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While the char­ac­ter­ful early screens would lead you to be­lieve ev­ery cob­ble­stone in the world was placed for artis­tic im­pact,

We Happy Few is an en­tirely dif­fer­ent kind of trip for the artists be­hind Con­trast. “It’s chal­leng­ing to come up with ways of putting unique, mem­o­rable el­e­ments in when you’re not sure where they’re go­ing to [be seen],” Clay­ton tells us. “All the fid­dling to make it just sit where it should – it’s a lot of prob­lem-solv­ing. It’s a good thing our pro­gram­mers are so good! What’s re­ally nice from an art side is that we can get the look and feel of a sec­tion that we want and then all the tech peo­ple work their butts off to try to match it. I’m lucky that the com­pany here re­ally vibes the art di­rec­tion a lot, so it’s a pri­or­ity to get it to look amaz­ing.”

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