The exquisitely crafted digital and handmade universe of South of Midnight may resemble a stop-motion film, but Compulsion Games, the developer, assures us that “the gameplay runs at a solid 60fps.”
Although the upcoming Xbox Series X title comes with a default stop-motion effect, Compulsion recognizes that this feature may not appeal to everyone. According to art director Whitney Clayton, South of Midnight maintains a consistent 60 frames per second, with character models and environmental assets manipulated during development to achieve varying degrees of the stop-motion effect. The objective? “To create the illusion that you’re immersed in a handcrafted world without making it overly disorienting,” though players can further customize their experience through accessibility options.
As a Southern Gothic action-adventure enriched with folklore and myth, establishing a distinct visual theme was always a fundamental design element for South of Midnight. Compulsion had a clear vision in mind. “When you mention creating miniatures that feel handmade, people might think of styles like Wallace and Gromit or Gumby, which wasn’t the direction we wanted to pursue,” Clayton explains. “We drew inspiration from the animation Madame Tutli Putli [by Clyde Henry Productions], which possesses a moody, atmospheric, and slightly eerie aesthetic that resonated with us.”
Clyde Henry, the stop-motion production company from Canada, played a crucial role in bringing Compulsion’s handcrafted vision to life. “During our visit to their Montreal studio, we observed a real maquette on one side and our digitally reverse-engineered 3D model on the other, as we explored methods to evoke a handmade feel,” Clayton recalls about their collaborative process. “This approach informed every aspect of the game, from creatures and characters to environments and NPCs.” Creating a stop-motion effect for the game’s flora and fauna required more than just adjusting the framerate. “Each element needed a tailored approach to achieve that stop-motion sensation, combining various animation techniques. We utilized technical art and visual effects to replicate the flickering textures typically seen in traditional stop-motion, like the imprint of fingers on a surface,” Clayton explains. To ensure smooth gameplay, he identifies movement and combat mechanics as areas where stop-motion effects were toned down. Conversely, these effects are more prominent in other aspects, particularly the environments. “The foliage has a distinct motion, and certain animated creatures and game elements exhibit a clear stop-motion style,” Clayton adds. “However, if we had applied that effect uniformly, it could have been jarring.”
While South of Midnight offers a variety of accessibility options, including modes to skip boss battles and combat sequences, one element remains non-negotiable—the brief cinematic introduction created by Clyde Henry, showcased in the stop-motion trailer. “We needed an introductory video to set the context,” Clayton states. “We decided that real stop motion was the perfect method for this cinematic, and there was no better team for the job than Clyde Henry. We were fortunate that they were available to collaborate with us.” The creation of this single animation took “almost a year,” presenting a significant challenge for the animation studio. “As Whitney mentioned, her task was to translate all these assets into a digital format while preserving a handcrafted aesthetic,” explains Brigitte Henry, art director at Clyde Henry. “For us, it was the opposite; we had to convert all the CG assets into tangible, handcrafted environments.” Co-founder Chris describes this endeavor as their “great challenge: to physically transform digital assets back into the realm of handmade puppets.”
