Scorn: The Art of the Game

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While Beksiński is a lesser-known Polish painter, many people know Giger through the film Alien, whose titular monster was of Giger’s design. Some have suggested Scorn cribs directly from the serpentine alien’s design and Giger’s idea of pursuing beauty through horror, but Peklar says he has his own story to tell. Pip: How has the game changed over time? Have you had to accommodate that with the artwork in any particular ways? Peklar: The hardest part is not creating noise or clutter. If something is oversaturated with detail it becomes noise, or if it has none it becomes flat. It's really strange how much a simple line or form can mutate one concept into another and go stylistically in the wrong direction creating a standard SF or gothic aesthetic. Balance is everything. Sometimes you have to try out crazy and even ridiculous ideas to realize what works and what doesn't (image below).

It is designed around the idea of "being thrown into the world". Isolated and lost inside this dream-like world, you will explore different interconnected regions in a non-linear fashion. The unsettling environment is a character itself. An in-depth look into Scorn’s unique aesthetic. This artbook includes a curated collection of in-game art with never-before-seen imagery and concept designs. Scorn: The Art of the Game by Titan Books – eBook Details Official lavish in-depth coffee table art book for thefirst-person horror adventuregame Scorn, inspired by H.R. Giger and Zdzisław Beksiński, to be released onXbox series X/S,Microsoft Windows, Steam,and Windows Store.Peklar: Our existence as a living organism is at the core of the game and human anatomy is the primary subject. Therefore we referenced many different parts of it as a starting point, then we morph, combine and exaggerate them, change the shapes until we get something visually appealing. It's not always about functionality but interesting forms that make sense for what we are trying to express. People just want it to be weird for the sake of weird, and that is not what we are doing. Ljubomir Peklar Peklar: We designed the main character first, as he is the centerpiece of the game, so we concentrated on the ideas that we wanted to express through him. There is a feature, that we haven't shown yet, that was really important to get exactly right, both in the concept art and later in the game. The reloading of the gun and some other features had to be changed because it didn't work in the game. Sometimes you come up with better ideas when things don't work as intended.

We also needed to conceptualize some early environments so we could see our main character present in that space.

The biggest similarity is in the environmental storytelling,” Peklar says. “The biggest difference is that we are not trying to push traditional plot-driven narrative. That is where these games fail for me. Writing an interesting story requires a good writer, and game developers or writers that specialize in games writing are not very good. If they were, they would write a book or a screenplay. That’s the right medium for the job. Games for me are about interactivity and telling you a story through it.” Scorn's influences are based on ideas and concepts I wanted to explore. When it comes to visual influences just looking at any comment section for Scorn you will notice two names are constantly mentioned: H.R. Giger (who appears to be a household name now) and the much less well known polish painter Zdzislaw Beksinski. They are certainly the two main visual influences but their work was not chosen because it looks cool but because different aspects of their work relate to various themes and ideas in Scorn. We also tried to create our own style. Human beings are conditioned to like the external beauty of their bodies and see the internal organs, bones and tissue as something repulsive. It's a reflex. It's something most people want to forget. Most of the time you are not aware of your body but when you get ill or old your body turns against you.

My interest comes from the relation between a man and an object, how one changes the other. For that you need familiarity. I noticed that with our new trailer, people just want it to be weird for the sake of weird, and that is not what we are doing.” Scorn takes place in an open-ended world with different interconnected regions. Each region is a maze-like structure with various rooms and paths to discover. All the storytelling happens in-game, with no cut-scenes to distract you from the grisly reality of the living, breathing world you’re in. But keep your eyes open - the game won’t show you any sympathy if you miss something important on your uneasy travels. Every location contains its own theme (story), puzzles and characters that are integral in creating a cohesive world. Throughout the game you will open up new areas, acquire different skill sets, weapons, various items and try to comprehend the sights presented to you. GAMEPLAY FEATURES Pip: I assume you used medical imagery for some of the reference points - can you tell me a bit more about that? Peklar: The biggest problem comes from the fact that not all the ideas on paper work in a fully realized 3D world so you have to change them, balance them out or completely cut them and come up with something new. All that has to be done in a reasonable amount of time. Sometimes the most basic thing can create the biggest problems.LjubomirPeklar: A person is influenced by many things and different artists throughout his life. Sometimes their art defines your taste and sometimes you naturally gravitate towards concepts you have an affinity for. Your view on life, your thoughts and ideas will push you towards similar minded artists. Peklar: Since we still have a way to go our proudest moment is yet to come, but right now we are proud of the monumental structures that you see in the trailer. They convey the sense of big desolate spaces very well. The inhabitants need much more improvement.

About This Game Scorn is an atmospheric first-person horror adventure game set in a nightmarish universe of odd forms and somber tapestry. As for other influences it's quite a big list. If we are talking movies it's directors like Cronenberg, Argento, Lynch, Carpenter and Jodorowsky just to name a few. Writers of different genres from Horror and SF to philosophy like Lovecraft, Barker, Thomas Ligotti, J.G. Ballard, Stanislaw Lem, Kafka, Albert Camus, Heidegger and so on. Games like Silent Hill, Resident Evil or Metroid Prime.