For our Copenhagen 2077 game, I developed a custom post-processing filter designed to make the world feel like a Danish golden age painting. The filter is based on a directional-Kuwahara algorithm, which selectively blurs surfaces while preserving edges, and includes a depth-based component that increases the effect on distant objects. This allowed the background to take on a stylized, painterly look without affecting gameplay readability. The filter was optimized to run in real time and became a core part of the project’s visual identity. It allowed us to unify varied 3D assets under a consistent art direction while keeping performance lightweight enough for WebGL.

To support the game’s fixed-camera design, I created a movement biasing system that subtly corrects player input based on level layout. Each playable area—bridges, streets, corridors—was assigned a directional bias, and the system would gently nudge the player’s movement toward the intended path. This helped address a common issue in fixed-camera games, where player input can feel disconnected from on-screen movement. The system improved player confidence and made the experience more accessible, especially for keyboard users. It also allowed us to keep the camera static without compromising control clarity.