A visual style for Iridium Moons

Iridium Moons first started as an idea from the thought of “How would I redo Star Wars from scratch if it were up to me?” I’ve always only really been a fan of the movies and the Expanded Universe we had in the 90s, but even back then there was almost as much unfitting nonsense being added to its worlds as today. Which parts would I keep as they are? Which elements do I feel were missteps? And how do I think they could have been done better and more in line with what came before? Everything that the world of Iridium Moons has become over the last five years is really just elaboration on that original question.

So the overall design style and aesthetic of Iridium Moons in my imagination was always extremely heavily based on The Empire Strikes Back and Return of the Jedi. The way that Yoda’s Swamp, Cloud City, Jabba’s Palace, the Ewok Village, and the Imperial Outpost on Endor appear in the films is already incredible, but I think their aesthetic essence come through even stronger in Ralph McQuarrie’s concept art that those sets were based on. Even paintings for sets that never made it into the movies feel to me more like capturing the essence of Star Wars that matters to me than much of the later movies. But I am also just a really big fan of how he uses light to really bring those places to life.

Two other artist who’ve been around just as long but who I’ve become really aware of only fairly recently are Greg and Tim Hildebrand. Who not coincidentally were hired to make movie posters for Star Wars 50 years ago, and who did produce concept art for Shadows of the Empire in the early 90s, because their sense of aesthetic is quite similar with that of Ralph McQuarrie.

The first of these three I only found two weeks ago, and I think it’s become perhaps one of my favorite illustrations ever. Though I have no idea what that place or scene it’s showing is from. That third image from Shadows of the Empire might actually the the best and purest representation of the aesthetic sensibility of Iridium Moons that has been in my mind for some time now. The vibrant colors, the light and shadows, the stunning night sky, and the combination of retro-futuristic architecture with lush vegetation has everything I love.

I have had a fascination and infatuation with pine forests in the summer almost as long as I can imagine. It goes back to at least my first school trip to the Lüneburg Heath, a fairly big landscape between Hamburg, Hannover, and Braunschweig formed by the last two ice ages that is such barren, sandy soil that almost nothing grows there except for heather and pines. We did five half-day trips there over a week in first grade, and it’s been one of the most memorable experiences for me in my whole life. The light under the pines is something very special, and it probably also helped that the landscape can look a little bit like something from a dinosaur book from the 80s.

Seeing Return of the Jedi four years later and a big portion of it being set between and under those giant redwood trees cemented my fascination with these kinds of environment for all time. I also had some great vacations with my family in Southern Europe, where such pine forests are very common as well.

When I started resuming working with Blender last week and getting ready to make some first game environments, I had been thinking about what the general architectural elements are that make up the vague images for that have been floating in my mind for the last years. Particularly the Ralph McQuarrie designs of course, and then I had a sudden realization where else I’ve seen that general architectural aesthetic that I am envisioning as well. Ken Adam’s interior set designs for many of the James Bond movies.

If you’ve seen the Bond movies from the 60s and 70s a couple of times, you instantly know what the Bond Villain Lair style is. Ken Adam designed about half of them, and the other half very strongly follows the style he established in Goldfinger and You Only Live Twice. He also did the sets for Doctor Strangelove, which I think won’t come as any kind of surprise to anyone familiar with these movies. And considering the timeline and that both worked in movie production design, I think there’s a good chance that Ralph McQuarrie took considerable inspirations from Ken Adam’s style. He’s probably my favorite architect.

Both Adam’s James Bond designs and McQuarrie’s Star Wars design share a lot of very prominent features. The first that came to my mind immediately are the rows of support beams for the ceiling that protrude from the walls rather than being hidden inside them as it is usually done. Walls, and sometimes ceilings as well, are often slightly angled inwards, creating the appearance of a vaulted ceiling. Which often appears relatively low compared to the width of the room they cover. Lighting is added to these spaces often indirect, with lamps shining at the walls and reflecting into the space from there, and often directed to mostly illuminate the floor and lower walls, leaving the ceilings often quite dark. I don’t know if they are were I got that from, but I’ve always been lighting my homes in very similar ways. It just feels so much more cozy, with a hint of rustic. Which is a great match for the overall low-tech retro-futurism of Iridium Moons.

