6 FOREWORD

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46 C A R JA J
76 OSERAM
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FOREWORD
BY ROLAND IJZER/AAN5
Being a concept artist is somewhat like being an explorer.

W hen Guerrilla officially started development on Horizon

Zero Dawn in 2010, a tangible sense of wonder and excitement
came over our visual design department. It was as though we’d
embarked on an expedition into unknown territory, meticulously
charting and giving visual expression to everything we
encountered along the way.

From the outset, we wanted to make sure that we did justice to

Horizon Zero Dawn’s unique vision for a post-post-apocalyptic
future. Our concept designs had to feel like they belonged in
that future, so we performed a great deal of research on what its
environments, inhabitants, cultures and surviving technology
would look like, how they would interact, and how they could’ve
evolved over time.

At the same time, we wanted to cover as much ground's!?

possible - to make Horizon Zero Dawn as big and varied, as we
possibly could. The volume of artwork required to accomplish
that goal was beyond anything our visual design department had
ever handled before, and it took an enormous effort by a very
large group of artists (both internally and externally) to pull off.

In spite of such challenges, our visual exploration of the world of

Horizon Zero Daivn has been a tremendously rewarding exercise,
and the selection of artworks presented in this booWHSwgjj^
a testament to the dedication, skill and talent of every concept
artist who took the journey with us. We hope it will give you
same sense of wonder and excitement that we felt along the

Thank you,

ROLAND IJZERMANS, ASSISTANT ART DIRECTOR

 o appreciate even a little about Aloy, the lead protagonist of

T Horizon Zero Dawn, we must first know something of her

tribe, fire Nora are reclusive hunter-gatherers whose territory covers
portions of the present-day Colorado Rockies, now seen as their Sacred
KSz .t if l
Land. Surrounded by natural beauty, the tribe is a matriarchal society
following a religion based on the worship of motherhood and child-
rearing. Their culture is built upon a fierce hunter-warrior ethic that
puts food on the table and protects their villages; the largest of which is
Mother’s Heart. They hunt animals and machines alike.

While the Nora are led by a council of female Matriarchs, both women
and men fulfil the role of'brave’, guarding tribal lands and hunting
the many machine species. The Nora often use deadly force to drive
intruders from their land. No other tribe in Horizon Zero Dawn
matches their skill in archery or exceeds their ability to track quarry.

Nora legend holds that the ruins of the ancient'Metal World’ are
tainted and corrupted by the avarice of their long-dead inhabitants. To
explore these ancient ruins is to break the most sacred of taboos. Those
who do risk permanent
 hEZTW '*
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ff? ALOY
rom the earliest days of the Horizon Zero Dawn project, Guerrilla knew that Aloy

F would always be of the world but also somewhat separate. The character and design of
Aloy evolved over time, but stayed true to the core concept influenced by the story of David
and Goliath: the player cleverly hunts the machines, rather than using brute force. Early
concept paintings portrayed gigantic, ferocious machines contrasting with a tiny figure in the
foreground.

From here on in, Guerrilla created a character who was skilled, smart, strategic and agile, to
guide the player to this playstyle. Players would grow into this identity, rather than simply
an avatar. Even though they would have choice through conversation options and
playstyleTtheir
playstyle, options would always consist of things that Aloy could or would do.

Dan Calvert, Art-Director (C haracters)F rom its earliest beginnings, Horizon Zero Dawn
pivoted around three core concepts: animalistic machines, an open world of natural beauty,
and the defiant red-headed girl who makes her place in this land. Developing Aloy’s visual
ID was one of our first priorities, and her final look was key to the visual development of the
rest of the cast.”

Guerrilla's concept team toyed with the idea of making Aloy a younger girl
as seen in these images, before deciding that a more mature character
would create better narrative opportunities. Her deadly grace is captured
with flowing hair and wind-blown furs.

J /

NORA I ALOY 13
Earlier concepts used a looser, more illustrative and
expressive style to explore Aloy's personality and expressions.
Gradually this was honed to achieve realism and believability.
 loy is motherless in a tribe that worships Guerrilla Games' artists took some liberties with

A motherhood, and so she is considered an

outcast. Her guardian, however, raised her in the Nora
the literal practicality of the costumes, but great
effort was spent ensuring that the construction
of the costume was believable and consistent.
traditions, teaching her to adopt their crafting and
hunting techniques. Given her outsider's perspective,
Aloy invents new ways of doing and making things.
She has an individualistic streak that is expressed
in her unique appearance, even when clothed in
tribal garb. Her outfits are designed purely for agility
and protection; no heavy plate armor, just practical
hunting gear that speaks to her personality. From
a concept point of view, the outfits include lots of
iconography and decorations designed to accentuate
graceful movement. Color choices are vibrant, with
flowing surfaces and loose hanging items for abundant
secondary motion.

NORA I ALOY
5
 "These are just a small selection of the experimental illustrations used
to develop Aloy's hair. Guerrilla carefully considered how the shape and
motion of the hair, combined with gestures and visage, could be used to
accentuate Aloy's expressiveness." Ilya Golitsyn, Senior Concept Artist

16 THE ART OF ZER O DAW N'

 loys hair became increasingly important over time, as Guerrilla While her costume designs incorporate materials and shapes linked

A aimed for it to be a part of her character. It was a design

challenge to make the amount of hair work on the in-game character
to different tribes, her hair is always distinct and easily recognizable.
Ilya Golitsyn, Senior Concept Artist, explains: “We wanted to
model due to the way it flows and creates additional volume. The ensure that Aloy would be immediately identifiable, regardless of
vibrant color was chosen because it helped differentiate her from what she was wearing, so her hair became a key motif that remained
other characters in her tribe, setting her apart as an individual. consistent across all of her outfits.”

NORA I ALOY 17
 great deal of thought has been given to Aloy’s personality

A and philosophy, which in turn influences how she looks and

behaves. The Nora have formed their own beliefs regarding the fate
of the world and how the machines came to be. Aloy’s sharp insight
and rational mind, compounded with her outsider status, often pulls
her into conflict with those who hold such beliefs.

