Additional dialogue support was done by linguist Renata Henkes. The futuristic, Art Deco visuals were designed by Oscar Chichoni and Isabel Molina, who also worked on the 1995 Oscar-winning film "Restoration". Chichoni drew the initial sketches of the ship on a flight to Los Angeles on the day he and Molina joined the project. Adams described the ship's interior design as a mixture of the Ritz Hotel, the Chrysler Building, Tutankhamun's tomb and Venice. In order to make the design of the ship similar to Art Deco, Molina and Chichoni drew inspiration from 1950s American electrical appliances and modern architecture; to design the ship's external shape, they also drew from bones and dinosaur skeletons. Adams, Chichoni and Molina gave detailed briefings for the animators for each environment and character in the game. Modeling and animation for the 30 environments and 10 characters was done on Softimage 3D, version 3.5. Most environments were done separately. However, the center of the ship in particular also included other environments as it connects the first and second class canals, the top of the well and the central well; Darren Blencowe was responsible for modeling the ship's center. A total of six 3D artists worked on the game. Rendering was done on Mental Ray; in order to complete the rendering in time, the team's systems administrator wrote a Perl-based software to control all rendering jobs for up to 20 processors working 24 hours a day. In order to animate the parrot, Philip Dubree, one of the team's animators, visited pet shops and studied macaws for inspiration. Dubree created a skeleton and modeled the wings and feathers, later adjoining the body. He also scanned photos of macaw features and used Photoshop to incorporate those in the parrot's textures. In order to create Titania's statue at the Top of the Well, animator John Attard build the 3D model as a refractive metallic structure and texturized it with streaks of oxidation on her face; Attard used the Statue of Liberty as a visual reference. Programming was done on The Digital Village's own developed engine, Lifeboat. The engine was developed by programmers Sean Solle and Rik Heywood, who joined the company in January 1997. Their intention when developing Lifeboat was allowing simultaneous work on different parts of the game, facilitating game test runs and unifying the work of coders and 3D animators. The engine went live on 14 February 1997.