The Adventure Game and Interactive Novel

The Adventure Game and Interactive Novel

Eymerich’s graphics (part 2)


Since the beginning, the artistic direction of Nicolas Eymerich, Inquisitor: The Plague, supervised by Manuel Labbate, has been projected towards a graphic outcome that wasn’t limited to a simple representation of realistic environments, but that also created an harmonic image.


Manuel Labbate - Art director, visualizer & 2D graphic designer


Like it has already been stated in a previous post, the main graphic innovation in Nicolas Eymerich, Inquisitor: The Plague it’s the 2.75D graphics, a technique that made possible for the developers to give the game a pictorial and illustrative look, applied to 3D environments.


Traditional real time 3D graphics would have allowed a better environment exploration, though sacrificing the pictoriality of the final image, while the classical 2.5D would have led us to obtain ad interesting look, though flattened.


Our 2.75D graphics allows instead to treat the environments like they were real artistic illustrations, dynamic paintings that become animated thanks to perspective movements.


While creating and visualizing the environments, the organization of the game elements in the game space or the choice for a specific perspective thus become a process that definitely is more artistic that functional; even the image finalization starts from the rendering of 3D models of environments and backgrounds, that are subsequently enhanced by a pictorial coating.


However, in order to give the game some variety, some very large environments required real time 3D graphics. They are complex and vast areas that yield better with wide camera movements, thanks to which it is possible to follow the protagonist during the exploration. Stylistically speaking these areas were created with the same artistic philosophy at the base of the 2.75D environments, given that our main challenge was to avoid a visual mismatch between 2.75D and real time 3D environments.


The problem was solved by generating directly through textures the lighting effect. The textures have been in turn coated in order to enhance and detail them, but also to make their visual style look like the one chosen for the 2.75D environments.


Other than thanks to the textures, the artistic feel surfaces during the game events that take place in the real time 3D environments, which retain a high spectacularity thanks to their pictorial elements. This way no stylistic shift is noticed by switching from 2.75D to real time 3D environments, giving the player to freedom to explore that some parts of the game require without giving away the artistic style that is peculiar to the final look of Nicolas Eymerich, Inquisitor: The Plague.


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