Ken Adam’s designs have clear influences from Brutalism, but his sets never had the appearance of actual raw concrete. It’s always either covered in warmer colored limestome or in the appearance of bare rock. Often with inexplicable fireplaces and fuzzy rugs, a lot of wood, and even lush plants. Which all helps with that hints of a rustic style in these hard stone environments. I think Brutalism is a very fascinating design style, but leaving the concrete completely bare always seems like too much and makes every space hostile and inhospitable. But add a bit of wood and some plants to it, and I think it can look really nice.

This is a very strong design aesthetic to use as a basis, but there’s also a couple of other things I want to add to that to give it my own personal touch.

I think lattice screens of any kind make every space instantly way more interesting and comforting. I think I got this idea from many of the artwork in the RPG Coriolis, where it’s a common element of the overall aesthetic. They also create shadows similar to pines (and planes, also a very nice tree), which I guess adds to my attraction for them. Though I do have some concerns that such visual elements might not work too well with low-resolution, unfiltered textures that make the Raw 3D look of the PlayStation so memorable. Covering already jagged textures with jagged see-through overlays might result in an excessively noisy image, and so this might not work out with the intended graphics style I am aiming for. But that’s something that will have to be seen later.

Another cool design element that is all over Coriolis is having decorative trims on the edges of fabrics. Which is something that I later noticed was also used by Ralph McQuarries design for the architecture of Tatooine, to make the otherwise plain and single color buildings more visually interesting. But I think that didn’t make it into the movies. Still very cool design, and I want to put that all over buildings and clothing in Iridium Moons.

And finally, something that I found very memorable back when I played Dragon Age II, were the huge bright orange banners that decorated many of the pretty barren walls in Kirkwall.

I think these really give a nice extra touch to bare sandstone walls, which I think will be in Iridium Moons a lot. And it’s such banners, flags, and awnings that are the sole reason I want to bother with any kind of physics in Iridium Moons at all. I think these will look even better when they are fluttering in the wind. And if there’s going to be cloth physics, might as well go all the way and have big capes and long scarves on characters as well. The golden sunlight and interesting shadows of pines are already cool, but they become even better with a persistent breeze from the sea. I lived close to the coast for most of my life, and practically all my vacations have been to the sea. And landscapes without wind are always only half as interesting at best.

So far, all of this still only exist as somewhat vague images in my head. But I think I have the component for something very strong and memorable, which I hope will give Iridium Moons a very specific look and aesthetic. Video game graphics style for a long time seem to have gone either for realistic drab or full out crayon cartoony. And especially in the Raw 3D style, nearly everything being done today is very dark brown and grey horror stuff. I think trying this with the Hildebrandt approach to color and light is going to be really fun.

First Game Assets!

So, Iridium Moons has now officially moved from preproduction to active development.

I have created the first game assets!

Wall cracks, 128×128 pixels and 64×64 pixels.

Blood splats in red, green, and yellow, 64×64 pixels and 32×32 pixels.

Some decals for cracks in walls and blood on the ground.

It ain’t much, but I made it. All by myself.

I’m a real Game Developer now!

I originally started learning Blender probably over a year ago, but never finished the snowman. I tried getting back on that horse last winter, but only made it through repeating the introduction to the UI and the basic tools to deform a cube over two days. But this week I got once again interested in texture painting rather than 3D modeling, and though I couldn’t find any good introduction or explanations for the kind of things I want to do specifically, enough little pieces of understanding some basic concepts fell out of the tiresome process that I thought I actually do already have all the pieces to at least get a rough model thrown together that I could do some painting practice on.

My plan was to see what I can accomplish with what I already know and only looking up what menu items or shortcuts I need to select to get the tools I already understood in 12 hours. There was a lot of trial and error throughout the morning, but after six hours I had this model finished, and never having done anything with texture painting before, I got this completed after only 9 hours.

And I think for the purposes of making assets for a game with the graphics style of Quake and Metal Gear Solid, this is already perfectly serviceable. There’s actually way too many polygons on this model.

I’m feeling really good about this. If this is any indication, I think with some practice it should be quite possible to eventually create a mid-scope asset like this with the right level of detail for Iridium Moons in two or maybe three hours. Making one after work and a couple on the weekends, and that would add up to quite a lot over a year.

Who are you? And what do you do?