“While drawing Aloy, I focused on using rich, earthy tones that

reflect her connection with nature and intuitive approach to life.
However, I felt it was important to balance these tones with details
and accents that have a double function: adding to the handmade feel
of her accessories, as well as alluding to the availability of machine
parts and machinery that can be scavenged and used as decoration.

I was lucky to be able to do a lot of work on her hair, which was a

fun challenge. The goal was to keep a sense of volume and richness,
without making the hair look unrealistically glossy or clean for a
huntress who lives in the harsh wilderness. The most important
thing for me was that my sketches of Aloy convey a strong sense of
personality - she's a character of her own, not just a character design.”
Lois van Baarle, Freelance Concept Artist.

LEFT AND ABOVE: These sketches were among those used to develop
Aloy’s expressiveness and emotional range, from relaxed and charming, to
fierce and focused, through to thoughtful and pensive.
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THE AR T OF hj-O R iZO j\| Z E R O DAW N
 he tools at Aloys disposal, weapons especially, are designed to

T represent a technologically undeveloped culture. The tribes in Horizon

Zero Dawn are sophisticated in some ways, but remain quite primitive
in terms of tools and access to materials. Across Aloy s world there are
commonalities in design and construction practices, levels of technological
development, and use of tools and materials. Decoration varies between
tribes, however, allowing for objects like Aloy’s bow to look unique.

NORA I ALOY 23
 s Aloy is an outsider, with no fixed place in any tribe, it makes

A sense for her to customize her look as she moves through the
world of Horizon Zero Dawn. Her wide range of costumes not only has
a gameplay function, with each one providing unique abilities when
worn, but also helps foster an understanding of Aloy as a character.
Although every outfit is unique and representative of a tribe, there is
still a distinct silhouette that preserves Aloys visual identity. It includes
repeating elements such as the skirts and bags, along with motifs that
are uniquely Aloy’, such as her hair.

24 THE ART OF hJ-CH7iZO-fM Z E R O DAW N

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 ith authenticity among the key design principles, the weapons

W in Horizon Zero Dawn needed to look and operate in a

believable fashion. The fun part for Guerrilla was to imagine how
humans might go about constructing them, given that each tribe only
has a limited level of technological understanding. For each weapon, the
artists dreamed up designs that had not been done before. Some have
a strategic one-off purpose, such as those blasted from the machines
during battle. Smaller bits and pieces, though, can be used to build and
craft a better armory.

Weapon construction among the tribes is largely

down to trial and error. Nobody knows for sure
how the various parts will interact, but by clicking
things together and relying on a bit of luck, the
next 'sonic blaster' might emerge.

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NORA ALOY 2'

 <@
> CHARACTERS
n the matriarchal Nora society, women are valued higher than men for their physical and

I intellectual flexibility The Nora believe a womens even temperament makes her better suited to
be a leader, one that’s more conducive to long-term stability Hence, the most splendid character is
the elderly Matriarch, a grandmother worthy of the greatest honor. Matriarchs not only take care of
their own bloodline, but manage the welfare of their settlement as a whole - super mothers!

A womans capability to create new life has greatly inspired Nora spiritual sensibility, resulting in the
worship of an 'All-Mother' deity Beyond the ruling circle of High Matriarchs, leadership positions
are almost always held by women, including martial leaders such as the War-Chief. Since the Nora
are a devout and spiritual people, they do not dress exclusively in practical garb, but adorn their
clothes with iconography and trinkets designed to bestow the blessing and favor of the All-Mother.

2© THE ART OF kj-ORjZOjM Z E R O DAW N

 LEFT: "Each tribe has a different relationship with the machines. The Nora see
them as little more than a resource, provided as a blessing from All-Mother. They
hunt machines for parts which they then use to create armor, weapons and tools.
Given the risks involved, machine-derived equipment is treasured by the owner,
and used as a show of status and hunting aptitude." Ilya Golitsyn

30 THE ART OF U - C H 7 i Z - O j\ | Z E R O DAW N

NORA CHARACTERS 31
# LOCATIONS
he present-day Rocky Mountain National Park,

T Colorado, is considered to be among the most beatific

locations on earth. In Horizon Zero Dawn, the Rockies are
an ancestral home to the Nora tribe. Their settlements are
easy to defend with close proximity to mountain passes,
guarded by watchtowers in the approach. Most Nora take
shelter in wooden lodges within the settlements, safely
away from the machines roaming outside, machines are
treated as a blessing from the All-Mother, but the Nora also
understand their danger and take no unnecessary risks. As
a further precaution, Nora habitats are built on mountain
slopes instead of the lower ground. On this page, a typical
Nora settlement can be seen.
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 mong the tribes that feature in Horizon

A Zero Dawn, the N ora are the most

balanced and secure. N ora culture is generally
communal. H unters share their kills, and
gatherers their harvest, with the entire
settlement. Their villages are well defended
against intruders, but their purpose is
otherwise to shelter one generation after the
next. There is a sensible, sometimes delightful,
reason for everything and this begins with
their village sites. Many are in the proximity
to an ancestral ground, which is chosen for
its natural beauty: on top o f a tall ridge, near
a little waterfall, or on the rock peninsula of a
mountain lake.

Most N ora live in communal lodges. Braves

hunt for food, escort gathering parties, and
patrol tribal lands, driving off or killing
trespassers. Gatherers forage for nuts, berries,
edible roots, and usable plants, and also
practice “forest gardening" to increase food and
fiber output.

BELOW: Monotone concepts are used to

describe the contours and general layouts of
areas, setting the mood while sketching out
gameplay challenges for artists and game
designers to follow. Important, characteristic
elements such as watchtowers and torches
are highlighted. These may also be used to
storyboard progression through missions or
specific set-pieces, showing the scene from all
angles while providing a sense of scale.

