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![<section class="article-page"><img src="https://assets-prd.ignimgs.com/2026/04/20/diablo4-lordofhatred-review-blogroll-1776726548394.jpg" /><section></section><p>“An expansion is not about fixing; it's about evolving,” <em>Diablo IV: Lord of Hatred</em>’s <strong>Associate Game Director Zaven Haroutunian</strong> tells me. “And if we do our job, they are expanding and evolving toward solving existing problems. That’s a win-win. I look at our teams as being heavy hitters when it comes to this stuff. They're operating at such a high level, and they've got enough experience under their belt where they can do just that.”</p><p>Diablo IV debuted three years ago, and like previous entries in the groundbreaking action-RPG series, it has been evolving and expanding ever since. From regular seasonal updates and overhauls of existing systems to new activities and a story-driven campaign in the form of Vessel of Hatred, there’s been a <em>lot</em>.</p><p>With that, Diablo IV’s second major expansion, Lord of Hatred, on paper might sound like more of the same, albeit supercharged. Instead of one new class, there are two, with the return of the fan-favourite sword-and-board-wielding Paladin and the new demonology-and-apocalyptic-fire-obsessed Warlock. And with the action shifting to the Mediterranean-inspired and ancient Amazon homeland of Skovos, you’ve got the ideal setting and all of the pieces in place to take on the titular Hatred head-honcho, Mephisto.</p><p>However, even with a well-received expansion already under its belt, and several game-changing seasons adding to and expanding the core experience, Diablo IV: Lord of Hatred still stands tall as the single most important update to the game since its initial debut. </p><section>"If we do our job, they are expanding and evolving toward solving existing problems. That’s a win-win."</section><p>It not only delivers an engaging, action-packed conclusion to the story but also changes, updates, evolves, and touches just about every part of the game. There’s a confidence here that is immediately noticeable, a sense that the Diablo IV development team was firing on all cylinders with a clear understanding of what works and what needed work. Again, not about fixing, but <em>evolving</em>. </p><p>“Here’s an example,” Zaven Haroutunian continues. “When we’re adding the Horadric Cube, which is this thing that’s going to evolve and expand our crafting beyond anyone's wildest imagination, in the process of doing so, it’s also significantly upgrading our itemisation systems. Without the Horadric Cube and without an expansion like Lord of Hatred, you don’t get that. And this is true of every single feature, from the new Skill Trees to War Plans and, well, everything.”</p><h2><strong>Redefining the Endgame, One Town at a Time</strong></h2><p>You could say that the Diablo series, especially when it comes to the more recent titles, has always been a game of two halves. There’s the fun pick-up-and-play action-RPG that puts you in the middle of a cinematic story-driven battle between the Angels of the High Heavens and the Demons of the Burning Hells. Then there’s the other half, which in modern gaming vernacular is referred to as the endgame. The loot chase. That idea of putting together an incredibly powerful build that makes even the most challenging parts of the game feel trivial. Not in a bad way, either. In Diablo IV, it’s the feeling of becoming more powerful than any being or creature, no matter the size or how many horns and spiky bits they have on their carapace. </p><p>When it came to developing Lord of Hatred, which began development before the base game's launch, the team knew early on that, for it to deliver, it would need to bring these two halves together and ensure that one informed the other, and vice versa. Now, this might be a strange concept because these two halves are still very much distinct. That said, the best way to describe this approach is to take a closer look at how the team at Blizzard approached and designed the new Skovos region’s main town, or player hub, called Temis. For endgame players, it’s the ultimate hub.</p><section></section><p>“Towns are always annoying to make in Diablo games, and that's just been true as far back as my experiences on Diablo III,” Zaven Haroutunian explains. “Traditionally, you make them, and they generally end up serving the story. And then they tend to be awful deep into the endgame.”</p><p>“By the time we were making Temis, the game was mature,” Zaven continues. “We all knew what made a good town, but we also knew what the campaign needed from its town. The campaign doesn’t care about the exact positioning of a Blacksmith. We made a very early decision: the campaign can define the layout of Temis, but it doesn't need to. For us, that meant building parts of the city in instanced spaces for the campaign, which made sense because Temis is on a mountaintop, so that can be the action-RPG hub.”</p><p>“On day one, we knew endgame was going to be a major focus,” Zaven says. “When we think about endgame, it’s not just a pillar for the systems and the action-RPG side for the ‘blasters’; it's also an endgame for the narrative. So, having that be this unifying thread between these two parts of the game and these two audiences, everyone's going into this with the same sense of finality and resolution.”</p><h2><strong>War Plans bring Balance, Focus, and Context to the Endgame</strong></h2><p>As Diablo IV: Lord of Hatred’s development began, the continual evolution of the live game informed Lord of Hatred’s design in unexpected ways. For example, the game’s Infernal Hordes activity, a rogue-lite-style horde mode that added player choice and agency to the idea of fending off waves of enemies, was originally going to be a part of the expansion.