our 2D concept work into a 3D traversable world. With a strong 2D concept team having a great relationship with the 3D team, the “Ping Pong” between 2D and 3D maintained throughout development. Tuning the 3D worlds compositions, assisting with


texture illustration and material creation, and executing a strong graphic use of colour and lighting, the team’s close relationship bore an incredibly faithful realisation of an extreme and illustrative world.


AS THE ART CAME TOGETHER, DID IT INFLUENCE THE DESIGN OF THE GAME IN ANY WAY? IF SO, HOW? I think it’s more accurate to say a required tone and pace was needed. It was this that influenced both artistic visual pillars, as much as the game’s features, that plus the PSVR hardware. Everything was supporting the game’s core “fast and fluid action.”


But to support this there were some visual language rules and artistic pillars that formed a bold yet cohesive art style.


Legibility and


accessibility was the focus. A style that gave clarity in VR, clarity for interaction, cover, and traversal opportunities. We needed to create open spaces that served the core combat mechanics and traversal in a slick, fast frictionless way. By focusing on a modelling fidelity that enables and talks to the level of pace of play and interaction, we crafted a visual language that was void of fiddly details


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and mis-read interaction. This was optimal in rendering, with a sweet by-product of clarity. Never in Fracked are you left in confusion about what you can or cannot interact with. It’s innate and obvious, or just not there, frictionless by design. The chunky, clean, geometric, industrial shapes, cast against the natural slopes of a 45° mountain-side world quickly began to lend itself to the accessible and exciting possibilities of our three-dimensional explorable and combat play spaces.


Bold legible shapes, void of fiddly form and rendering noise. No disintegrated interactions.


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