Long-time Computer Arts collaborator James Wignall, AKA Mutant Hands, was brought on board to create style frames for the animation: "Working closely with Spov's Miles Christensen, we took the script and decided which scenes to illustrate," he explains. "We were thinking about how to keep the scenes dynamic, and how they would animate."
Intended as a throwback to a bygone era, Sony had originally commissioned Olly Moss to create Saul Bass inspired cover artwork for the game itself: "I think every other brief I get mentions Saul Bass somewhere," chuckles Wignall. "He did an amazing job, so they wanted to use that as a steer. It felt a bit restricting at first, but I feel we moved it on enough for the style to be able to stand on its own feet."
Paring the scenes back to their bare essentials, explains Wignall, was the main challenge: "Simplicity was the key," he confirms. "Another obstacle was trying to make it not look too '3D', so it was in keeping with the style-frames. We would have loved to animate the piece traditionally, but as always deadlines meant this wasn't possible."