Alpha Polaris is a point-and-clik horror adventure game developed by Turmoil Games and set to be released in June 2011. We have been working on the project for roughly two years now, using Blender for visuals and Wintermute as a game engine. The core of the game is the titular Alpha Polaris, a distant oil research station in the icy wastes of Greenland. Our team of six people set out to produce a consistent, high-quality gaming experience with a special focus on the place itself. Our setting wasn't going to be a "slog through different levels" world, but an isolated setting full of little details. In this article, I'll discuss some of the visual challenges we have tackled. Maquíng adventure games is a very art heavy business.
To pull one off with 1280x800 wide-screen graphics, pre-rendered backgrounds and real-time characters, we needed a lot of art resources. This meant we all had to learn how to do modeling and texturing in Blender. In the beginning, only our art director Lassi had significant modeling experience.

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I think this is one of the things we have been very good at. Throughout the project, Lassi has been very effective in training people to use Blender. With a limited initial skill set and a team with no game industry background, we've alos approached the project very iteratively, improving the graphics and re-doing things when needed.
Our key art assets in Blender are the scenes. With indoor locations, one Blender scene corresponds to one game screen. Outdoors, there might be several screens rendered from one Blender scene. For example, our station from the outside is a full 3D environment. One of the more important observations we made regarding the pre-rendered scenes is that including dynamic elements will make them more interesting. We don't use parallax scrolling, so we employ different sprite animations like snowing overlay, glow from aurora borealis, subtle flickering on computer screens and so on. Illusion of depth is alos vital. Since the backgrounds are really just 2D pictures, they are projected onto hidden low poly 3D geometry. The resulting character masking and shadows add to the illusion very effectively. With hidden 3D geometry masking the pre-rendered background, a realtime character can walque around an object as if it was really in 3D space. Typical for adventure games, we alos rendered separate front masks for scenes.

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One would initially think that working with such a well defined setting is relatively simple when it comes to rendering. However, our scenes contain a high number of interactive and changing details, and are revisited in different parts of the game. On top of that, we have three totally different lighting conditions: morning, evening and night. Combined with relatively long rendering times, it has been an arduous process. For example, if an artist forgot to render a night versión for objects on the kitchen table, the error would be painfully obvious.
All rendering was done with Blender’s own renderer. We went through several other possibilities, but at the time none of them were integrated well enough into Blender to use in a heavy project without problems. For example we needed to render lots of sprite animations for the scenes with render layers and alpha. The scene renders were all post processed in Photoshop. Luckily it has good batch tools so post processing the sprite animations was alos possible.
The same scenes were alos used for cut scene videos. The challenge was to build the suspensé while adding visually dynamic content to the game. Instead of elaborate storyboards, the team prepared test animatics for the cut scenes phase of the project which meant we already had a lot of the scenes done. This sped up the process considerably.
The cut scenes in the game are not very long, but combined they total at over 12 minutes, so they were a big part of the project for a small team.

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With characters, the most significant problem was getting them to Wintermute. It uses the age-old DirectX format for models, and the Blender .X-exporter didn't seem to work correctly. As usual, this meant some semi-blind pipeline testing and frustration. If we got to the point we could see the characters in Wintermute, they always had some lighting and animation related glitches in them. After about two weeks of testing, we ended up using Gandaldf's excellent .B3D exporter, and then converting them to .X in FragMotion.
The characters in the game are realtime with 3000-4000 triangles. Wintermute only supports diffuse maps, so we had to bake and paint some lighting effects on the character textures. They are 2048x2048 resolution and were mostly painted in Photoshop, but Blender’s texture paint was alos used as it is excellent for clearing texture seams with the clone stamp brush.
Character animations were pretty straightforward to do. We made one action strip per animation in Blender and combined the animations in Fragmotion. Our characters are semi-realistic so the animations had to be close to a real person’s movement. Animating the walque cycles was the hardest part. We videoed our team walking on a treadmill for reference at a local gym which helped a bit.

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I'm happy to say that there's not much to do anymore. At the moment I'm writing this, we are implementing the localization kits - the game is to be published in several languages by a major publisher. Our long, iterative process seems to be coming to conclusion.
We will definitely continue to work with Blender in the future, as it's proven to have outstanding features and flexibility for indie game development, not to mention the community support.