But they realised they weren’t being paid enough, but couldn’t leave. Soon people from other countries, eager for easy money, trekked to the silver mines. So people from Morley came to that location, started clearing the forest to make space for a city. He’d lived there for eight years and said it is was a city of madness. I remember a discussion I had with Victor Antonov. Was there a key image that symbolised what you wanted? My wish was to create a journey from Dunwall to another city, to create contrast, to make people feel they’ve travelled.

I wanted to move to the edge of the world. Sebastien Mitton: The very first discussion I had with Harvey Smith, the creative director, was when we were still on the first game and thinking about the DLC. Was anything of Dishonored 2 born out of the original’s production cycle? That even when your story comes to an end, Karnaca’s will continue.Ī few hours prior to his Developer Session at this year’s EGX, Dishonored 2’s art director Sebastien Mitton sat down with us to talk playing architect and world builder for the first person sci-fi sequel. There’s the sense of a wider city breathing, living beyond the boundaries of your immediate mission. There’s a chronicle of struggle ingrained on every street corner, a lifetime of growing despair hinted at in every overheard conversation. It penned intricate histories on the city’s creation, the multi-generational lives of its inhabitants.

And as with the original’s Dunwall, the studio found inspiration in real world locales and problems when crafting this sprawling fantasy metropolis. The beautiful visual design remains, just reinvigorated on a new engine. A world that’s growing bigger, richer this winter as Arkane turn the sights of its sequel to the coastal city of Karnaca. Talk Dishonored and you’ll discuss distinct art styles.

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