We want to show something intimate about the main character, to share a little more about the ideas behind her creation and the different versions she went through until reaching this moment.  

Early versions of Espada 

In the image above we have two early versions of Espada: on the left, the very first way we imagined her, and on the right, how we considered including her in the first version of the project. 

From the beginning, Espada has always had yellow as her main color. This color is important to us—it symbolizes the fight against depression and is inspiring to look at. She has always been accompanied by a weapon, in this case a sword, which represents courage and determination to face struggles. That is why her name, Espada (“Sword”), represents both the challenge and the journey she must endure. 

Although the early versions were interesting, the overall idea of the project was different, and the character felt a little out of place within this new approach. Once we finally decided what the game should be and the kind of message we wanted to deliver, we realized the style also needed to change. That led us to the conclusion that a single style wouldn’t be enough—we needed two versions to fully express the concept of the game we were creating. 

Since the game involves an artistic experiment with trixel art, our character had to exist in trixel. But on the other hand, we also needed a way to represent her with more detail and to bring out the expression of the girl we created for the adventure. That meant we had no choice: we needed both a trixel version and a digital painting version that could better reflect the idea. 

Sketches of Espada in her current version 

The image above represents the current digital painting version of Espada. It has far fewer details than the first version we presented before. That way, we could keep her closer to the trixel version, which, due to its limitations, makes it difficult to include many details. Interestingly, this version didn’t go through many drafts—we basically reached it as soon as we understood what the game should be, almost as if the character herself was already explaining how she wanted to exist. 

The trixel version below also had an early draft that represented that old version of Espada. But we quickly realized it wouldn’t work. Soon after, with only a few attempts, we managed to make the character much more compelling. 

Left: first trixel version. Right: current version. 

It’s important to remember that this art form is limited, and for the project, we imagined everything as if it were a board game—a more playful form of expression to deliver to the player. 

The image below shows another version of Espada, but this one doesn’t appear in the game. It was made only to inspire us during development. 

Mascot version, made in amigurumi. 

What matters is not the shape of the character, but what she means to the project and to our lives. Working on this game is not just fun, but also a reminder that it is possible to fight for the things we want. Even if many versions are needed, the most important thing is to keep trying. 

Trixel art is a very interesting and innovative art style. I believe everyone is familiar with pixel art — those little square graphics from 2D games that are quite popular. What sets trixel art apart is that it’s created using triangles and hexagons instead of squares, like in pixel art. 

This unique style gives players the nostalgic feeling of retro games while also pleasing the eye with a more modern and geometric look. We chose this style precisely to make it a core element of Espada’s visual identity, enhancing the immersive experience. 

To achieve that, we use the best software on the market: Marmoset Hexels 3, a tool with a simple and intuitive interface that allows us to create almost all the game’s assets. Even the environments are made with it — we build them in 2D with an isometric view, creating a sense of depth without having to model in 3D.  

(from the game's early version, just a test) 

Since nearly all design in Espada is constructed using trixel blocks, every element has a unique visual rhythm, with precise angles and elegant compositions. This results in a consistent aesthetic that blends the nostalgia of old-school RPGs with the energy of modern productions.

The characters are also designed using the same geometric principles, but with a focus on visual identity and clarity. Even with simple shapes, the characters are easy to recognize, control, and animate. The aesthetic contributes to the game's tone: charming, accessible, and with a handcrafted feel.  

During the creative process, we faced some challenges, such as adapting shadows, showing character expressions, or simulating depth with limited color palettes. However, these challenges made the process interesting and rewarding. We believe that this will reflect positively in the final quality, since the visual style isn’t just “pretty” — it actively contributes to the gameplay’s pacing and readability.  

Visual elements are used to guide the player through the story, highlighting contrasts between safe zones and danger zones, for example. The style also helps set the emotional tone for each moment in the game — whether nostalgic, adventurous, mysterious, or cozy. 

In short, Espada is being built in trixel art because we want to connect tradition and innovation. Hexels 3 reinforces our artistic vision, blending visual accessibility with geometric sophistication. It invites players to pay attention to the details — every triangle, line, and shadow is part of an enchanting visual narrative in the world of Espada. 

2D art is very important for conveying emotions, defining the visual identity, and telling the story in games. In the Espada project, we use 2D digital illustrations virtually everywhere. For that, we had several software options for illustration and chose one that reflects the project’s core values—accessibility, collaboration, and purpose. 

So we chose Krita. Why? Krita is a tool made by artists for artists. It has an intuitive interface, is free, and open-source, making it accessible for small teams like ours and for social projects. The program includes various tools for layered art, even frame-by-frame animation, and it supports formats used in game engines. 

In the Espada Project, we emphasize our commitment to democratic access to technology, and a free, professional-grade tool greatly helps us maintain a high level of production. Some time ago, Photoshop—the most used software for illustration and design—was boycotted by the artistic community. Adobe had openly admitted to collecting data from work created with their software to train their AI, which we consider outrageous! That was one of the reasons we chose not to use it—besides its already inaccessible pricing. 

In this production phase, our junior artist Ramon had the opportunity to be trained and mentored by the senior artist and leader of the Adas Team, following the game's style. This way, we applied everything we believe to be healthy for the game development industry and nurtured our ideals with a team that always supports one another—and Krita, with its simplicity, makes that possible. 

Throughout the planning and production stages, we realized we can strengthen the independent cultural production ecosystem not only by creating but also by talking about the tools and steps of the process. We make a point of promoting Krita, and that’s part of our mission. We encourage other developers and artists to explore powerful and accessible tools like this one. 

So, ready to give Krita a try?