</p><p>“Throughout the entire development of Lord of Hatred, the number of activities varied, is the right way to put it,” Zaven Haroutunian tells me. “Part of this was because we had such a long start on this project; we've been developing it in some way since before the base game launched, so it's been cooking for a while. And along the way, some things that were in prototype or development ended up being deployed early. It was like, a horde mode would be cool, but what would be even cooler is if we ship that earlier.”</p><section>"So what we were left with...was this idea that we'd have a brand-new capital ‘A’ activity, and something a little smaller, and that eventually became Echoing Hatred. "</section><p>And so with the release of Lord of Hatred on the horizon, not only was the horde mode deployed early for players, but when you added up all of the endgame activities, the list was now long and varied. Nightmare Dungeons, Helltides, The Pitt, The Tower, The Undercity, Lair Bosses, and more. The initial plan for Lord of Hatred was to introduce something similar in size and scope to The Undercity, the major new activity introduced in Vessel of Hatred.</p><p>“There has been this constant, almost skunkworks approach where we'd be thinking about stuff that could be really good for the game and generally made sense,” Zaven adds. “So what we were left with near the end was this idea that we'd have one activity, a brand-new capital ‘A’ activity, and something a little smaller, and that eventually became Echoing Hatred. We had the idea that this new big activity would have a customisation angle. And then, as we took stock of where the game stood, we realised we had seven activities. Do we really need an eighth?”</p><p>And when that realisation hit, that the game didn’t need more activities; the focus shifted. “The game needed depth way more than breadth,” Zaven confirms. “The game was already big, so let's make it as deep as we can.”</p><p>Before this revelation, the team knew that with so many existing endgame activities, Lord of Hatred would address the issue of structure. That is, a way to bring everything together, and reinforce the idea that its “endgame” design was for both narrative and hardcore players. With the credits rolling, the big battle with Mephisto over, and Sanctuary saved from complete destruction, what happens next? Well, that would be giving players agency and control, for the first time, with the survivors rallying together to take the fight directly to the remnants of the demonic threat.</p><section></section><p>This is where War Plans come in, a war table where players map out a strategy and battle plan by leaning into Diablo IV’s many activities. How it works is simple, and you could even describe it as Diablo IV’s Spotify Playlist. Players choose which activities they want to tackle, creating an endgame flow with narrative context and structure that had been missing.</p><p>“At that point, when it came to the playlist part [of War Plans], we were already sold, we’re going to do that,” Zaven explains. “But also, that wasn’t enough. I think there is a rightful critique of the game, that we had all these activities, but they were mostly pretty static. Very easy to approach and understand, but not much depth. It wasn't like they were bad, but if we added activity progression, we could preserve the approachability of our endgame, where it’s easy to get into Helltides or a Nightmare Dungeon. And the trees mean that our core audience, hardcore players, and blasters, know that the endgame is also for them.”</p><p>“The modifiers we put in, it was really important that they weren’t numerical,” Zaven continues. “There can't be a 5% chance of this happening. No, this one changes the way this activity can be played. This one adds The Butcher to The Pitt. Most people haven't caught onto this, but there’s one node on the Nightmare Dungeon tree that says it affects all Treasure Goblins. And it means what it says: all Goblins in the game. Not all Goblins in Nightmare Dungeons. All Goblins in the game, everywhere, no matter where they show up, are modified by that node.”</p><p>Again, it’s expanding the game while addressing pain points. And for War Plans, it also lives up to Blizzard’s long-standing design philosophy or mantra, ‘easy to learn, difficult to master.’ “There are seven activities; set your playlist and go play them,” Zaven adds. “But, as you get deeper into it, you start learning the systems, you get to the depth, you add to the difficulty, and you play around with modifiers. I can't wait to see all the crazy stuff players come up with.”</p><h2><strong>The New Talisman Was About Items First, Set Bonuses Came Later</strong></h2><p>Perhaps the biggest and most notable addition to Diablo IV: Lord of Hatred for players putting together a build is the Talisman system, which includes equipping Charms and Seals. It deepens the itemisation, while also introducing Set Bonuses to the core experience. That feature alone, which defined Diablo 3, has always been a lingering question for the team and players. Does Diablo IV need Set Items? And would that even be possible, considering the game’s existing and expansive itemisation that includes Legendary, Unique, and Mythic Items? Well, as it turns out, Charms weren’t created to address this question. </p><section>"We knew going in that you can't just keep slamming more things onto the ‘paper doll’."</section><p>“The starting point was quite simply: can we expand the surface area that players have to be able to optimise their gear, their stats, and their build?” Zaven Haroutunian recalls. “A very high-level problem, and that’s where we start with these things. It wasn’t, ‘Oh, I want a Whirlwind Set.’ We have a general idea. In Diablo IV, different classes have different pressure points when it comes to optimising stats or gear. We knew going in that you can't just keep slamming more things onto the ‘paper doll.’ That's what we call your equipment, your Helm and Armor pieces.”</p><p>Adding a new layer was something the Diablo IV team and hardcore players felt was needed, and they also agreed that it shouldn’t override or be tacked onto existing systems in the game. The ‘paper doll’. So the first step was giving Charms their own custom inventory, with the Talisman serving as the storage system. And that really was all the team had going in, as it still needed to figure out what they actually did or added to the game.</p><p>“So, you have the Talisman, the storage system, and you put Charms into it,” Zaven explains. “But then, for us, it was figuring out what Charms do and how they can be interesting. From there, we got the Seals and eventually the Sets, and the interaction among those three was a very late addition. We were struggling to figure it out, all these pieces in place, interacting without being convoluted. Once Sets entered the picture, everything was clarified and anchored. I can equip Sets, and they come in different counts. I have a Set of Charms, this amount of slots, and the Seals modulate all this stuff.” </p><p>“It also solved a bunch of problems that have prevented Sets from ever making it into Diablo IV,” Zaven adds. “I look at the Talisman as our developers just being really experienced, good at their craft, and good at expanding things, as expansions ought to do. We’re also solving problems along the way. Long-standing problems, deep problems.” And in keeping with the idea of the endgame being this holistic thing, the Talisman is introduced in the opening of Lord of Hatred’s campaign, a rare Horadric item from a fallen ally that you carry into the final battle with Mephisto.</p><h2><strong>Revamping the Skill Trees Breathes New Life into the Growing Roster of Classes</strong></h2><p>Going all the way back to Diablo IV’s initial reveal, where the visual tone of its iconic cinematic reveal signalled a return to the dark fantasy of Diablo II, there was a sense that the core experience would blend the depth of that groundbreaking second instalment with the arcade-like, fast-paced combat of Diablo 3. And this could be seen with the game’s Skill Tree system for its playable classes, where power and customisation came together. </p><p>“One of the things that we realised with the Skill Tree, was that it was serving multiple masters,” Zaven Haroutunian tells me. “It was trying to offer customisation and experimentation with the two choices, the little twigs as our players called them. But it was also trying to be a source of power. And you can see both of these things in Diablo II and Diablo III. I would characterise the Diablo II Skill Tree as giving me power. I put points in the ranks, they go up, synergies form, it’s a source of power.”</p><section></section><p>“When I think about Diablo III, the whole Rune system was a source of customisation and expression,” Zaven continues. “We were trying to marry these two things but it wasn’t clicking and one of the things that we eventually realised was, it can't be a primary source of power. So as we were trying to abide by Diablo II rules, we had early respec costs that were fighting against the idea of the Skill Tree being a place for customisation and expression.”</p><p>That respec cost was something the team addressed pretty early on with seasonal updates, but Diablo IV: Lord of Hatred's revamped Skill Tree represents a complete overhaul for the game’s eight playable classes, including the new Paladin and Warlock. It removes passive abilities, those little sources of power, for a good reason. Power, in Diablo IV, derives from itemisation, your gear, Charms, Runes, and more. Having passives in the Skill Tree, especially with the new Talisman system, meant that item numbers needed to be artificially inflated, which in turn made those passive choices on your Skill Tree relatively weak or minor.</p><p>“We were inflating the numbers on gear because it felt like our Skill Tree system was undermining the loot chase, to put it bluntly,” Zaven explains. “So then the discussion became, what do we need from the Skill Tree? Well, it doesn't need to be a source of power; that's what items are chiefly for. What’s more fun? Playing a build you don't want, hoping to find items that let you play the build you do want, or being able to create a build using the skill tree that you like to play, and then making it better as you find items. We believe the second one is more fun.”</p><section>"We don't always have the ideal solution in front of us. In fact, there's often no ideal solution."</section><p>Even a casual glance at Diablo IV’s new Skill Tree is enough to showcase that it offers more choice and freedom to support various playstyles, transforming abilities and skills for every class in the game. This means that, in addition to the two new classes, every single legacy class has been reworked, refined, and expanded.</p><p>“A lot of it is just repositioning,” Zaven adds. “Making sure everything is in the right place to have the right impact. Customisation in the Skill Tree. Power with the items. Crafting in the Horadric Cube. The Talisman bringing depth. Every skill has options, and every class will reap the benefit of the work we've done. It solves a problem while refreshing every class in the game.” </p><p>“In the course of development, we're often faced with solving real problems,” Zaven concludes. “And we don't always have the ideal solution in front of us. In fact, there's often no ideal solution. Often, we just have to pick a thing. It's only after you step back from the stuff you've made that your perspective changes and you understand the impact of your decisions, both positive and negative. Really, that’s only when you can get a clear picture of what you've actually made.”