Since I first started getting the idea in my head to create a fantastical world and stories of adventures that I could share with a wider audience beyond the pen and paper RPGs that I was running, the one biggest thing that I have been struggling with the most for the entire 13 years was to figure out what kind of people the protagonists would be, and what kind of things they would be doing that keeps pulling them into the kinds of adventures that are meaningful to me. Even back then I had already gotten bored with the fantasy of being a one man army who ends up with a kill count of 300 enemy soldiers and 400 monsters, who is doing all of this to become a hero and gain riches. When put like that, and I believe it is accurate for most adventure fiction and especially dungeon crawling fantasy, it actually sounds really fucked up. Could you imagine being a 20-something who has stabbed hundreds of people dead or incinerated them in magical fire, and who has been impaled by spears dozens of times and still remain a remotely sane person?

I think violence is an incredibly compelling topic. I believe it’s an integral part of human nature and something that can frighten, disgust, excite, and attract us at the same time. And how we can make sense of these conflicting instincts that are contradicting all the values we believe in and deal with them is an endlessly fascinating topic to explore. But the vast majority of adventure fiction does not explore any of this at all and simply revels in the spectacle of carnage, or actively glamorizes and revels in it. Which is something that has bothered me with much of the fiction I’ve read, watched, and played, and I find more than a bit disturbing. I always knew that the generic adventure plots of “kill the enemies, take the treasures, save the day” wouldn’t do it for me. But how else do you get a character who ends up climbing down into dangerous caves and wrecks, faces fantastic monsters, evades deadly traps, and discovers magical wonders, and then just keeps doing that again and again?

The concept I had for Iridium Moons for the last half year or so was that of playing as a salvager. Someone who goes to ruined factories, abandoned mines, or wrecked ships to find valuable spare parts that haven’t been manufactured for generations but are now incredibly valuable for people desperate to keep ancient and irreplaceable machines running. This would support gameplay in which you mostly explore the wilderness, navigate through ruins, fix broken doors and machinery to get access to other areas, and mostly try to avoid enemies and escape with your life. Which I think is a very solid idea, that should work just as well of having the game protagonist be a thief or a lunatic who thinks killing monsters is a good way to make a living. You can absolutely make an entire game about that. But it is also rather limiting in what kind of stories you can tell with it in a game that is not only an endless gameplay loop like a Rogue-like or Survival/Crafting game, but also explores the characters and society of its world.

I have considered scrapping this idea entirely and instead coming up with a completely new concept to turn the world of Iridium Moons into a game for the last weeks. But I think all the gameplay ideas I had planned could actually still make a fantastic game by simply expanding the archetype of who the players’ characters are and what they do? Instead of being specifically salvagers who make a living following leads to find old machine parts, I am now envisioning a broader concept of playing as a more generic “scout”.

The idea I have in mind for the game is not so much an explorer, surveyor, and prospector who is the first to set foot on a new planet and discover if it has any value for companies or colonists, as the term is often used in pen and paper Space RPGs. But rather someone who has the skills and the equipment to find things that have been lost in the wilderness. In many popular space adventure settings, this probably wouldn’t feel like an established or very adventurous profession, as the established technologies for reaching locations and detecting things are often highly effective and ubiquitous, making the part about finding things something that is largely glossed over as it is assumed to be not much of a challenge to spend time on. But the worldbuilding for Iridium Moons that I’ve already done over the last year may actually make it uniquely well suited as a setting for such adventures and gameplay. Detection technology is no better than what we have access to today, and the planets of the Galia Cluster have very small populations that are highly decentralized and dispersed. Many smaller communities don’t have the means to search huge areas of wilderness and won’t be getting any support from the big cities that do. And with the fierce rivalry and constant infighting among the Oligarchs, and the ruthless power struggles among their underlings, there are plenty of reasons not to make use of the official search teams.

I am a huge fan of wandering around in Morrowind, Skyrim, Stalker, and Metro Exodus, exploring the environments, looking for paths to get past obstacles, and searching for hidden things. But once I find things, I am generally really not a fan of fighting through dozens of enemies that occupy a ruin, or constantly managing my inventory to figure out what things to take back with me and what to leave behind. And especially not collecting piles of dozens of different resources, which I then can turn into some junk, which unlocks other junk on the tech tree for which I have to go back and collect more resources to build. Which is why survival crafting games generally don’t work for me. I would much rather have a game, and make a game, which is just about the wandering around and exploring part, but with most of the combat gameplay instead being interesting stealth gameplay, and without having to haul around a lot of stuff that requires constant inventory management. Playing a character who gets paid to find things that are in an unknown location, instead of a character who’s objective is to collect things, could be a concept that could make this work as engaging gameplay.

