Hello, this is Torriet.
As mentioned in the v0.2 patch notes, I would like to share some behind-the-scenes stories from the development log of Four Lights.
Since I personally handled illustrations, music composition, and the scenario, I think it would be fitting to cover each topic one by one over the next three weeks.
This is going to be a rather long read. I would be very happy if you could enjoy it with me.
Backgrounds
This piece was originally drawn by hand, then scanned and stored digitally.
I remember putting it in a frame, and it’s probably tucked away in a corner of my balcony right now.
This became the original prototype for the background below.
This is a background you will see quite often while playing the game.
As shown above, backgrounds featuring untamed wilderness and natural scenery were all drawn directly by hand by me.
Other backgrounds were outsourced and produced as 3D renders.
I think the atmosphere blends together quite well.
Characters
During the 19 years it took from initial concept to completion, my characters went through countless changes.
Their designs were mostly finalized around 2020, during the pandemic.
Hari originally had white hair before changing to black hair,
and Crina originally had a very gentle look, but was transformed into the sharp image she has today.
This image is the very first version of Hari that I created. (Her real name is a secret to avoid spoilers!)
The third character here is the initial draft for Crina Pantom.
Quite different, isn't it? She was originally planned as a main heroine, but was moved to a supporting role.
Those who like Crina might feel a bit disappointed.
Sharing drawings from my younger days requires a lot of courage...
To find all the materials, I'd have to dig through old boxes at home, but gathering everything would be tough,
so I think it’s best to share from what I already have on hand.
I recall drawing this piece around 2016.
Looking back now, that was 10 years ago!
Erie's appearance changed quite a lot, didn't it?
I remember swapping Erie's middle-parted hair with Iruka's bangs.
The butterfly crest insignia on each character remains unchanged to this day.
Hari and Märchen already had great character designs back then, so they didn't change much.
I believe they are characters that many people will continue to love even now.
Iruka
Before beginning the full-scale production of Four Lights, I needed to establish and solidify the art style for the characters.
It was crucial that their appearances didn't look too similar,
and each had to be designed to show off their own unique charm.
Through various iterations and deep consideration,
this was the final decision.
There might certainly have been better designs,
but I couldn't focus solely on a single character; I always had to keep the overall balance and tone of the work in mind, so I had to curb my greed and make choices.
I focused on keywords such as approachable, romantic tension, and youthful innocence.
Her younger appearance stayed true to the design from 10 years ago,
while her current form became the design finalized today.
The character who opens the curtain of Four Lights and guides you through it.
That is why she was the character I agonized over and revised the most.
Did that struggle and love reach all of you?
I truly hope so.
Erie
Originally, she was a character with a fuller bust as shown below...
As you'll see when playing Erie's route, she carries a fragile and sorrowful demeanor,
so she couldn't give off a mature, older-sister vibe.
A noticeably slender, youthful appearance.
Eccentric, blunt.
In the lore, she is younger than the protagonist and the youngest among the heroines,
so I settled on the design below to match that concept.
Her height is taller than Iruka and Hari, but adjusted so she isn't overly tall.
I am confident this resulted in a design that fits the narrative and feels convincing.
Her standalone appeal as a single character might seem weaker.
It's a somewhat common appearance, and she lacks flashy charms compared to other heroines.
However, I believe Erie's current design played a huge role in opening the Second World of Four Lights.
It also fits Ever, who plays an active role alongside her.
If you journey with Erie all the way to World 4, I believe you will come to understand her charm.
Erie shines even brighter when interacting with the other characters than when she is alone.
Hari
My personal favorite design. Literally my ideal type.
(This CG is unrelated to the in-game assets.)
Older than the protagonist, possessing an upright character with an unwavering sense of duty and justice.
Playful, yet tender and kind.
So many people have loved Hari and appreciated her charm just from her appearance, which makes me very proud.
Compared to other heroines, I drew her excessively often, so my deep affection for her might have already been obvious.
A character truly worthy of being loved by many.
The character who drives the story toward its climax and opens the path to the final act.
I am very curious to know how everyone felt about World 3 alongside Hari.
Märchen
A heart vast enough to embrace everything (?)
Excuse me for that. Even though I said Hari is my most beloved character, the one who marks the grand finale is actually Märchen's route,
World 4.
Those who have played through will understand why I made that choice.
It wasn't decided out of personal bias, but strictly from a narrative standpoint.
I'll delve deeper into this in the scenario edition of the devlog.
A cute yet charismatic commander on the battlefield.
She couldn't look too adult, but she also couldn't look too young.
I put a tremendous amount of effort into making her appearance as distinctive as possible.
Since her initial design around 2016, only fine details have changed; her core appearance remained largely intact.
In every way, she is a truly captivating character.
The designs for the four heroines were decided with this mindset.
Even if they may not be flawless, they are the four heroines who illuminate this narrative.
E.B.
The protagonist and POV narrator.
Usually in dating sims, the protagonist rarely has a clearly defined visual presence.
However, this work focuses on a grand overarching epic rather than conventional romance tropes,
making a well-defined protagonist essential.
I wanted to design him to be composed and naturally fitting alongside any of the heroines.
