art and creative vision come together, and how color and lighting keep factories readable even at their most complex.

If you want to see the art in action, you can play the free demo right now. And don't forget to wishlist Modulus on Steam so you don't miss our Early Access launch on October 22nd this year.[/p][p]You can catch a more detailed video version of this interview below.[/p][p][/p][previewyoutube][/previewyoutube][p]Thanks for reading.[/p]

• [p]Team Happy Volcano[/p]

[p]Creating a factory game that’s not only functional but beautiful is no small challenge.Welcome to our new Art of Modulus mini-series! In this first piece, we sat down with Art Director Antoine Lendrevie and Tech Artist Thomas Preudhomme to talk about how the game’s visual identity first came together. From the earliest prototypes to the unexpected Solarpunk inspiration behind the atmosphere, here’s how Modulus found its “zen.”
[/p][h2]ONE WORD EACH TO DESCRIBE THE VISUAL IDENTITY OF MODULUS.[/h2][p]
Antoine: So to me, even if one word is a bit difficult, I would go for zen[/p][p]Thomas: Yeah. It's a good one, I think it would probably be chilled or relaxed for me.
[/p][h2]ORIGINS OF THE VISUAL STYLE[/h2][p]HOW DID THE VISUAL IDENTITY OF MODULUS FIRST COME TOGETHER?[/p][p]Antoine: It took a while in preproduction and a lot of iterations, before getting that, zen and, relaxed and even kind of Solarpunk aesthetic that we now have.[/p][p]When I joined the project, a prototype already existed, with a team exploring art styles. The initial concepts focused on modularity and geometry, drawing heavily from voxel art and isometric 2D references. I recall seeing concepts reminiscent of Monument Valley, characterized by vibrant colors, which are crucial to the game, and an already serene atmosphere. The puzzle aspect of the prototype was initially much more prominent tooThe visual identity was largely leaning towards this style, but my expertise in voxel art shifted the game's direction. As we'll discuss, the game's core concept also naturally pushed us towards voxel art.[/p][p][/p][p]WERE THERE ANY UNEXPECTED INSPIRATIONS OR REFERENCE POINTS?[/p][p]Antoine: I don’t use many references because I try to keep things unique, but one big influence for the Solarpunk vibe was an ad called Dear Alice for Chobani Greek Yogurt.
 It’s a gorgeous animated short and probably one of the best examples of Solarpunk out there. It became a landmark reference for the style. I think it's a counterbalance to Cyberpunk, that we've seen quite a lot in the last ten years, and some people want kind of a similar vibe, but on the good side instead of the bad side.  I think people need that at the moment.[/p][p][/p][p]WHAT CHALLENGES CAME WITH TRYING TO MAKE A FACTORY GAME THAT’S ACTUALLY BEAUTIFUL?[/p][p]Antoine: The game design involves intricate constraints. For example, when creating a building, I don't just "make a blue building." Instead, the game designer provides specific modules, dictated by gameplay requirements. These early-stage modules must offer a challenge, but not excessively so.[/p][p]Their color and size are crucial because they need to fit into the assembler level one, which has an 8x8 module capacity. Therefore, these modules must adhere to those precise size and color specifications. Additionally, the number of modules, 12 of type one, 20 of type two, and 30 of type three, for example, are all calculated based on production line ratios.
Given this blueprint, my goal is to create the most aesthetically pleasing building possible within these significant constraints. While this limits creative freedom, it also presents an exciting challenge to achieve visual appeal despite the restrictions.[/p][p]Thomas: The most challenging aspect of prototyping Modulus was always the unknown. We were creating modules and buildings, operating on the assumption that we would ultimately assemble something pretty.[/p][p]However, that wasn't a given. For a long time, there was significant anxiety about what would happen if we couldn't create something appealing from these components. Then you arrived, and it all came together.

That’s where it all began: a foundation of voxel modules, geometric clarity, and a Solarpunk “zen” aesthetic. Next time, we’ll zoom in on voxel art itself and explore why this blocky approach became the cornerstone of Modulus’ design.
[/p][p]If you want to see the art in action, you can play the free demo right now. And don't forget to wishlist Modulus on Steam so you don't miss our Early Access launch on October 22nd this year.[/p][p]You can catch a more detailed video version of this interview below.[/p][p][/p][previewyoutube][/previewyoutube][p] Thanks for reading.[/p]

• [p]Team Happy Volcano[/p]

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[p]We’re expanding the Modulus Playtest, now with even more ways to get involved!
[/p][p][/p][p]This next wave of playtesting is exclusive to our Discord community, where we can work more closely with dedicated players and gather focused feedback on our Early Access content.
[/p][p] Because it gives us a chance to connect directly with the factory builders shaping the future of Modulus.
We love our Steam Playtesters, but the Steam Playtest system doesn’t give us control over who joins, so we can’t ensure individual applicants can participate. This way, we can work with you to gather feedback from the most interested players.
[/p][p]In the Discord-exclusive playtest, you'll:
✅ Get early access to in-development features
✅ Help us test major systems like research, ranks, and datashards
✅ Share your feedback via Feature Upvote, which all players (even non-testers) can comment and vote on
[/p][p] Because we don’t just want feedback, we want useful, thoughtful input that helps us prioritise development and refine gameplay for launch.
[/p][p]If you’re active in our community, love digging into mechanics, and want a say in what we build next, we want to hear from you.

[/p][p]📌 Apply via our Discord here: https://discord.gg/modulus (then head to the post in #announcements) [/p][p] 📣Check out what current testers have already suggested on our Feature Upvote board here: https://modulus-feedback-and-suggestions.featureupvote.com[/p][p][/p][p]Help us build Modulus, one feature at a time.[/p]

• [p]Team Happy Volcano[/p]