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Thedrawing to theleft depicts themodel that was thebasis for thedesign of Vernon Roches ship.
TheSpecial Forces have asmall, maneuverable river vessel an equivalent of amodern patrol boat. Unlike thesquare rigged prison barge, this ship has lateen sails, allowing it to sail against thewind more easily.
Its smaller draft allows it to safely traverse thePontars shallows. A distinctive blue-white striped sail with theTemerian crest was added to thevessels final in-game design. Theatmosphere within was to be overwhelming. We achieved that by warping thescale of thearea. Theconcept drawing and theframe from thegame show theidea and its implementation.
Thetrading post of Flotsam lies in theheart of wild, maiden territory.
An ancient forest where man is but an intruder - begins just beyond its walls. Only afew steps are enough to leave civilization behind and become steeped in thewoods green shadow. Theillustration above perfectly presents theclimate we wanted for our forest locations. Theforest is thick, with trees growing close to each other, and almost approaches thesettlement, towering above its walls.
Thenarrow strip of land not covered in vegetation is aborder that must be renewed almost 38 every day. Thetrading post exists solely due to theefforts of its inhabitants. Had thehumans stopped rooting thetrees out, theforest would quickly regain theterritories it lost to them.
Theorigin of thestone statues dotting thelandscape here and there is one of them. These foul creatures, emboldened by the turmoil and chaos of war, creep ever closer to human settlements in search of easy prey.
The Velen of this time is a lawless and brutal land, in which the weak fall victim to the strong and the ruthless. Murders of crows feasting on corpses took to the air as they went by. Abandoned, crumbling homes cluster in eerily-empty villages. Stunted and deformed branches thrust out from barren trees against the backdrop of a somber gray sky.
From some of these branches corpses hang—executed prisoners of war or victims of marauding groups of raiders. When darkness creeps over Velen, the atmosphere becomes even more unreal and grim—lit by a pale moon, the landscape looks like something straight out of a horror story.
These lands are part of Temeria, and so we took painstaking care to endow them with the same Slavic character given to this area in the first game in the series.
The look of the built environ- ment—its villages and fortifications—is modeled on medieval buildings as described in written sources, illustrations, etchings, and archeologi- cal excavations. Professional historical treatises on architecture in central and eastern Europe were a key reference for our designers and artists during this process.
Steep roofs covered in straw thatch top wooden huts and farmyard buildings.
To protect against the damp, some homes in wetland areas are raised on low stilts. The illustrations here show various concepts drawn up while imagining a location transformed by such a phenomenon. Post-Hunt Heatherton was supposed to look like a place struck by a freak weather anomaly or a minor magical catastrophe.
While early autumn weather reigns in the rest of Velen, here snow has fallen alarmingly early. The frozen mud of the farmyards, the frost-covered walls of the huts, and the long icicles hanging from the edges of the roofs stand as clear proof to those who know how to look of who is responsible for these happenings.
This castle was once home to a minor Temerian lord named Vserad. The castle buildings are also in less than prime condition, as witnessed by the patchy and sometimes rotten thatch on their roofs. Mess and sloth rule the day here. Holes pock the walls and roofs, here and there a tool or piece of farm equipment lies neglected and discarded, and carelessly dumped wood forms sloppy piles, lending the place an overall feeling of disorder.
When we set about creating this strange sanctuary, we sought to convey an unsettling and slightly un- real atmosphere. A wall inside one of a cluster of seemingly ordinary huts was transformed into a sort of shrine.
Lit by a thousand flickering candles and adorned with skulls both animal and human, the shrine comes across as bizarre and somewhat disturbing. Its centerpiece is a tap- estry woven of human hair and depicting three beautiful women. Simple statues carved of wood depict the god- dess in one of three forms: Mother, Virgin, or Crone.
Around these altars local peasants place small thanksgiving offerings of food and drink, and light modest votive candles and lamps.
Meanwhile, in Velen another religion has taken root, one which calls for prayers to be addressed to the Ladies of the Wood. These statues are often stained with blood, both the caked residue of past sacrifices and the still-warm traces of new ones.
Both religions are very old, dating back almost to the time of the first men, and so in designing these shrines we tried to convey a somewhat archaic look. The rough-hewn wooden carvings recall ancient Slavic depictions of the gods.
Hidden deep beneath its soil are the ruins of an ancient elven complex destroyed during the first wars with humans.