NORA LOCATIONS 35
 his impressive gateway [right] is covered in Nora symbolism

T —in this case signs representing their goddess, the All-

Mother. It leads to a sheltered area called the Embrace, where
the Nora train their young hunters and raise their children. The
Nora are very protective of their own people, building massive
fortifications around settlements; enormous walls on the frontiers
of Nora territory. They are quite xenophobic, expressed through
their suspicion toward outlanders. Indeed, prior to events in
Horizon Zero Dawn, it was forbidden for anyone other than Nora
to enter their territory; intruders would be killed on sight. To the
left of the main image, the interior is a sacred location. However,
the Nora do not gather at designated buildings to worship the
All-Mother, choosing to express their beliefs during their day-to-
day lives instead.

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36 THE ART OF hj-OiTIZO Z E R O DAW N

This is a typical house found within a Nora settlement, using aspen
wood for the outhouse, debarked trunks for the main walls, decoratively
rope-knotted connections and very distinctive curvature of the roof. Above
the entrance is an assembly of salvaged machine parts, and behind that
wooden roof shingles. The chimney is made out of wood and clay. The
foundations are laid with rock. It is a practical design.
 CI
his spellbinding scene is an early concept of a N ora ceremony

T called "The Proving’. N ora ceremonies are used to recognize the

1
seasons and the major cycles o f machine behavior, as well as to celebrate
the miracle o f childbirth. Every birthday is a significant event, although
celebrating the blessed mother as opposed to their fortunate offspring.
The children bring gifts to their mothers, not the other way around,
spending the entire day together. If the mother has passed, the child
spends all day beside her grave. There are rituals held before every hunt,
with blessings made and codes of proper behavior observed.

‘The Proving,’is the most significant Nora ritual, held every year, in
which youth compete to be recognized as adult N ora. To pass the
test is moderately challenging, but to win the contest is very difficult
indeed. Every year, The Proving’s winner is given a special audience
with the Matriarchs and is allowed to make a special request, such as an
immediate mate-blessing or a bow crafted by a master bowyer. So long
as die winners request is reasonable, the Matriarchs will grant it.

"Making "the Proving" was an interesting

chance to explore how the Nora approach
ceremony. I wanted it to feel tranquil, like the
quiet before the storm, but still have enough
going on to show that it is also a celebration."
Eric Felten, Concept Artist
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LEFT: "The birth channel of All-Mother, a steel-ribbed tunnel that leads ABOVE AND TOP LEFT: "The All-Mother mountain is the Nora tribe’s most

to the womb of the mountain. Only Matriarchs may pass the threshold of sacred place of all. They believe it is the birthplace of life itself. I really

the tunnel. Within lies a large chamber that the Matriarchs regard as a wanted to emphasize the importance of this entrance into the All-Mother

sacred place, and use for monthly gatherings." Ilya Golitsyn by making it a huge and complex structure; with totems, candles, and
offerings to their goddess." Eric Felten

NORA I CULTURE 43
 BELO\ Nora symbolism revolves around the worship
of the All-Mother - so the tribal patterns that adorn
these items are reminiscent of female anatomy,
particularly the life-giving womb. Each item on the page
is carefully designed by the Guerrilla team, showing a
meticulous attention to detail when building believable
and distinct cultures.

THE AR T OF hl-oRizo-Ki Z E R O DAW N

 ora craft is somewhat primitive, with the technologies available to the tribe somewhere

N around Bronze Age levels. The base material for any construction is wood, which carpenters
will neatly prepare by debarking and (usually) shaving to size and shape. The Nora are also skillful
leatherworkers, incorporating hide into their everyday items in both practical and decorative ways.
Though their technology is primitive compared to the likes of the Oseram and Carja tribes, the
Nora have a sophisticated culture, with an emphasis on spirituality. They make practical items that
can weather the rugged terrain of their home but also incorporate religious symbolism, so that they
may honor the All-Mother in their everyday life.

NORA I CULTURE 45
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 mong all the tribes of Horizon Zero Dawn, the Carja Sundom

A boasts the most advanced culture. Using the advantages of their

geographical position, the Carja have developed agriculture and trade while
other tribes still rely on hunting and gathering. The Carja’s impregnable
capital, Meridian, provides security for a civilized population. Artisans
and traders flourish here, serving sophisticated, well-to-do citizens. Carja
civilization towers over the other tribes, just as the Sun of their religion
rises above the horizon of their mesa valley.

Such ascendance cannot go on forever, and the Carja Sundom faces a

decline. The increased aggression of the machines threatens the borders of
Caija territory, disrupting agriculture and trade. In addition, the growing
j ■influence of the Oseram tribe threatens Meridian’s trade dominance. As
' a result of the inability of the Carja’s ruling Sun-King to deal with these
challenges, a power struggle has erupted, escalating into all-out civil war.
It has split the tribe into two: the winning side, the Sun Carja, has kept
Meridian, while the losing side, known as the Shadow Carja, has been
banished, finding refuge in the heavily-militarized Sunfall.
 Q CHARACTERS
radition meets the latest fashion in Meridian clothing and riot of colors. Through ages of perfecting the techniques of machine

T accessories, as varied as the Sun Carja peoples ethnic and

cultural backgrounds. “Extensive trade and the efforts of the Hunters
plate-working, the Carja have developed the most sophisticated ways
to apply the materials of mechanical fauna. W hile more primitive
Lodge provide Meridian tailors access to a variety of exotic materials tribes would roughly affix more or less useful machine parts on their
and rare machine dyes," informs Ilya Golitsyn, “Consequently, the garments, Meridian artisans interweave fine fitted machine elements
garb of the Carja is the most refined and elaborate in the world; a into comfortable and functional pieces.”

