They would pass this concept map to the artists, who added models to it, beginning with the largest objects and ending with small items such as individual pieces of furniture. After everything was put in place by the art team, designers took over again, inserting graphical enhancements, effects, and collision detection code. With a functional level, creatures, items, traps, and triggers were added last, then scripts were written for everything to control behavior. The team found it quite difficult to keep track of changes made to levels, and there were sometimes communication problems between different parts of the team, such as the artists and designers, resulting in inconsistencies between their work. Co-executive producer Ray Muzyka wrote, that "they learned to make sure all elements of the team are talking to each other and working as a group, rather than as a bunch of individuals!" They did feel they had done a good job automating the level creation process, as levels were rapidly designed. Muzyka also said that "a designer, might submit a level description and receive it, art complete, a month later ready for scripting, but missing some key features (almost always a door). We would then have to determine whether the omission was important enough to have the art piece redone, or whether we could simply tweak the design of the level to fit the finished art". Areas were made more compact than before, the amount of "dead space" being curtailed, facilitating faster travel between key areas because less distance has to be traveled. Marcia Tofer, Art Director for Shadows of Amn, worked with a team of 8 to 12 people to create the game's artwork, such as the backgrounds, monsters, etc. Tofer observed that the city of Baldur's Gate had been their first attempt at city building and what they learned there served to make Athkatla "far more diverse and interesting". City renders took from 18 to 24 hours, though they used hardware that was powerful for those days: multiple Dual Pentium IIIs at 500 MHz, coupled with 512 MB of memory. In traditional mediums like text or film and television, what is read or seen is effectively controlled by the creators. Games are a visual medium, wrote Luke Kristjanson, one of the writers and designers on Shadows of Amn, but they are unlike the traditional ones of film and television. For Baldur's Gate, the developers knew what