With that in mind, we developed methods to work quickly in order to deliver the final game. The most obvious example of this that comes to my mind is with 3d textures. Because we had decided early on that we wanted the style of the game to be cartoonish, so we didn't need to create realistic texture maps. (In fact, for a while we were even considering that the game would utilize flat shaded rendering to lend even more to the cartoon feeling.) The image file above just about covers all of the images in the factory level. If you look at previous posts about the factory level (here), you can probably place a lot of these colors.
Using Krystal's great character designs and set illustrations, we simply picked colors from those illustrations, and thus the color palette for the game was created, along with a lot of texture maps, like the one above. The gingerbread house below is a great example of where we used Kystal's art, and took the next step with it. The reader can probably see a lot of the colors from the factory in the illustration of the gingerbread house.
This really shows the value that an artist can bring to the team. To be sure, Krystal only designed a few set pieces, and we had to create the rest. (After all, with her talents, she was in high demand, and although we would have loved to work with her throughout the entire process, we couldn't.) However, in addition from the set and character design that she lent to the project, that also allowed the Give Up Games brothers the opportunity to utilize elements of those designs (here, the color palate), for elements that she did not design. As proud as we are, we knew where our shortcomings were, and were able to outsource certain design elements, such as the gingerbread house, and then take those designs to the next step for other elements in The Elf Who Killed Christmas.
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