Making The Invincible: crafting its 'painterly unrealism'

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Making The Invincible: crafting its 'painterly unrealism'
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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.

It's no secret I loved my time playing The Invincible for our PS5 review, its blend of retrofuturism, classic sci-fi art influences and great storytelling really came to life. There is a clear passion for 1950s design and the challenge of bringing Stanisław Lem's novel to life as a video game.

I further refined this by drawing inspiration from Chris Foss's illustrations, analysing the choices of 1950s designers, and even examining astronomy textbooks from the mid-20th century.I aimed for warm, vibrant, and bright colours that would give Regis III in the game a painterly quality, a sort of 'unrealism'. Following this direction, we developed a colour palette that the entire team found quite natural to work with, achieving the desired effects.

Was it fun to find the balance between realistic, functional designs and the kind of design aesthetic associated with the 50s? Is there a 'shape language' to the planet's design, its terrain shape, that you had to adhere to? How did this work? In a game like this the hands become the character, how much time was spent refining the animation here?

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