transform the hand-drawn artwork into polygonal shapes in the latter case would cause the reproduced assets' level of detail to be vastly reduced from that of the source images. In defining the inclusion of the game's environments, Ueda outlined his suggestions to the team's scenery designers who then worked to apply them to the title. After the locations of the individual colossi were visualized in the game's engine, the group began to compose the game's setting by adding intermediary areas between the enemies' lairs. During development, the size of the game world frequently changed as the team reorganized the connective material. Environmental designer Kouji Hasegawa noted that the scenery graphics were drastically reworked on several occasions because Ueda urged him and his colleagues to reinforce the light tones in the coloring of the areas and to accentuate "the brightness and the saturation of the textures". Like Ico, the game displays a distinct style of lighting. The game engine utilizes elements such as desaturated colors, motion blur and partial high dynamic range rendering; and it places heavy emphasis on bloom lighting. As Team Ico operationalized the game's physics-oriented features, they continued to refine them with reference to the Ico-inspired character designs from the NICO concept video. After the systems that modeled the player's interactions with the colossi and generated the game world were established, the team integrated the human models from the prior versions of the game into a newly-designed, singular figure. The necessity for the protagonist to freely traverse a 3D space prompted the team to abandon the presentational format of Ico, whose gameplay is viewed from a fixed perspective, and to introduce a camera system with a third-person view of the character. After the inclusion of the player character's ability to perform climbing maneuvers, the team enabled the game to alter his physical response to instances of falling from a moving colossus; the reaction would vary depending on the distance that the protagonist's body traveled to the landing point. According to Ueda, the moment when he saw the actual effect of that simulation led him to believe that the project offered an exceptional play experience when compared to preceding video games. Character animation is accomplished via key frame animation, the game's simulated physics and inverse kinematics (IK)–a method derived from the field of robotics. Some of the game's characters are procedurally animated; this technique is sparsely used due to