The visual design aspect of TCoM utilizes a stylized 3D approach with low-poly character models and environments over sculpted or high polygon models. Atmospheric lighting, shadows, shaders, post processing, and texture effects are the primary tools used to convey emotional tone as required by the narrative. (Oooh look at me using big words)

Artstyle & Aesthetic

Overall Style

Light Tone

Low-poly, stylized 3D models with a soft, matte material finishes. Clear, readable silhouettes, simplicity, and strong color blocking is favored heavily over photorealistic levels of detail.

Dark Tone

Dark tones use noisy textures & materials, smooth lit shading (similar to Animal Crossing), and cooler finishes to imply a harsher tone than the lighter elements of the story.

Character Models

Design

Based on stylized animal/anthropomorphic forms (as per the reference images). Anatomy is simplified to basic polygonal shapes for simplicity, but can still allow for complex, readable body language (Such as hands being potentially bendable as well as upper / lower leg bones rather than one singular rig bone)

Expressions & Emotional Depth

Emotional depth is achieved primarily through a combination of body language, camera work, and primitive facial expressions (Happy, Sad, Angry, etc.) Prevents overcomplication of rig design and allows 2d VFX and audio elements to assist in exaggeration of emotion.

Shader Design

High saturation cel-shaded shaders with minimal shadow usage to create a flat character design. During darker tones, Shaders reduce their saturation and allow more shadows and lighting effects to change their design as needed.

Environment

Model Design

Low-poly environments that are detailed through texturing and "Toon Warp" tapering to give exaggerated proportions and a more cartoony aesthetic to them. Textures are hand drawn (Much like Echoes of The Plum Grove) with normal & height maps to give environments more depth than their modeled surfaces or textures can give.

Shader Design

Much like the character models, the environment uses a saturated cel-shaded shader style to make lighter tones softer. Shadows are more prominent in the environment to add visual depth (such as characters giving off a shadow on the floor or trees casting shadows on buildings)

Perspective

During Story Mode, The camera is a fixed, cinematic / close-up camera that only moves during scene changes to focus more on dialogue or action sequences. Dynamic stencil occlusion will most likely not be present during cinematic camera usage, but standard object occlusion will always be in use for performance.

During Lifesim Mode, the camera is a dynamic 3rd-person camera controlled by the player using Q & E to swap between NSEW cardinal directions (similar to Don't Starve). The camera is panned in and out using the mouse scroll wheel, and obstructions that would otherwise block the camera view are occluded using a stencil mask shader. Anytime important characters / objects / entities are behind objects that are not occluded, they will be visible via basic outlines until they return to view.

Color, Lighting, Atmosphere

Light Tone

Color Palettes

For global post processing filters, day environments use warm oranges, while night environments use warm purples and magenta filters globally. High saturation but low brightness and muted primaries.

Lighting (Baked & Dynamic)

Soft, shadowless atmospheric lighting (as described in the summary). Volumetric lighting/fog is diffuse. Light sources are soft and glowy. Environments may use some shadows to apply depth as needed.

Camera Work

Stable medium-to-wide shots to focus on composition and environment.

Dark Tone

Color Palettes

Cooler color grading (blue/grey/desaturated purple hues). More focus on deep contrast.

Lighting (Baked & Dynamic)

Textured, Semi-Realistic Atmospheric Lighting (soft lit shadows but not photorealistic lit). High-contrast lighting (key lights, strong dark shadows) and localized light sources to create sharper edges.

Shaders & FX

Noise / film grain, baked ambient occlusion, chromatic aberration, vignette, depth of field, specular bokeh, etc. (Basically throw everything under the sun at the camera)

Camera Work

Subtle camera sway or shallow depth-of-field. Tighter close-ups on faces/hands. Compact scene setup.

User Interface Design (UI)

Primary Aesthetic

The general UI uses a paper, gold, and wood motif that represents the primary materials used in Timbermawn Taijekan architecture and decor. Colored flair items such as ribbons, banners, or pins can vary from the general design and is context dependent.

Color Palette

• Primaries

  • Cream / Off-white (Cosmic latte if youre feeling zesty) for readability and to simulate paper or parchment.

• Secondaries

  • Rich, deep brown / maroon colors for contrast to simulate wood or old leathers.

• Accents

  • Gold used for highlights and gilded textures against the darker secondaries. Maroon colors as highlights against the lighter primaries.

• Flairs

  • Flairs as mentioned can be a variety of colors but are often muted to match the aesthetic of the elements it occupies.

User Experience (UX)

Dialogue UI

Focused Dialogue

Focused dialogue (Story Mode) uses a simple text based overlay at the bottom of the screen with nameplates to indicate narrator or character dialogue. Dialogue choices are either handled as small text boxes to the left or center of the screen. Prominent actions or time based choices occupy the majority of the screen with a simple descending progress bar to indicate time.

Unfocused Dialogue

Unfocused Dialogue (Often referred to as "Lite Dialogue" or "Lifesim Dialogue") is used whenever NPC characters are speaking to either the player or other NPCs without expecting a player response. Unfocused dialogue appears as a dialogue bubble above the speaking character, using either simple text or Terraria style imagery to depict conversations or actions.

