Home NewsAI in Video Games: Kingdom Come II Director Defends Larian Studios (Baldur’s Gate 3)

AI in Video Games: Kingdom Come II Director Defends Larian Studios (Baldur’s Gate 3)

by Carlos Mendoza

Key Takeaways

Created with AI - we're still experimenting, so apologies if it misses the mark

  • The use of AI in video game development, while controversial, has the potential to streamline repetitive tasks and free up developers for more creative aspects like artistic direction, writing, and game design.
  • AI can aid in ideation and creating temporary assets during production, but it should not replace human artists in generating final assets.
  • The integration of AI in games can lead to time and cost efficiencies, potentially enabling smaller teams and faster development cycles. However, ethical implications, such as potential displacement of artistic performances like voice acting, must be considered.
  • Openness about AI practices is crucial for navigating the evolving landscape of AI in game development. Studios should foster a conversation that guides the industry towards an informed approach to integrating AI.

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AI in Video Game Production: Vávra Defends AI’s Role and Potential Benefits for Developers

The use of AI in video game development has become a sensitive topic, as demonstrated by the debate surrounding Larian Studios’ upcoming game, Divinity. The discussion highlights the potential for backlash when AI is mentioned, and how that can lead to changes in development. Daniel Vávra, director of Kingdom Come: Deliverance II, has called for a more nuanced understanding of AI’s role. The discussion intensified after Larian Studios founder, Swen Vincke, disclosed that the studio used AI-based generators during Divinity’s internal production for ideation and creating temporary assets, which were subsequently reworked by human artists. Vincke clarified that AI was not used to generate final assets, nor did it displace any artists. In response, Vávra supported Larian Studios by emphasizing AI’s growing presence in production. He argued that AI can free up developers to concentrate on artistic direction, writing, and game design by automating repetitive tasks.

AI in Game Development: Vávra’s Perspective on AI’s Potential and Ethical Implications

Addressing concerns that Kingdom Come: Deliverance II used AI, Vávra stated that, apart from using Topaz Labs to enhance the resolution of some older textures in the first game, his studio has not made significant use of AI. He acknowledged AI’s increasing prevalence, even for those who, like himself, are not particularly fond of AI-generated art. Vávra also drew attention to the inherent challenges of game development, including extended production timelines, large teams, and considerable expenses. He suggested that if AI could accelerate the development process, enabling smaller teams and faster cycles, he would welcome its adoption—provided that key roles like art directors, writers, programmers, and graphic designers remained focused on core creative responsibilities. Vincke has likened the integration of AI in games to previous technological advancements. While AI presents opportunities for time and cost efficiencies, figures like Neil Newbon have stressed the importance of considering the ethical implications, particularly regarding the potential displacement of artistic performances such as voice acting.

AI Ethics in Game Development: Navigating the Impact of Emerging AI Practices

Therefore, the situation with Divinity points to a broader sense of uncertainty surrounding a technology that is still evolving. AI is neither a universal solution nor a threat, but a tool whose impact will depend on the ways studios choose to utilize it. Vincke and Vávra’s openness about their AI practices has fostered a necessary conversation that can guide the industry toward a more informed approach to integrating AI.

In Case You Missed It

Intrigued by recent gaming happenings? Buckle up, because Sophie Laurent’s “We Don’t Have $1 Million for the Game Awards, But Here’s Our Trailer” (published on 2025-12-19) and Bruno Pferd’s “Sex Scenes in Dispatch Were Never Cut” (published on the same date) offer a fascinating double bill. Sophie dives into the ironic affordability crisis facing independent game developers, who often promote their projects on social media due to financial constraints, even when events like The Game Awards are meant to celebrate them. Meanwhile, Bruno sheds light on the buzz around indie hit Dispatch, clarifying misconceptions about its sex scenes and exploring the financial challenges that shaped its development. But let’s not forget to make some time for fun! Marcus Thompson’s “Xbox Highlights Brazilian Games Released in 2025” (published December 2025) is a must-read if you’re a fan of indie gaming with a cultural twist. Check out these insightful pieces here: https://playersforlife.com/2025/12/19/we-don-t-have-1-million-for-the-game-awards-but-here-s-our-trailer/, https://playersforlife.com/2025/12/19/sex-scenes-in-dispatch-were-never-cut/, and https://playersforlife.com/2025/12/20/xbox-highlights-brazilian-games-released-in-2025/.

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