</p><h2><strong>Sanctuary is Still Infested with Demons, and the Future is Bright</strong></h2><p>In Season 11 of Diablo IV, the team presented a complete overhaul of enemy behavior and the strategies needed to overcome them, making each encounter feel just that little bit more engaging and different. Diablo IV: Lord of Hatred’s foundational changes not only build on top of this but also expand on this already well-received update. And that’s just one example that highlights what a foundational or game-changing update can bring to a Diablo game. </p><p>It makes the familiar feel new, recontextualises existing systems, and expands player choice and the freedom to create their very own hero, right down to how their Gauntlets should look and what colour works best with that particular weapon.</p><p>And with Blizzard completing the story that it set out to tell with Diablo IV, where interestingly enough, Mephisto in wolf-form is the first character you see and hear from in the base game, this new foundation and “endgame” could also point to an endpoint for the game’s story-based, major expansions. As Blizzard isn’t quite ready to talk about the game's future, short- or long-term, the big question of where to go from here will obviously become a talking point among players in the months ahead. </p><p>However, with the initial consensus being that the team has accomplished what it set out to do, the exciting thing is that fans are too busy playing and enjoying Lord of Hatred to stop and even think about Sanctuary’s future. One that will no doubt be brighter thanks to the evolution we’ve seen here. Because, as Zaven summarised, right now, “everything is in the right place.”</p><p></p><p></p><p></p><p>
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![<section class="article-page"><img src="https://assets-prd.ignimgs.com/2024/12/23/ds-1734951788399.jpg" /><section></section><p>In an impassioned end to his keynote address on the opening day of Gamescom Asia x Thailand Game Show in Bangkok, Dead Space creator and industry veteran Glen Schofield has declared that the games industry is in dire need of fixing, and he believes he knows just how to go about it. </p><p>“We need to fix the gaming industry right now,” said Schofield to a room of games industry professionals. “It's broken. It's beaten, it's battered, our developers are battered, they've been taking it on the chin for the last couple of years. We need to bring it back to what it was, right? Instead of all this negativity.”</p><section></section><p>The first and arguably most controversial step to take in Schofield’s opinion, is for the games industry to widely embrace the use of generative AI as a standard part of their development tool set.</p><p>“AI isn’t here to replace us,” continued Schofield. “It’s here to make us faster, better, and more efficient. And AI is for all of us, it really is. It’s not just for directors and artists, it’s for writers and marketing execs. </p><p>“So, I think [games industry] executives, owners, founders… Let's start training our people on AI. Start it as soon as you can. Who cares if I’m EA or Activision or Namco or whatever, we should be working together at least in training and training our people up. That would be a huge help because I know we’re going to start hiring people back again.”</p><p>Next up, Schofield believes that investors need to loosen their purse strings and start spending more on games development, as well as putting the right people in charge of each studio.</p><p>“Come on, investors and execs, let’s stop this madness,” said Schofield. “You want to make a AAA game for like eight million dollars? You gotta get your guts back again. If we start putting money into the industry again, we know it's going to make money.”</p><p>“To me, you picked the wrong people to run the teams, to run the games, right? In my opinion [you need] a big, creative person who’s running it. And then you put people around to help with this and that. That's the way I work these days, right? I still run my studio in ways but I have people to help now so I can be 100% or 98% on that. That’s what these games need. I saw some of the people that were chosen and they were really good people, but there's no way they were ready to direct a game.”</p><section></section><p>“So I said, let's start putting money in, do due diligence a little better on that. We know we're going to make money. But we have to make quality games, and you have to give them to the right people.”</p><p>Lastly, and perhaps most strangely given that he was presenting the opening keynote address at a rival games industry show, Schofield wished for the return of E3.</p><p>“Bring back E3,” said Schofield to soft applause. “I mean, come on. E3 is the granddaddy of them all. And I will tell you every single E3 that I went to made my games better. And I know there's no formula to show a [return on investment] on that, [but] every game got better when you went there. You talked with your friends, you talked with colleagues, everybody's thrilled to help you with the next technologies, or showing you mechanics. When the companies started going outside of E3 I knew this was the end, and I started boycotting those because [that] was not an industry that was working together, this is an industry that’s fragmented. And so now there’s no E3.”</p><p>Schofield concluded his address by reiterating that while he’s fully onboard with AI, the most important aspect of games development were the people making them, not the machines.</p><p>“Remember, ideas are the lifeblood of the industry,” said Schofield, speaking to the developers in attendance. “And those ideas? They come from you.”</p><p>How do you feel about Schofield’s plan to “fix” the games industry? Sound off in the comments below!</p><section></section><p><em>Tristan Ogilvie is a senior video editor at IGN's Australian office, currently attending Gamescom Asia x Thailand Game Show.</em>
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