into its final technology-infused version. Buki's design, while it was also altered, went through the fewest changes as her concept remained consistent throughout development. For all characters, the redesigns brought them more in line with Western artistic traditions, creating a hybrid style. The final artwork drew influence from anime design, but rooted within the Western artists working on the game at Climax. Each character's weapon was based on real-life weapons such as katanas and pistols from the Wild West era with setting-specific twists. Once the character designs were finalised, the characters were modelled in Maya based on those designs. Out of the game's three locations, the light world of Haskilia was designed first, using a varied and saturated colour palette. The dark world of Akloria was built using the Haskilia map, with its buildings marred or destroyed and the environment using washed out and darkened lighting and colours. The character actions were hand-animated, with special software created to manage different character poses and expressions, including a dedicated tool to lip-synch the characters' mouths to dialogue. The monster designs were created with each of the game's theme locations in mind. Each character skeleton had between 90 and 100 bones, allowing fluid animation and high flexibility. By July 2003, around 90% of character models were completed, with the environments being in a basic state where details could be added. The environments were again designed using Maya, with the designers finding it easy to add in objects and adjust the scenery, while also being able to port directly over to the Xbox for tests. Music The music was composed by Tom Colvin. As he wanted the music to stand out from other RPGs, Colvin drew inspiration from electronic dance music, using breakbeats and electronic sounds in combination with traditional acoustic instruments such as guitars, keyboards and strings. At the same time, he wanted to maintain a classical feeling, so players would not feel like they were in an "RPG dance club", balancing the music between classical and contemporary. The musical score, rather than having a single looping track playing in different areas, had up to ten different layers of music which faded in and out depending on location and situation. This also applied to combat, with local themes growing more intense and instruments being added when the player character was in danger. Colvin attributed the music's adaptability to its dance music influences. A