Thus, I chose a black-and-white base, seeking qualities like natural, warm, and dependable.
Associating those keywords brought green to mind, so I decided on green eyes.
At first, I thought a protagonist should have a unique look, so I gave him an unusual hairstyle...
I had no idea people would dislike it that much.
E.B.'s appearance was revised after the game launched.
Fortunately, since the protagonist doesn't appear in event CGs that often, revising it wasn't too difficult.
Some people spouted nonsense asking if E.B. was a self-insert of the author...(as if they know me at all;)
He is an entirely different person, created purely for the sake of this story.
The reason his profession is an illustrator is tied to his supernatural ability, and since it is a profession I know intimately,
it allowed me to write about it with authentic expertise within the narrative, offering several advantages.
Ten Houses
Aside from Crina mentioned earlier, only Aouko was conceptualized during my younger days;
most of the others were designed on the fly during actual development.
In the past, Aouko had this middle-aged look (with hair shaped like a calligraphy brush),
and now he has become this distinguished elderly figure.
Another unique case is Rubria Fraliion.
This character was originally going to be male, but I changed it to female because of Aouko.
Aouko turned out so cool that it was difficult to design another male villain to surpass him.
Drawing inspiration from horror stories I often enjoy and Korean shamanic traditions,
I finalized the concept as a shaman and scientist.
I am very fond of how all the current heads of the Ten Houses look.
I would be delighted to have more opportunities to draw them in the future.
Angels
While many media depict angels with halos above their heads and wings,
I wanted to portray them differently.
I always had this odd thought: "If angels had wings, heaven would be a mess covered in feathers..."
Thinking this way, I boldly removed both the wings and the halos.
Instead, because the children of God are frequently represented as sheep, I decided to give them ram horns as a symbol of power and authority.
All angels possess these ram horns.
Lucifer
Lucifer, the fallen angel who appears across many works of fiction.
Thinking of the forbidden fruit tied to him reminded me of the Snow White tale,
so taking inspiration from the wicked queen in Snow White, I designed him wrapped in a red cloak.
Since fairy tale motifs appear in World 2 as well, I thought it was a fitting setup.
Evoking the feel of a grim dark fairy tale.
I believe a truly captivating character came to life.
Lucifer, once an angel, fell and had his horns broken, and the struggle to hunt down this single entity continues throughout the entire work.
A look truly worthy of the Demon King.
Ever
Like Erie, she was originally designed with a voluptuous physique, but... I felt leaving it that way would ruin Ever's core character identity.
Her signature color palette was inspired by the Joker.
Warm greens give off comfort, but cold greens seem to give off an unsettling aura.
When designing Erie and Ever, I blended purple and green to create a fantastical impression.
It ties deeply into the supernatural powers they wield, making it a color scheme I am very fond of.
There are many other characters as well,
but I think it will be better to detail them in an official artbook later on.
Standing CGs
The standing character CGs finalized after all this deliberation.
The heroines have changed drastically compared to when they were first released as standalone packages back in 2023.
Can you see the difference just by looking at Iruka?
Crina and the Grotesque are still using their 2023 versions, which leaves a bit to be desired, so I might update them soon.
Counting the number of asset files... has almost become meaningless because there are simply too many.
My ambition makes me want to add more outfits and poses for the heroines,
and since changing poses only requires tweaking a few index numbers, if my perfectionism persists, I might modify them down the road.
Even I can't quite predict how far my ambitions will take me.
Event CGs
The 1,000 CGs noted on the Steam store page.
Most people probably thought:
“It’s probably AI,” or “That count must be padded with minor variations.”
If we include variations, the total count is actually 1,334 cuts.
Even if some doubt that I drew every single one by hand at first, I believe playing the game will make the truth immediately apparent.
While playing, you might get used to it and not notice, but opening the in-game gallery will show you that something extraordinary is going on.
The reason it took me 19 years to create this work is simple.
It required a physical period of relentless training to produce such a massive volume while maintaining consistent quality.
Anyone who has drawn will understand.
I drew over a thousand CG cuts in just 4 years.
While handling the music, scenario, screen direction, and attending offline conventions, I immersed myself to a degree that barely felt like living a normal human life.
Four Lights is a fantasy visual novel.
With around 30 characters, drawing each person just once amounts to 30 cuts.
Making it on par with full animation... is physically impossible for a single creator,
(especially since this is not a short story, but an epic spanning 20 to 30 hours of gameplay)
so connecting intermediate action cuts for battle scenes required an immense quantity of artwork.
When I stated that I would add CGs at the end of each month... it’s because personally, I still feel it’s not enough.
Even though there are already more than enough CGs prepared to enjoy the story, I still want to pack in more.
I poured in tremendous effort and love so that the scenes I imagined could be expressed without reserve.
Every single line, every single brushstroke.
I turned off stabilizer tools and kept the raw, trembling linework to preserve raw sensation.
Because I studied and pushed to preserve my distinct artistic identity, personal tastes may be polarized.
Even so, that didn't matter to me.
As you experience this work and embark on the journey of Four Lights, I hope the love I poured into it reaches you.
Thank you very much for reading this long post.
I will see you next time with the music edition of the devlog.
* This devlog was translated using Gemini.