"Among the most pivotal elements of Carja

iconography is the avian motif, taking its
influence from the location that they live in,
with its tall rocks and prevalent winds, as
well as its birds, both machine and natural,
that ride the currents. Many garments are
decorated with feathers or flowing silk
ribbons." Ilya Golitsyn

4-0 THE ART OF h|-ORiZO|M TRO DAW N

' -
Machine hunting is a most dangerous and complex task
for humans. Which is why machine hunters, or outlanders,
are so revered in almost every tribe. For Carja outlanders,
machine hunting is much more. In such a developed culture,
killing machines is not only a means of survival, but an art
form - a show and a ritual.

"While designing machine hunters for the Carja tribe,

I wanted their way of hunting to reflect the vanity and
decadence of a sophisticated culture. These flamboyant
acrobats are showmen that hunt for fame and fortune, and
not so much for prey." Ilya Golitsyn
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 s the only highly civilized culture, the Carja is also the tribe

A that has the most developed social hierarchy. At the top stands
the Sun-King, ruler of the Carja and living incarnation of the sun.
Below him are the Priests, who observe the sun and stars, cast
auguries, manage the treasury, and serve as magistrates to decide
conflicts among Carja of lesser rank. Next come the Nobles, typically
traders or military officers. Each noble belongs to a family house.
Distinguished nobles serve as commanders or provincial governors at
Carja outposts. Most of the tribes fighting men took the side of the
insurgency to become Shadow Carja, and so the Meridian military
now mainly comprises of city guards and Oseram mercenaries.
Beneath them are Artisans, Traders, and Merchants. Finally, the
lowest class belongs to Laborers: farmers, porters, and servants.

OPPOSITE: "Behold Avad, son of Jahadin, heir to Araman, the fourteenth

Sun-King, first of his name. High atop Meridian's mesa, from his golden
throne in the Palace of the Sun, he governs the Carja Sundom."
Ilya Golitsyn

52 THE ART OF kj-O-Rj Z E R O DAW N

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 2 LOCATIONS
'm m ense is the word that best describes Meridians enviable location,
-as well as the architecture found within its walls. Its territory
extends to both sides of the Colorado River, absorbing the present-day
M onument Valley, now overrun ’ i teeming jungle growth. Inside the
city visitor^ are treated to some of the most sophisticated examples of
architecture that exists in their pleasant post-apocalyptic world. Owing
to its central location, trade has influenced Meridian’s construction
methods and building forms. Rooftops touch the sky, with richer
households boasting balconies and pavilions.

Outside the gates, the surrounding lands are rich in vegetation after
climate change, though the famous cliffs and gorges of the canyon
are still visible. Meridian is the center o f culture in the known
world, possessing every thinkable town facility,
ity, including sho
shops,
pubs, restaurants, crafters, musicians and guilds.
ilds. O n its stree:
streets Aloy
encounters a wide range of individuals: town criers, beggars, bards,
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children, gamblers and representatives from other tribes^Meridian also

includes unique facilities like the Palace o f the Sun, the old Sun Ring,
the H unters Lodge, and expansive farmlands airffortifications.
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 hen it became safe for the people to settle in the valleys and near

W the riverbeds, conditions for farming and trade vastly improved.

Places such as this used the rivers for commercial transportation, leading
to rapid cultural growth. Lighter, lower-ground settlements began to
characterize the region, although the architecture is still based on the
cave-like structures from centuries past. Also, verandas and balconies are
far more common now. In general, the Carja villages give an impression of
prosperity and calm; with its ideal climate and generous culture, life isn't
bad at all.

BELOW: Balconies, said to be characteristic of the

region, are worked into various iterations to see how
they might belong in a typical Meridian quarter. The
architects pay little or no mind to the effects of gravity,
with turrets and towers atop turrets and towers, and
dainty verandas sandwiched in between.

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 eridian is exciting in part because of its density, and the sensation of being dwarfed

M by its highest peaks. The city is imposing in this respect; the traders that pass
through are merely in servitude to all its grandeur, like actors treading onto an elaborately
presented stage. These concepts clearly show the contrast between the more affluent quarters
[left] and the underprivileged areas [below]. However, in the way everything is presented,
the quality of life does not seem too far apart between the two. In the wealthier buildings,
tropical vegetation can be seen twisting around the pillars and bulging from the balconies.
In the shadows of the poorer alleyways the walls are completely bare, revealing construction
methods. The basics consist of local rocks and hewn blocks, sometimes covered in plaster.

LEFT: Traders converse in the shade, perhaps sharing

philosophical views in addition to comparing the prices
of goods. Under the rule of the new Sun-King, cultural
exchange in Meridian has become every bit as important
to its development as the wealth that it has acquired.
"The headquarters of the Hunters Lodge, an impressive
structure befitting one of the most powerful organizations
in the world. As the main hub for all outlanders who roam
the wilderness hunting dangerous and rare machines,
it is appropriate for the Hunters Lodge to be located
in Meridian, center of the known world's trade. Here,
successful hunters boast their trophies, adventurers
come for dangerous contracts, and traders make deals on
precious machine resources." Ilya Golitsyn

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 Q CULTURE
he Carja worship the Sun as a life-giving deity, and believe

T the Sun-King is its human incarnation. The Carja calendar is

organized around the solstices and equinoxes. Massive festivals are
held four times a year. In the darker past, when a harvest failed or
other crises emerged, slaves or captives were slaughtered in the Sun
Ring during these holidays, sacrificed to bring back the favor ofrk
Sun. Later, these rituals evolved into theatrical performances and
gladiatorial games.
 U H rl r W
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Every product of Meridian is the result of

sophisticated processing: wood gets polished,
carved, painted or lacquered, enriched with
inlays; metal is engraved or welded into fine
shapes; glass gets grinded and engraved. The
typical Meridian ornaments are poured over every
surface, creating intricate designs.

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 Composed of stylized machine feathers, the star with eight rays (occasionally seen with four or five raysl is a
representation of the Sun god of the Carja religion. It can be found everywhere in Meridian, from pavement mosaics and
door ornamentation to the High Priest's gowns and the Sun-King's symbols of power.

