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.”