Moonlight through canopy. The test was whether a silhouette stays readable when the only light source sits behind it.

A landmark that reads from any approach angle — the thing a player navigates by without being told to.

Warm interior against cold stone. Torches as the only wayfinding an interior needs.

Long sightlines and low-contrast targets. Distance made legible without fog doing all the work.

Camera, framing and light staged in Sequencer rather than found in gameplay.

Foliage against masonry — where a stylised palette either holds together or turns to noise.

The whole world in one frame. Pagodas, bridges and torii scaled so the eye lands on the statue first and finds the route second.

The walk a player actually takes. Gate centred, rails converging, destination never in question.

Stone, timber and banner cloth at arm’s length — the distance at which stylised materials have to earn it.

Houses, stalls and walkways over standing water. Density built up without losing the path through it.

Portal and projectile in a grey-box arena. Readability first: an effect has to say what it is before it arrives.