5© THE ART OF h|-O R jZO j\| Z E R O DAW N

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C A R JA I CULTURE
 ex H

SHADOW CARJA
he exiles of the Carja civil war, the hardline Shadow Carja, mainly consist of the deposed Sun-
King’s military, priests, and old aristocracy. Itamen, the young son of the late king, is held captive
by the Shadow Carja, who use him as a figurehead. They have taken refuge in the summer residence of

U the Carja kings, Sunfall, an imposing fortification now surrounded by rugged refugee camps. One of the
key locations found within Sunfall is a second Sun Ring, a huge arena for gladiatorial games and religious

I rituals. W hen the Mad Sun-King invoked brutal religious rituals from the distant past, thousands of
captives and dissenters were forced to battle machines to the death in ritual combat inside the Sun Ring.
 MB
life
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 ere we see Itamen, son of the overthrown mad kingjahadin,

H and his mother, the dowager queen Nasadi, both pawns in

Helis and Bahavas’s dangerous game. They preside over the Shadow
Carja who, having been driven from their ancestral lands, now cling
fervently to tradition. Shadow Carja iconography is aggressive,
especially when it comes to armor and military uniforms. Dress
varies wildly with class: the military and elites have access to fine or
exotic materials through raiding and hoarding, but such access pales
in comparison to their cousins in Meridian, so their dress remains
relatively austere. Priests still employ ornamentation, but in a far less
ostentatious way than that of the Sun Carja.

▼
Shadow Carja soldiers consider themselves
the unbroken continuation of ancient Carja
m ilitary tradition. Their organization, uniforms
and equipment are inherited from the historical
doctrine of the Sundom. Carja m ilitary is divided
into two sub-classes: Kestrels, elite warriors
who wear feathered uniforms, and rank-and-
file Soldiers. Most of them have followed their
general, Helis, into insurgency.

SHADOW CARJA
"As the pinnacle of craftsmanship in the Horizon
Zero Dawn world, Carja arm or had to look the most
advanced, without using any forged metal. We decided
to show it through more sophisticated ways of arm or
construction. Small scales of machine plating are
cut and polished in order to perfectly fit into complex
constructions, which give sufficient protection while
remaining quite flexible." Ilya Golitsyn

V' . I JB N ” ; ... xj
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Jf’-' *-m T *

SHADOW CARJA 75
V
 □SERRM
his rough-hewn wasteland is all that remains of a section of

T coniferous forest on the outskirts of an Oseram village. The Oseram

devour entire landscapes, gathering large quantities of fuel for foundries
and smithies tfiat produce fine metal items of all kinds. Oseram people are
the most technologically advanced in Horizon Zero Dawn, and the only
tribe to work in iron.

The main concept for the Oseram is one of ruggedness and function
over form, although this isn’t to say that their output is without creative
thought. While the households and work areas are simple, mortar-less
stone affairs, the inhabitants are elaborately dressed. Furniture, accessories
and tools are likewise skillfully fashioned, ranging from practical wood-
mounted braziers to embossed and carefully tuned ceremonial gongs.
Although devastating, the Oseram treatment of the land and its resources
is efficient - expertly finished and mindful of diminishing supplies.
Oseram culture can be defined by pride of practice and the tendency to
reinforce with metal, even if it’s not always essential.
 • CHARACTERS
he Oseram Vanguard are a member of the elite

T military force that helped Sun-King Avad win the

civil war and capture Meridian. They are exceptional
smiths, trappers and traders. The Oseram are hardy and
burly people, and strong-willed whether large or slender.
While women are said to be as influential as the men in
general leadership, overall Oseram government is male-
dominated; women are welcomed and heard during debate,
but their place is considered to be in the village, while men handle
hunting, excavation and trade.

78 THE A R T O F hj-OS7jZFO-|M ZE R O DAW N

"The biggest challenge in designing Oseram
arm or was to have them use a lot of forged
metal elements, without making it look too
much like typical medieval armor. We ended
up using more primitive ways to connect rough
metal pieces to a leather base, more knots and
ropes rather than buckles and chain mail."
Ilya Golitsyn
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Oseram armor derives from their blacksmithing roots. Warriors first wore leather smocks into battle. Over time,
work robes were reinforced: aprons turned into cuirasses, smelting masks into helmets, blacksmithing gloves into
spiked gauntlets.
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OSERA/A ! CHARACTERS 81
[W 11 1; > j
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 seram architecture marries stone wijrh wood, and welds it together with metal anchors.

O The most common of all structures is the beehive hut, but its usage has shifted
from residential to storage due to aging design, Oseram villages are predominantly made
up of central domed buitdings, with outbuildings used for baking and larders. Houses are
often built into the slopes of hills, so that the terrace of one home might become another’s
front yard. As more houses are built, the number of interconnecting staircases organically
increases. Modern Oseram architecture now integrates some outbuildings, plastering on
chimneys where needed, and patios for decorat^Sni. W ith no mortar used, the weight of the
material and strength of the binding keep^ thingf upright. Wood is considered to be a weak
material, greatly improved by adding metal.
Oseram villages are remarkable for their lack of grandeur. Even those
that have existed for hundreds of years retain the rustic look of frontier
outposts and forts. Rugged exteriors reflect values of functionality over
ostentation. Villages are independent political entities with clearly defined
territorial holdings. In theory they would come to each other's defense
when attacked by an external enemy, but in practice the impregnability of
the villages has rendered this a moot point.
& A ■s i.

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ne can clearly see the variety of Oseram architecture and

O crafting capability by contrasting the beehive hut [above], used

as temporary housing around logging sites, with the impressive Clan
Mansion [left]. The latter’s balustrade framing the roof terrace, long
flights of steps, food storage facilities and copper-encased chimneys
make it seem more like a castle than an abode. Again we see the metal
bindings and a distinctive domed theme. Every last ounce of local
resource has been stacked, strapped and riveted to rise out of the rock.

