To steal a music term, the hook of a song is that thing that, well, hooks you in and makes you wanna remember the song. So how does that pertain to design you ask? Well early on in the DA:I project I decided to treat the appeal of the characters I designed not through the eye of the beholder, compiling massive reference sheet of beautiful people and picking features I found appealing. Instead I decided to look through the lens of the narrative, and find their hook. I just found beauty too subjective, too mushy too, too, well lets just say I didn’t find it adequate. Luckily for me a lot of the talented people at Bioware believe in narrative so it wasn’t a hard sell to change the thinking and discussion away from “do I like what that looks like” to “does that visually say what we want”.
In the above example of Cassandra. Her hook is her power and authority. So then the trick was merely to use visual language to tell that story. I no longer had to justify what I thought was attractive. Her face became all about her aggression. Through the angle of her facial structure to the angle of her ears. It all became about giving her a strong aggressive forward visual flow.
— Casper Konefal (x)
Working beside this man for the last couple of years has been a highlight of my career. His insights, creativity and artistic integrity have been such an inspiration. He takes this approach to everything he does and his influence permeates Inquisition. Edit: and I should add, EVERY party member and many key NPC’s have received this treatment and I believe the results speak for themselves.
Restored dress as worn by Ellen Terry in her 1888 portayal of Lady Macbeth.
"When Ellen starred alongside Henry Irving in Macbeth in 1888, there was not a wide choice of fabrics available in England, and Alice could not find the colours she wanted to achieve her effects. She wanted one dress to ‘look as much like soft chain armour as I could, and yet have something that would give the appearance of the scales of a serpent.’ (Mrs. J. Comyns Carr’s ‘Reminiscences’. London: Hutchinson, 1926) Mrs. Nettlship found a twist of soft green silk and blue tinsel in Bohemia and this was crocheted to achieve the chain mail effect.
The dress hung beautifully but: ‘we did not think that it was brilliant enough, so it was sewn all over with real green beetle wings, and a narrow border in Celtic designs, worked out in rubies and diamonds, hemmed all the edges. To this was added a cloak of shot velvet in heather tones, upon which great griffens were embroidered in flame-coloured tinsel. The wimple, or veil, was held in place by a circlet of rubies, and two long plaits twisted with gold hung to her knees.’