The art director of Disco Elysium confirms why they chose that style for the game: so that it could be like a painting

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A game with strong pictorial roots

A highlighted aspect in the field of video game development has been the recent episode of the Noclip documentary, in which Aleksander Rostov, art director of the acclaimed game Disco Elysium, shares his insights on isometric perspective and the artistic design of the game. Rostov discusses how these elements not only enrich the narrative but also create a unique visual experience. He points out that “the isometric image is wonderful in its flatness,” which allows designing the game as if it were a painting, an approach that is fundamental to the artistic proposal of Disco Elysium.

Despite Rostov’s valuable contributions, his speech reveals a notable omission: Anton Vill, the illustrator behind the game’s iconic thought cabinet, was not mentioned in the episode. Vill, who is currently working on Zero Parades for Dead Spies, plays a significant role within the artistic team of ZA/UM, the studio from which Rostov was fired, adding an interesting context to his absence in the discussion about the art of Disco Elysium.

Practical discussions about the art and mechanics of the game reflect why Disco Elysium has been acclaimed as a true work of art. Rostov highlights the importance of each visual element, emphasizing how the interaction between design and narrative creates an immersive and reflective experience for players. Undoubtedly, the gaming community will continue to debate the impact of these decisions in a title that has challenged the conventions of the genre.

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