This series of diagrams shows how an Oseram

charcoal stack is constructed using the help of machines
and pulleys. It comprises one or two central trees placed
as a spine, logs to serve as steps to reach the top of the
pile, and grass sods covering the whole thing.

OSERA/A I LOCATIONS
 CULTURE
he Oseram are tinkerers - they constantly seek to improve the

T functionality of their gear. Often, they try to combine multiple

functions into a single item. Sometimes this leads to less practical but
more entertaining results, which is just as welcome. The Oseram like
to surprise and impress other people with their gadgets.

"We conceived of the Oseram as the master tinkerers

of Horizon Zero Dawn. This allowed us to integrate
more mechanically and technically advanced machine
elements in their weapons and tools. Integrating them
with a roughly medieval level of technology created
some surprising results, and we were excited to see how
w ell they worked together." Roy Postma, Art-Director
IWeapons/Robotsl

OSERA/A i CULTURE 89
90 THE ART OF
 • •

visual guide was shared among all members of the creative team to instruct them

A on the'Oseramification of different objects and structures. Regardless of whether

the job entailed designing props like mechanical hammers, or locking down elements
of tribal motifs, the visual guide would ensure that it belonged in the Oseram culture.
The mechanical hammer in question would have to show wear and tear, for example,
to imply hardiness even after heavy usage. Basic weapons have a certain flair to their
design, hinting at the intelligence behind the gruff Oseram facade. Icons are said to be
heraldic, after a history of warring clans requiring identification. Non-heraldic designs
are composed almost entirely of circles and squares.

O S E R A /A | CULTURE 91
 andits are parasites, feeding off the endeavors of fellow

B survivors. They have no honor, but they do not entirely

lack intelligence. Rather than produce anything themselves they
raid villages and encampments, looting or sometimes claiming
abandoned habitats entirely. Bandit sites comprise of improvised
awnings and tents from numerous regions, some of which were
grandiose but soon degraded. Bandit activity, in terms of concept,
intended to be filthy and ugly.

The anarchic Bandits transform almost everything into an irregular

mishmash of incongruous material and form. Their main expertise,
if it can be called that, is to repurpose loot in ways that are invariably
terrifying: prisoner cages, weaponized alarm systems, or simply the
degraded remnants of a once homely and inviting estate. An erratic
bandit skyline is usually enough to ward off other tribes, and if that's
not enough their crude graffiti will clearly communicate a hostile
and animalistic intent.

A Nora house, claimed by Bandits. We do not know what became of the

original occupants, but their battle was lost however it was fought.
 CHARACTERS
■ 'X ark and foreboding, the Bandits are at their most
i. S frightening when they appear to be playful. Dressed to
intimidate, they use scraps of machine plates as crudely assembled
armor and decoration, creating a gruesome silhouette that
mimics the spike motif seen in their environments.

Bandits do not abide by anyone’s rules, and show neither fear

nor respect toward enemies, unlike other tribes. They regularly raid
trading caravans, but their plundered wares and clothing quickly
degrade; the bright colors they choose to wear fade quickly thanks to
the rough and chaotic Bandit lifestyle.

For Guerrilla’s concept artists, differentiating the Bandits

from other tribespeople required unique visual pointers.
Above all, Bandits have a ragged appearance and a general
lack of cleanliness. They wear sneering expressions
in addition to their mismatched clothes, and look
like they have been plucked from a pile of debris.
Their disheveled appearance actually adds dramatic
possibilities, as their trash-like 'uniforms’ provide ideal
camouflage for an ambush.

As the most common human enemy in the game, Bandits

needed to stand out from other humans. They have
bold silhouette choices and strong color schemes, and
they are dressed to intimidate, using machine plates as
crudely assembled armor.

94 THE ART OF k-J-ORiZO-|M ZERO DAW N

 Bandit hierarchy is built on a
simple principle: the strongest
and meanest are in the top class,
the rest are insignificant. Strong
and tough Bandits deliver deadly
ranged fire, while their crazed
henchmen fight in close quarters.

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BANDITS CHARACTERS 95
 LOCATIONS
II describing the Bandit influence on the land, Guerrilla’s artistic

I leads refer to them as an ‘infection’. Verdant landscapes and

thriving villages are laid waste, starting a transformation process
that involves slapdash restructuring and chaotic outfitting. Bandits
are the plague of the land, and players will recognize their presence
without having it spelled out for them.

Bandit intimidation tactics work extremely well against other

tribes. In the approach to a Bandit refuge, monstrous totems are
erected to dishearten outsiders. The totems, according to Guerrilla,
are considered scarecrows that keep intruders away from camps.
Occasionally, they are erected to frighten prisoners inside the camps.

INSET: By daylight, Bandit encampments dte

slightly less threatening, though they still retain
their horrid appearance:
96 THE ART OF k ) o R i z o { \ l Z E R O DAW N
 he concept artists chose a looser visual style to describe

T haphazard Bandit methodology. There are crisscrossed

ramparts, precarious walkways and unkempt living quarters. In the
foreground, hanging above the courtyard, we see a prisoner’s cage - a
figure of ridicule, which also points to the Bandits’ tendency toward
cruelty. The Bandits represent humanity at its lowest ebb. By nature,
Bandits are an opportunistic rabble that lives in a state of chaos.
This is also their primary weakness when facing tribes that are better
■ , , FAR LEFT Bandit raiders return from a
organized and structured.
successful raid, boasting loot that appears to
have been rustled from the Banuk. Pretty much
everything now in their possession has been
acquired by unscrupulous means, a situation
that Aloy soon intends to put right.

BANDITS I LOCATIONS 99
 &3B

Captured machines are rounded up and butchered - the sadistic

entertainment factor counts at Least as much as the desire to gain raw

materials from the mechanical beasts, which the Bandits use to fortify

their camps.