Working as an independent scout provides plenty of different types jobs that players could take on:

  • Find missing people.
  • Find escaped fugitives.
  • Find bandit hideouts.
  • Find missing ships.
  • Recover lost cargo.
  • Retrieve someone else’s cargo.
  • Deliver secret cargo.
  • Locate abandoned equipment for salvage.
  • Investigate unknown signals or anomalies.

I see a lot of potential in these for the kinds of stories that I am personally interested in, involving the kind of characters that I find compelling. And make for wonderful reasons to travel through vast landscapes in an airship, on a hoverbike, and on foot as the search is closing in on the target, which lets players take in the sights and sounds without being hurried along by action while still investigating the world for clues and planning out their next steps as they are moving, making it more than just idle time that makes you consider using fast travel.

I am feeling quite good about this, and more optimistic than all the other ideas I’ve been exploring before.

Villainy, Heroism, and Adventure Plots in the Oligarchy

I am a huge fan of Space Opera and Planetary Romance. However, I really don’t care that much about big wars and huge battles and a big final duel in which the hero kills the villain to make everything right again. It’s dull and unimaginative, and what kind of statements can you really make with that? Killing the opposite leader is the solution to all problem is a terrible and really dumb message. Even more so when the enemies have all military advantages on their side. It’s an adequate setup to put lots of spectacle and explosions on a screen, but that’s about it. It has nothing to say except that violence is the best option.

The problem is of course that despite my wonderful imagination, I have been struggling a lot with coming up with anything else for adventure stories since I started wanting to create stories 12 years ago. But thinking once again about what else I could possibly do to have some kind of story in my game, I did remember that I already had one interesting idea some years ago with the first iteration of the Iridium Moons setting:

When the large interstellar mining companies ceased all their operations in the Galia Cluster because of shrinking profitability, they sold off all their industrial and infrastructure assets to anyone who would take them. They had already stopped making any upgrades or replacements decades ago, and there was no point is disassembling them and paying the costs to move them to new mines opened in other places. As the wealthy elite of the Galia Cluster had been company employees who had already mostly left to the new mining worlds, most of the buyers were various underworld bosses, and they became the new oligarchs who now both own most of the industry and govern the major cities of Sarhat, Kion, and Palan like feudal lords.

While the Oligarchs sit at the very top of the hierarchy of corruption and exploitation that makes up the sector’s remaining heavy industry, they are out of reach of ordinary people and basically untouchable, but they also care nothing about some farming villages or small family mines outside their cities. The Oligarchs share power between them, but they only do it with disdain. While every one of them would love to gain all power for themselves, they all know that the power and wealth they currently have depends on maintaining the status quo, and have very little tolerance for anyone rocking the boat. This is the only thing that has kept the Galia Cluster from becoming a fully despotic dictatorship for the past 70 years.

But below these big Big People are the little Big People, who are just as greedy and ruthless. And in a system of old leaders that are secure in their power and focused on maintaining stability, there are very few opportunities for the people below them to rise up in the hierarchy to positions of greater power and wealth. To climb up in the Oligarchy, people have to cheat and break the rules meant to keep them in line. While the Oligarchs have little patience for anyone who upsets the balance of power, they all care about money even more. If their underlings manage to pull off their own ambitious schemes and kick up a large cut of the profits to their bosses, there rarely will be any repercussions. And they will be able to get away with much more brazen things in the future and keep climbing up the ladder as long as they are raking in more money. But if they fail and only upset the population and other factions while costing their bosses money, punishment for stepping out of line will often be swift and severe.

The villains that ordinary people find themselves facing are not the Oligarchs themselves, but ambitious and ruthless underlings trying to impress and gain favor with their superiors. And they are playing a very dangerous game. To put an end to the corrupt schemes that threaten villages and small mines, heroes don’t have to overthrow the entire Oligarchy and defeat their large forces in battle. Instead, they only have to disrupt the plans for long enough and expose the corruption until the Oligarchy will devour its own to maintain its own hold on power. And this doesn’t have to include killing the minor official who came up with all of it.