Lifesim UI

Interaction Prompts

Interaction prompts appear as text, icons, or a combination contextually attatched to world space objects. Interaction prompts will be toggleable to appear as world or screen space via the config menu.

Character Journal

The character journal is the player's internal navigation menu for all game actions including but not limited to relationship tracking, maps, internal notes, codex entries, and the config menu. Each section appears as bookmark tabs atop the journal. Individual tabs regarding information about each journal section will be added as they are needed.

Character & NPC Inventory

Character inventory is represented as a screen sprite with a grid space and background dependent on the type of bag the player currently has.

NPC inventories differ depending on the type of NPC interacted with. General townfolk or main characters will have a bag style inventory similar to the character, while shopkeep inventories will appear like shelves or display cases with a matching grid space.

Items of importance (such as "In Cart" items picked up during shopping, or quest related items) will have a context dependent icon on the grid space that they occupy within the players inventory.

Character Designs

General

The clothing and general visual language of Malsburrow residents should reflect its location in the dense, pine-forest territory with access to natural materials like wood, stone, leather, and local fibers. The aesthetic is rustic, practical over stylistic, and features Etril's ancestral tribal geometric patterns.

Outfit Design

Outfits should appear oversized, heavy, layered, and built for cold, damp weather. Examples include:

• Long tunics or tabards over thick trousers.
• Heavy cloaks, vests, or ponchos.
• Durable, high boots or laced footwear (depends on the species and size as not everyone wears shoes).

Outfit Colors

Outfit colors are based on dyes that would have been derived from the local region (deep forest greens, charcoal greys, earthy browns). Outfit accents such as scarves, gloves, belts, suspenders, aprons, hats, etc. can contain a limited use of richer colors such as red, cyan, purple, yellow, etc. for detail.

Non-protagonist characters may also feature subtle, repetitive geometric patterns on collars, cuffs, belts, or clothing borders to represent taijekan cultural motifs.

Environmental Design (Architecture & Decor)

General

The architecture and interior design of Malsburrow must reflect its geographical location near dense, pine-like forests (Timbermaw) and its status as a working-class port town. The aesthetic is defined by practicality, reliance on local materials, and the presence of traditional Taijekan patterns

Architecture, Materials, and Structure

Buildings are predominantly constructed from timber (pine or similar local wood) and locally quarried stone. Architecture is designed for durability and insulation against damp and cold.

• Roofs
  • Steeply pitched, slate or heavy-shingle roofs to shed rain and snow. Overhangs are common to protect the wooden walls.

• Foundations

  • Buildings near the docks often sit on thick, weathered wooden pilings or robust stone foundations to protect against tides and dampness.

• Fenestration (Windows)

  • Windows are generally small and thick-paned to conserve heat, often framed in simple, dark wood. Larger windows, if present, are functional (like those on a shop front or common area) rather than decorative.

• Aesthetic & Scale

  • The overall town should spacious near the edges of town, and compact the further towards the lake the town gets.
  • Buildings should feel very vertical to compensate for the height difference Taijekan have over Mënskan with many non-enterable Public District buildings or Government buildings (such as the library or town hall) being 2-3 stories tall.
  • Brick-and-mortar shops should be 1-1.5 stories with open lofts rather than fully enclosed spaces.
  • Homes either are designed similar to that of log cabins or mountain homes with long stairs and open patios with basements over attic spaces.

Interior Design

• Flooring

  • Floors are rough wood planks, stone, or tile, often covered by rugs and mats with patterns.

• Walls

  • Walls are exposed timber beams, dark paneling, or simple, thick plaster painted in muted, warm colors (like deep cream or light grey).

• Furnishings

  • Furniture is practical, bulky, and handmade with dark, heavy woods (e.g., tables, chairs, shelving) and colored cushions (For things like mattresses, couches, ooh more chairs, etc.). Some furnishing may be even made of bone or other natural material.
  • Storage is visible and often used for decorative purpose (open shelving, hooks for coats/tools, bundled supplies).
  • Walls are covered with hanging decor, plants, or light fixtures.

• Lighting

  • Localized, warm light sources that offer minimal light on their own and usually rely on bulk lighting or daylight to illuminate environments. (Can be anything from fireplaces, lamps, candlelight, or electric lighting decorated as oil lamps or other types of combustion light sources)

• Seasonal Decor

  • Decor shifts as seasons change to represent living environments. Cleaning supplies appear nearing spring, fans and freezers during summertime, orange / red colored decor during autumn (use your imagination here), and space heaters & snow gear during winter.

Cultural Elements

• Taijekan Patterns

  • The same geometric patterns found on clothing are repeated in the environment.
  • Solid colors are gilded into doorframes, window borders, wooden beams, fireplace mantels, and decorative pottery.
  • Patterns should be abstract and geometric.

• Color Accents

  • Small decorative accents provide color.
  • Hand-painted local pottery in the accent colors (reds, cyan, purple).
  • Woven baskets and wall hangings using dyed material.
  • Small, hardy potted plants (ferns, mosses) or dried organics.