100 THE ART OF kj-0-RiZO-|N ZERO DAW N

BANDITS I LOCATIONS 101
 CULTURE
andit society is lawless and ruthless, and the materials and props

B that make up the Bandit settings are designed to reflect this.

Valuables are kept in lock-ups to prevent greedy fingers from
gaining access, as gang members are notoriously undisciplined,
according to the designers at Guerrilla. These objects also
represent the unorganized, organic style of
Bandit construction.

Each item clearly shows wear, as Bandits have no industry of their

own, preferring to pillage from other tribes instead. The few objects
they do create are rough and extremely basic, providing further proof
that they are not as advanced as the other, more civilized tribes.
In Horizon Zero Dawn, its possible to gauge the nature and
advancement of each tribe by their set dressings and props; the
nature of the Bandits is evidently scary, rough, brutish and chaotic.

> i

THE AR T OF hj-ORjZO j\| Z E R O DAW N

Weapons are improvised to took
as dangerous as possible to the
intended victims, but they can
be dangerous to the wielders as
welt. Bandit weaponry is often
flimsily constructed, with an
emphasis on ripping and tearing
as opposed to smashing.

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BANDITS I CULTURE 103

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he Banuk are a ______ v political unit is the Werak, a unique Banuk concept that translates to
boreal territory called R n-Ur. As a culture based on the something like pride’ or troop’. A Werak is made up of families that
___ f < X
primacy of the hunt, the Banuk are fiercely individualistic. They band together to hunt. It is an extremely informal arrangement with
see survival as a lonely imperative, a measure of the individual’s will few strictures - basically just a group of people that follow a superior
against the harsh extremes of their territory. That said, they do have hunter, who leads by example. Traditionally, the Chief is aided by a
some primitive hut egalitarian social structures in place that enable Shaman, whose job is to communicate with spirits that the Banuk
their people to work together in a dangerous environment. The main believe reside in machines.

' w
The nomadic nature of the Banuk is immediately
apparent in this nighttime view of an encampment.
Fires glowing within as chill winds blow outside
may be analogous to the Banuk people's
indomitable spirit. Tent profiles mirror the
mountain peaks in the distance. * ., „
 CHARACTERS
he Banuk are skilled warriors but even better hunters.

T The spear is their weapon of choice, and they obsess

about finding sharper points (frequently from filing machine
parts) and crafting stronger, more decorative shafts. They are
particularly skilled at using spears to hit junctures between
machine armor plates, damaging or incapacitating their prey.

The Banuk believe that machines are inhabited by benevolent

spirits. It is not, however, taboo to hunt machines —on the
contrary, a successful machine hunt proves that the benevolent
spirit is rendering aid to the tribe with gifts of metal. Banuk
Shamans are responsible for communicating with these
spirits, and such rites have many purposes, including prayer,
blessing, giving thanks, and asking for aid in the passage of
souls to the afterlife.

"In the Banuk Shaman designs, I wanted to show the

tribe's spiritual attitude towards machines. Huge
head pieces created out of machine parts, shrouds of
entangled cables and ribbons, incisions of robot cords
that cover their hands - all to present them as beings
between the human world and the machine world,
capable of communicating with machines." Ilya Golitsyn

10® THE ART OF k -J -C X ljZ O -J h l Z E R O D A W N

2 » cm

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 ▼

he individual’s will to survive is the key tenet of Banuk life. A

T Banuk always strives to prove his or her worth, and there is

great satisfaction in being the best hunter, the best fighter, the best
guide, the best climber, or even the best at starting fires. Someone
who combines all of these skills into a rugged, heroic survivalist is
considered a paragon. There is no formal training for hunters and
warriors; young men and women learn by watching and doing, usually
from their parents. Everything is sink-or-swim: A true Banuk is honed
by the ordeal of survival, and if they don’t cut it, others will look to
someone who can. The best hunter leads, male or female, and the
other hunters are expected to acknowledge that their skills are inferior
unless they can prove otherwise.
"Developing the Banuk was a chance to go a
bit more tribal, compared to the aesthetics
of the Nora and Carja people we'd done
before. I wanted them to be the tribe that
mimics the machines, since they almost live
in harmony with the machines. Being the
most colorful guy in the office, I made sure
the Banuk also became the most colorful
tribe in the game. It's a nice contrast to the
more subdued color scheme of the Nora or
the Oseram." Luc de Haan, Concept Artist
A LOCATIONS
anuk territory is truly unique, owing to how the people have

B claimed it. Rock formations are not crumbled - instead they

are canvassed with color. Dense atmospheric conditions, notably
geothermal mists, are convenient theatrical devices for Guerrilla
to draw upon. The vast, basin-like composition of rugged plains
surrounded by mountains suggests to players that tough challenges
lie ahead, lurking behind the rocks and hiding inside forests.
 A J*
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The Banuk adopted one of the most inhospitable regions to make their first settlements, in the southern plains of the Yellowstone glacier. Detailed
photography of the region as it exists in our time was highlighted by Guerrilla's concept artists as both dangerous and beautiful. The Banuk heartland
appears as a resource-rich, mystical environment. Its geothermal properties inspire all the rich color schemes for Banuk Shaman artists. Monolithic
natural formations are decorated with bright symbols that serve as landmarks.
116 THE ART OF h j - O R I Z O j M Z E R O DAW N
 CULTURE
his image was made to give you a feeling of what daily life is like for a Banuk hunter.

T The struggle for heat, a captured machine ready to be transported to the camp,
domesticated machines that help in the hunt, dressed up to the need of the hunter. This
is a very early concept of a Banuk scene, where we suggest they have the ability to ride on
machines. Later on it was removed, and machine riding was limited to Aloy. Still, among
all the tribes of Horizon Zero Dawn, they are the closest to gaining any sort of control over
machines, though they move in this direction almost blindfolded, through sheer trial and
error.” Luc de Haan.

BANUK I CULTURE 117

hj-cxdzoj\l Z E R O DAW N
 key role of the Shaman is divination - asking the machine

A spirits to help locate organic game or good machine hunting.

