# The Making of Disco Elysium - Part Two: Building Elysium Source: https://www.youtube.com/watch?v=yrVWe_ZCAko Recap page: https://rapidrecap.app/video/yrVWe_ZCAko Generated: 2025-12-12T18:11:44.602+00:00 --- ## Quick Overview The development of Disco Elysium involved early struggles with funding and scope management, eventually settling on an isometric RPG design that strongly influenced the final game's narrative and character systems, despite initial challenges like the game not feeling cursed and securing adequate resources. **Key Points:** - The team initially struggled with funding and the scope of the game, which was described as potentially being an RPG or a board game hybrid. - The final scope settled on an isometric role-playing game, a decision that was heavily influenced by the world-building artists, particularly Robert's artwork. - The art style, heavily inspired by the work of Robert Austin James and the aesthetic of Tallinn, Estonia, was crucial for the game's overall feel. - The initial team of core members included Robert, Helen, Martin, and others, who worked on various aspects like art, writing, and programming. - A key design challenge was managing the scope, which included features like the 'Wake Up Sequence' and realizing that the initial vision for the game's world was too large. - The game's skill system was designed early on, with four main attributes (Intellect, Psyche, Physique, Motorics) and associated skills. - The team credits their early success in securing funding to showing interested parties early demos and playable prototypes. ![Screenshot at 01:40: Danny O'Dwyer explains how the production of Disco Elysium began, noting that the location shots in Tallinn, Estonia, poetically mirrored the team's struggle to create the game in their dilapidated office space.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-01-40.png) **Context:** This documentary segment focuses on the early development phase of the video game Disco Elysium, featuring interviews with key team members like Robert Kurvitz and Helen Hindpere, discussing the initial conceptualization, art direction, team formation, and the challenges of securing funding and managing the game's ambitious scope. ## Detailed Analysis The development of Disco Elysium began with a small team, including Robert Kurvitz, Helen Hindpere, Martin Luiga, and others, working out of a cramped and poorly heated office space in Tallinn, Estonia, often enduring freezing temperatures (-18C/0.4F). Initially, the project wasn't clearly defined, oscillating between an RPG and a board game concept, and they received initial funding through a Kickstarter campaign. The team found inspiration in their surroundings; the aesthetic of Tallinn's old town influenced the game's visual style. Key personnel like Aleksander Rostov (art) and Jaagup Irve (systems designer) were hired early on, with Rostov's art being particularly inspiring for defining the game's look, especially the isometric perspective. The writing team, including Robert and Helen, faced the monumental task of creating the game's vast narrative, which was initially too large, leading to necessary scope reductions. The skill system, featuring four main attributes (Intellect, Psyche, Physique, Motorics), was established early. The team's ability to secure further funding was partly due to showing demos and prototypes that demonstrated the game's unique vision, such as early level layouts and character models, even though some elements, like a complex combat system, were later cut or simplified. The overall sentiment was one of passion and overcoming adversity to bring their ambitious vision to life. ### Early Development & Team - Initial work in a cramped, cold Tallinn office; core writing team included Robert Kurvitz and Helen Hindpere; early funding secured via Kickstarter. - The team initially struggled with scope and funding, eventually settling on an isometric RPG design. ### Art & World Building - Art direction heavily influenced by Tallinn's aesthetic, particularly Robert Austin James's painterly style; concept art showed environments like the hanging man scene and detailed isometric layouts. - The team used a visual prototype system (3D wireframes transitioning to rendered art) to communicate environmental design. ### Game Systems & Writing - The core skill system (Intellect, Psyche, Physique, Motorics) was established early; the writing process involved constant iteration and simplification of early concepts like combat and dialogue structure. - The team valued creating a cohesive 'world' where art and narrative reinforced each other, even when facing production deadlines and scope cuts. ### Team Dynamics & Culture - The team developed a close-knit, supportive culture, even when facing difficulties like plumbing issues or deadlines; they credit this collaboration for the game's success. - Footage shows team members working late, socializing, and using their office space as a creative hub. ![Screenshot at 00:04: A person in a straw hat walks down a cobblestone street in Tallinn, followed by another person, illustrating the location used for filming.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-00-04.png) ![Screenshot at 00:23: Helen Hindpere points to stickers on a door, including one showing a brain and the 'ZA/UM' logo, referencing the early studio identity.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-00-23.png) ![Screenshot at 01:39: Concept art showing early isometric level design sketches for \*Disco Elysium\*, including flow arrows and labeled areas like 'INN' and 'Hanged Man'.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-01-39.png) ![Screenshot at 02:48: Robert Kurvitz discusses the challenges of the game's scope and the need to keep the design focused.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-02-48.png) ![Screenshot at 09:59: A page from the art book shows early character concept sheets and a large illustration of the protagonist, highlighting the distinctive art style.](https://ss.rapidrecap.app/screens/yrVWe_ZCAko/00-09-59.png)