How childhood urban exploration shaped the worlds of Half-Life 2 and Dishonored
In short: Before designing iconic dystopian cities, Viktor Antonov spent his childhood navigating the empty spaces of socialist Bulgaria. This firsthand experience with urban decay and architectural detail became the blueprint for some of the most immersive, coherent, and memorable environments in video game history.
Viktor Antonov's approach to worldbuilding was deeply rooted in his upbringing in Sofia, Bulgaria. Growing up in a socialist state, he encountered a landscape of empty buildings and a poor economy that allowed him to engage in 'urban exploration.' This childhood habit of breaking into abandoned structures gave him a profound, tactile appreciation for architectural design and the atmosphere of decaying urban spaces.
This expertise became a cornerstone of his career, most notably during his time at Valve. As the art director for Half-Life 2, Antonov moved away from generic sci-fi tropes like 'Star Wars' to create City 17. He envisioned a decaying Eastern European setting, drawing inspiration from the architecture of Sofia, Belgrade, and St. Petersburg, as well as the literary themes of George Orwell and Franz Kafka. He aimed for a level of coherence and consistency that players would feel subconsciously, even if they didn't consciously notice the street layouts.
Antonov's influence extended to Arkane Studios, where he helped train teams in architectural thinking and level design. For the 2012 game Dishonored, he served as visual design director, overseeing a three-year pre-production phase where every asset was custom-made for the project. His ability to bridge the gap between a writer's vague atmospheric suggestions and the practical needs of level designers has made his work—from the steampunk streets of Dunwall to the surveillance-heavy City 17—widely regarded as some of the finest worldbuilding in the medium.
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- Summary by Intellect · source: Viktor Antonov (artist)
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