Chris is a freelance journalist and editorial director at Lost In Cult.
After the critics got their mitts on Supergiant Games’ first Hades entry, it was rightly acclaimed as a masterpiece, and not just for its stellar gameplay. The title took the studio’s signature art style and infused it into the tales of ancient Greek mythology, with the result an eyeball-satisfyingly engrossing way to tell its narrative.
MelinoË concept art: Designs for the princess of the underworld saw many different hairstyles tested.Greg typically provides me with a short blurb on narrative context and personalities he thinks are in service of the game, as well as my favourite part: something we call the ‘tonality stack rank’. This lists the top three tonal qualities we want a character to embody at a glance: is a character meant to be scary, funny, easy-going, sad? And so on.
Coming up with a new design is super fun, but in general it’s much more challenging. You start with very little and have more problems to solve, and the sheer number of creative choices can sometimes feel overwhelming. Although Melinoë’s design took the most iteration, it was perhaps less than you might expect. She showed up in an early mood painting during the first phases of pre-production, when the project was loosely constrained by our sense of the tone, basic plot and design philosophy.
Knowing we wanted to tell a story about witchcraft and its connection to the underworld of ancient Greek lore, we naturally wanted to incorporate important figures found within that mythology, most of which are female. The fact that they appear so powerful is a result of Hades II’s narrative circumstances, the fascinating source material in the ancient myths about these characters, and my own instincts around drawing characters that I find interesting and appealing.
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