With the first of the planned updates out, I’ve improved some of the visual elements that were just sort of roughed in for the initial release. (Because if you wait until everything’s perfect, you’ll never ship.) I wanted to share a little of my process.
Here is the ZIP file. Everything is modelled in Bforartists, the UI-focused fork of Blender, and the file is 100% compatible with the mainline app. I use proxy Materials in Bforartists, as they’re easily replaced with native URP Materials in the .fbx file import dialogue. I find it more reliable to place unused/support items into a separate Scene Collection, and export the Active Collection from the .fbx export dialogue, rather than selecting items manually. Normally I do the bevelling by hand, but on the bunks I tried out the Bevel Modifier, followed by a light Decimate Modifier, to clean up unnecessary flat geometry. It works okay, and it’s quick, but the polygon count ends up higher than necessary. Because of the way Unity handles animations, the curtains are separate files.
The bunks are based loosely on photo references from the New Brighton Lighthouse. They’re meant to feel friendly and cozy, as they’re Lillie’s first sanctuary after the disastrous boat trip. In my head cannon (which I guess makes it the official cannon) we’re playing through Lillie’s memories, fears and anxieties. In “real life” she succeeded at all of these tasks the first time, but–like many of us–obsesses over what could have gone wrong. (Which are our in-game failures and resets.)
Minus a few things out of my control, it looks like Lillie is the Keeper is only a week or two from release.
Without a AAA-scale production pipeline, an appropriate art style needed to be developed to maximize impact while easing development–especially since I’d be modelling everything myself. Low-polygon games like Black Book and Röki have had great artistic success, while voxel-style titles like Minecraft and Roblox have enjoyed great commercial success, both styles riding the “high-tech low-tech” aesthetic of my old professor. Having observed that modern iPhones (even in web browsers, via WebGL) can easily draw a very large number of polygons, I decided to lean instead into something I call “rounded realism.” This style builds on the work of artists like Aron Weisenfeld, Zinaida Serebriakova and Chris Van Allsburg, in which figures and objects are realistically textured and atmospherically lit, but conform subtly toward primitive solids.
In practice, rounded realism means that textures are realistic (photographic, when possible, utilizing Adobe Capture) and lighting is clean and realistic, but unimportant details are missing. Corners are bevelled, with sizable flat surfaces between. Visual outlines are clean and geometric, with a minimum of visual clutter. Faked volumetric lighting and other transparent elements are used extensively to create depth, running against the orthodoxy that their layered overdraw will kill iOS performance.
Clothing was some of the most demanding work. Mayme’s Edwardian sailor bodice outfit closely follows a custom build by Katja Kuitunen, based on a vintage piece from the era. It’s constructed from Kuitunen’s sewing references–with help from my girlfriend, who is brilliant with these things. The skirt (a separate piece, despite the shirt’s matching fabric) is a simple fabric tube, gathered about the waist, with realtime cloth simulation. Everything is designed to be plausible, but clean, geometric, and simplified.
It’s been a big job, and there’s more I’d like to do for a 1.1 release. The only models from the game that aren’t my own are human bodies built with MakeHuman, though even they’ve been resculpted and touched-up. Clothing and hair are all hand modeled.