I see a lot of potential in this for exciting and compelling adventures with meaningful stakes that don’t mandate extensive violence to progress and achieve a victory at all.

The Worlds of Iridium Moons and the Galia Cluster

The first general outlines of what would become the Iridium Moons setting go back to 2021, with a major revision to make it better align with my ideas for a videogame happening about a year ago. Much about the world are still vague or undefined, and I plan to keep making adjustments for what works best with the gameplay and story as they develop. But there are many parts about it that now have been pretty much unchanged in my imagination for years, and become so integral to the overall vision of what Iridium Moons is that I very much doubt they will see any significant changes as things progress, and I feel are very much ready to share even at this early point.

General Overview

The world of Iridium Moons is set in a typical spiral galaxy similar to our own, with a billion stars and tens of billions of planets. The space known to by the peoples of Iridium Moons is only a small fraction of the entire galaxy, consisting of a section of one of the spiral arms a few thousand lightyears across. Most of the stars in Known Space have never been visited and their planets remain completely unexplored, as exploration expeditions are only outfitted and launched to systems that have been found to be of scientific or economic interest through astronomic observations from inhabited worlds or colonized planets. But even so, there are hundreds of known planets that have evolved complex life, many of which have a stable nitrogen-oxygen atmosphere that is breathable to most peoples.

A good number of them even have intelligent life capable of speech and using tools, but many of them are primitive stone age peoples that only number a few million individuals at the most. And while these could potentially be raised and educated to learn the languages and using the technologies of spacefaring civilizations, most governments have clear policies to simply leave them alone, and they usually have nothing to offer that would be of any interest to the interstellar powers. In the centuries since the invention of hyperspace jump drives, only a dozen worlds have been discovered whose people number in the billions and who have developed industrial economies.

While the technology of hyperspace travel makes it possible to cross all of Known Space within a year, the large scale colonization of new planets is a relatively rare occurrence. Planets with a breathable and nontoxic atmosphere are not particularly rare, but it’s almost impossible to find another world that also matches the gravity, atmospheric pressure, and solar radiation of a species homeworld. Which makes prolonged visits to new worlds an often quite uncomfortable experience for most people. And for the first several decades after the establishment of a new outpost, settlements will be lacking in most infrastructure and have only very restricted access to most goods and amenities that are easily available on the homeworlds. As a result, other than the occasional adventurous individuals seeking a new excited life among the stars, most people require a very good reason to endure the weeks long journeys and years of hardship of establishing new colonies on uninhabited worlds. Which typically is exceptionally high pay.

Advanced technology, particularly in the fields of starships, weapons, and electronics, require vast quantities of elements that, while not overly rare, are very difficult and time consuming to extract from most naturally occuring sources. And as such very expensive. But mining companies throughout Known Space have discovered that with the relatively low operating costs of space freighters, and the associated transportation costs for interstellar goods, it is economically more viable to transport heavy mining equipment and workers across hundreds of lightyears to a one in a million planet where certain high value elements can be mined with much less work than on any of the planets and moons of the home systems. Almost all interstellar space travel within Known Space is either heavy cargo ships transporting minerals and supplies between mining worlds and the home systems or military ships ensuring that the cargo traffic is not being disrupted.

Early Interstellar History

Interstellar history begins with the first hyperspace jump by vhen engineers over 700 years ago. The first centuries of interstellar flight were driven entirely by the exploration of space and the search of other civilizations. The enkai were the first other people discovered by the vhen after almost a hundred years, as their highly advanced technology and industry made them easily detectable by vhen exploration ships from hundreds of lightyears away. The enkai were in many ways more technologically advanced than the vhen, but had never discovered the mechanics of hyperspace travel. Through the exchange of technology between the two civilizations, the continuing exploration of space and the development of the early interstellar mining industry accelerated rapidly. Both peoples discovered several more planets with existing industrialized planetary economies that could be integrated into the growing galactic economy, and the vhen and enkai homeworlds became the centers and seats of power for what would later become the United Systems and the Confederated Worlds.

