Designing the giddy Art Nouveau fantasy world of new game Our Beautiful Ruin

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Ian Dean is Editor, Digital Arts & 3D at Creativebloq, and the former editor of many leading magazines. These titles included ImagineFX, 3D World and leading video game title Official PlayStation Magazine. In his early career he wrote for music and film magazines including Uncut and SFX. Ian launched Xbox magazine X360 and edited PlayStation World.

Transmedia is a buzzy word at the moment. As small studios and developers wrestle with ideas of getting more from their work, more teams are deciding to plan holistic IP - rather than create a single game or film or book these adventurous studios are plotting a web of releases, including video games, comics and movies..

Where characters or ideas have a had a direct historical influence, Andy says finding creative solutions has been easier than when an idea is looser or"chaotic". This was a challenge when it came to visualising the Unbonded faction. "Like with our maps," says Andy,"I could look at Evan’s sketches and think, “I like the variety of biomes and the geography seems to make sense,” but Rachel , our senior writer could tie together and integrate all these details of lore and history with a closer consideration of how that matched the geography - a level of abstract detail that is just over my head."

Andy continues down a rabbit hole of ideas, one leading into another. Maybe there are companies creating countless disposable ceramic cutting edges, perhaps these are discarded and littered around the world, in parts of Grandhurst. An innovative Unbonded person could collect these shards and attach them to a cricket bat, and now a"unique weapon grown out of the constraints of everyday problems," teases Andy.

"We must make sure the rules of the world stay as intended and don’t go off the handle just for any particular genre or medium," says Efrem. Andy tells me an early idea for the environment design of Dramark was for a green and gloomy world,"a gothic exaggeration of the British Isles," which spun out questions for the concept art to solve - How does place become generally gloomy? Why is it generally verdant?The art director details the thought process:"We discuss, bounce some ideas around and realise there is probably a lot of humidity for that fog and gloom to happen, and that makes the moss and plants happy, so you...

 

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