Cold com­fort


A post-apoc­a­lyp­tic win­ter might be a rather good fit for a videogame, but it raises its own artis­tic chal­lenges. How do you go about de­sign­ing an en­gag­ing, nav­i­ga­ble world when your pal­ette pre­dom­i­nantly con­sists of var­i­ous shades of white? “You end up with this li­brary of go-to things like the tops of build­ings, py­lons, high­ways, and larger mo­bile struc­tures like crash-landed jets,” art di­rec­tor Mark Nor­man says. “There was some­thing I liked about that blank can­vas – it was stark and fore­bod­ing, like you were very alone in a very big world. And then we’ve got this richer, darker un­der­world, and the con­trast be­tween the two is quite ap­peal­ing – it’s al­most like two games in one.”

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