Finding the Look of Mordryn
The artwork behind Dreadmoor, one region of Mordryn, and what we changed to make it fit together.
Early versions of Mordryn looked different from one screen to the next. Some environments leaned toward realistic fantasy concept art. Others looked closer to tabletop-map illustrations. Individual pieces could look good, but put them together and you could see the seams.
We settled on illustrated 2D fantasy, with an approach closer to Banner Saga than a realistic concept-art painting. Strong silhouettes and simpler shapes help the scenes stay readable once the interface is on top.
What we cut
Detailed skin and heavily rendered anatomy were tempting in a large portrait. At dialogue size, much of that detail disappeared. What remained often looked out of place against the simpler environments.
We pulled back on texture and kept larger areas of colour. It made the portraits easier to read, and helped them belong in the same game as the roads and settlements.
Give the road a composition
The current adventure is set in Dreadmoor, one region of Mordryn. Its landscapes need to hold up while the party is travelling, with room for the route and the next decision on screen.
The road to Vale Farm. Pines frame the view without competing with the travel interface.
We treat these environments like painted stage scenery. The viewpoint stays steady, and the larger shapes do most of the work. Extra texture only helps if it adds something you can actually see at gameplay size.
Keep people readable too
NPC portraits follow the same approach. Osric needs to look at home in the stables, and his face needs to read while you’re choosing what to say.
Osric Bale in the stables. Portrait and location art need to work together.
Combat puts a different demand on that artwork. You need to pick out the characters and enemies, then see where an action can reach.
The forest still needs to look like the same place once the combat grid appears.
Try it at gameplay size
Our most useful check is simple: look at the art in the actual interface. A portrait that only works as a large splash image still needs work.
The conversation post shows how we make room for that art alongside dialogue. There’s more about the adventure on the About page.