With the technological development of these worlds being often significantly lower, and large parts of the populations being affected by economic hardship, they provided a vast new source of eager workers for the great mining companies, as they could make more money in a year on a mining world than they would make on their homeworlds in a lifetime. Over the span of barely a century, chosa and tubaki became the majority of the workforce in all the major mining companies, with enkai and particularly vhen remaining in significant numbers only in administration and management positions. A similar development would happen again later with the discovery of the genya homeworld.

The Galia Cluster

The Galia Cluster is a group of star systems on the outer edge of the spiral arm that contains Known Space. It was first explored almost three centuries ago and found to have unusually high amounts of iridium, palladium, and rhenium on the surfaces of many of the stars’ planets. The first mines were opened on Halon shortly after, where several meteor impact craters promised very high extraction yields, and the meager remnants of a once thriving ecosystem had maintained an atmosphere that allowed working in the open with simple breathing masks. But to provide food for the hundreds of thousands of workers employed on the planet, additional farming colonies had to be established on the lush forest planet Kion, which allowed the growing of food using natural sunlight and rainwater and was only 13 lightyears away.

Less than 50 years after mining on Halon had started, and the initial mining sites were approaching depletion, mining companies were already preparing to shift operations to Sarhat. While not as rich in valuable minerals, the dry steppes of Sarhat made large scale strip mining much more straightforward, and the access to local water sources and an atmosphere that didn’t require breathing equipment and sealed habitats made the labor costs significantly cheaper. With Sarhat and Kion being expected to continue the mining operations and food production for at least another century, a full size shipyard and large fuel refinery were constructed on Palan, which became the main port and center for manufacturing and administration for the entire Galia Cluster. Soon after, most of the remaining mines on Halon were closed and their workers transfered to Sarhat, with much of the old and worn out equipment being left abandoned. Some of the long-time miners on Halon chose to stay behind to keep working mineshafts that they believed to still hold enough ores to make them personally rich, even if the companies thought it not worth their time to continue operations there. Very few of them had any success, and the abandoned mines of Halon quickly became the main hiding place for pirates and smugglers operating in the Galia Cluster.

The profitability of the great mines on Sarhat, and the smaller mining operations in a few places on Kion and Palan, declined sharply some 150, when new large sources for high value mineral where discovered in other regions of Known Space. Mines were being closed every few years, and millions of workers leaving the planets to follow where the work went. Over the span of a few decades, the mining companies, who had build and was maintaining the entire infrastructure of the colonies, sold off all their remaining assets for cheap to whoever would buy them. The wealthy upper class of the Galia Cluster had always been company managers who were now looking forward to return to the homeworlds to retire or soon to be assigned to new positions on the new mining worlds. The only true locals who had large amounts of money were criminals who had gotten rich through smuggling and piracy and they bought almost all the remaining infrastructure and major factories, often resorting to extortion to prevent competitors to drive up prices. These became the first oligarchs of the Galia Cluster, and they used their almost complete control over the economy to create a new system that was even more unequal and exploitative than it had been under company management. Which resulted in further migration from the region, reducing the original population of almost 100 million people to barely more than 60 million over the course of just one generation. Even when the companies were still winding down their businesses and selling off their last assets, the new oligarchs were already starting to build themselves big palaces and styling themselves as wealthy aristocrats, sometimes even giving themselves new fancy titles.

Life has changed very little in the Galia Cluster over the last century. The oligarch clans own and control all the infrastructure in the main cities, as well as all the spaceports, refineries, and factories. Many of the clans also run several mines, but these are much smaller operations than what used to be common for the old mining companies. A large amount of the mining that still continues on Sarhat is done in small family mines of a few dozen to a hundred workers, who sell their ores to the oligarch’s refineries for extortion prices. On Kion, many families that stayed eventually turned to farming for their own needs in small independent villages scattered throughout the forests. What meager surplus they can produce gets often sold to oligarch traders who export it to Palan and Sarhat. This income is mostly spend on medical supplies and basic electronic devices. Old farming machines are carefully maintained to last for as long as possible, but after more than a century, many smaller farms have been moving increasingly rely on work animals and hand tools to work their fields.

Most violent conflict is happening between rival oligarch clans, which each maintain their own private militias, but generally try to at least maintain a pretense of peace and unity between themselves. Instead of attacking each other’s businesses directly, they rely heavily on criminal gangs to do their business for them.