![]() In your work, armed conflict has literally always been seen just over the horizon. But it was always contrasted by those towering war machines. Beautiful rural scenes filled with humble people going about their work. For a long while, your work in the 1920+ space has felt like looking back toward a simpler time. The March of the Iron Scarecrows Image: Jakub Różalskiįrom your notes on ArtStation, it sounds like you’ve had the chance to really dig in narratively this time around and flesh that world out of Scythe for yourself. Our exchange has been edited and formatted for readability. ![]() In an email interview with Polygon from his home in Poland, Różalski revisits his body of work and reflects on how the world around him has changed so dramatically since his breakout board game hit. Its contrasts have served as inspiration for Stegmaier of course, but also the video game developers behind Iron Harvest, and even Neill Blomkamp’s own experimental film studio. It is a world filled with the bright blue glow of electrical plasma, steampunk engineering, and World War I ballistics - but also with young bathers, elderly farmers, and stout women in babushkas. ![]() While he’s dabbled in other subject matter, at the core of Różalski’s work is the exploration of pastoral settings seasoned with towering, almost alien weapons of war. ![]() While we don’t know a whole lot about how the game will play, one thing remains consistent: Różalski’s powerful imagery, and its ability to evoke wonder and inspire storytelling. Now Stegmaier and Różalski have teamed up once more for Expeditions, a stand-alone sequel to the 2016 strategy game that tells the story of an alternate European world that turns north after a long series of wars to explore the wilds of Siberia. The genesis of board game Scythe dates back to nearly a decade ago, after game designer Jamey Stegmaier visited Kotaku and encountered the world of 1920+, as depicted in Jakub Różalski’s series of paintings. ![]()
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