Clever Shamans employ tricks to help with this task, possibly noting
that the presence of a certain machine signifies a herd is near, or
perhaps simply recognizing which hunters have a knack for tracking,
then anointing them with spiritual honorifics. Still, over generations
of closely observing the machines, the Banuk have learned much
about their behavior.

H
BANUK I CULTURE
J 119
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ABOVE: "The Banuk tribe believes they have a spiritual connection with
nature (the machines being part of it in their world) and express this in
many aspects of their culture. They decorate themselves with parts and
fluids harvested from their hunts, decorating not only their clothes and
bodies, but also their surroundings.” Lloyd Allan

LEFT: As nomads, the Banuk have few permanent structures, though

they have been known to construct shelters and outposts from the metal
skeletons of huge machines brought down by their hunters. Such places
consist of little more than communal sleeping rooms and watering holes.

BANUK I CULTURE 15
 B?
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 he shadowy Eclipse are not so much a tribe as an army on the move. They

T are a secretive, mysterious cult whose identity is revealed piece by piece

as players progress through Horizon Zero Dawn. Very little is known about the
Eclipse from the beginning, save for the fact that they have some connection to the
corruption spreading among the machines. As opponents the Eclipse are powerful
and unnerving, owing to their radical behavior.
 he Eclipse soldiers dress ceremoniously to give a mystical impression.

T Their foes are intended to tremble at the sight of such strong and
determined warriors. Many of their number are famed for their individual
exploits, and are encouraged to adopt distinctive attire on the battlefield. This
warlike motif appears in the use of ejected bullet casings from ancient war
machines, which they work into totems and rosaries, as well as their masks,
which they used to hide their identity.

"From the very early designs, we wanted to

have a recognizable symbol from our everyday
life become something special in the world
of Horizon Zero Dawn. The power logo turned
out to be a perfect match - it is simple and
recognizable, it can be interpreted as a symbol
of electronic resurrection, and thus associated
with power over the machines or, ultimately,
over life and death." Luc de Haan

126 THE ART OF h j-O T 7 jZ O -|^ ZERO DAWN

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ECLIPSE 127
 he Eclipse are a group of religious fanatics that are

T excavating ancient war machines to use for their own

purposes. The challenge was to reflect this description in their
designs, while also making sure that their outfits, buildings and
artifacts were sufficiently different from those of other tribes. It
seemed fitting to make the Eclipse structures rectangular, feeble
and constructed in a rush, while also incorporating some of the
bounties they dig up.” Erik van Helvoirt, Concept Artist

Dark, brooding skies and flaming torches create an

uncomfortable and dangerous atmosphere in this scene.
One would expect to find Aloy sneaking around stealthily in
the shadows, choosing her opportunities wisely.

128 THE ART OF hj-ORjZ<)-|M ZERO DAW N

 RIGHT: "I wanted to create an image that portrays how
powerful the Eclipse's leader is - not because of his own
physique but rather because of what he controls: the
destructive power of the ancient war machines.” Luc de Haan

130 THE ART OF : er o daw n

132 THE ART OF h|<>RiZOj\| Z E R O DAW N
Q WAR /MACHINES
he Eclipse have turned to excavating old war machines for

T their destructive abilities. The designs for the war machines are
very non-organic, putting them at odds with other machines. They
are also used as a visual device, to emphasize the stark contrast with
the natural world in all its glory. The war machines seem to have
been around before the end of the world —it's possible they even had
a part in it...

Ancient military hardware lies dormant on the spot

where it was last immobilized. Its occupants vanished
long ago, their remains crumbled into dust and blown by
the wind. But old intentions continue to stir somewhere
in the land, urging Aloy to exercise caution.

ECLIPSE 13'
r * '.
V4*

' ' A 't

"After working on our fauna-oriented organic machines, it was a fresh challenge to
take a step back and think about our approach to the design of the war machines.
We brought them back to the technology level and design aesthetics of our current
era, and then augmented them to something people haven't seen before, capturing
their raw power and destructive nature. This created a natural contrast between
both machine factions.” Roy Postma
r Sv «
ECLIPSE 137
 -^r -~w

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 significant part of the mystery that Aloy needs to solve in Horizon Zero Dawn is the

A origin of the machines. Their creation and purpose are only explained towards the end
of the game, but it’s clear from the outset that they’ve been roaming around for much longer
than the tribes. Just like animals, machines are sentient creatures with their own ecosystem.
N o single machine type can function outside of this system; each type has its own role to
fulfill, and it needs the other types to survive.

To reflect this naturalistic approach, Guerrilla tried to have as many machines work and
relate together as possible. The artists were quick to adopt highly optimized shapes and
forms for the machines, to suggest different roles and functions for each type. O ther aspects
of the machine designs took longer to crystalize, as a delicate balance needed to be struck
between organic shapes and advanced mechanical elements.
 ■
A /
7
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▼

or the machine designs, Guerrilla’s artists realized that any real-

F life animal, past or present, could be used as a reference. They

weren’t bound by the actual scale of the creatures; small designs could
be adapted into bigger versions, and vice versa. Animals were chosen
based on requirements from the design side and experimentation
with what would fit. This led to the creation of a unique machine
ecology, which in turn led to one of the major mysteries in the game:
the reason for their existence.

40 THE ART OF h-j-ORiZO-jsi ZERO DAW N

 Machine limb articulation is explored to prove
feasibility of function. Color overlays are used to illustrate
different components, such as joints and tendons.

MACHINES 14
 he machines form an ecosystem and work

T together towards a common goal. Players

will notice how each type of machine has its own
role to play, such as defense, harvesting/resource
gathering, communications, transportation,
and even cleaning up. Guerrilla has portrayed
a vision of a self-sustaining system that aims to
recondition the Earth —something vastly complex
and fascinating to observe.

THE AR T OF
h J - O R I Z C js i ZERO DAWN
MACHINES 14:
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 O M A C H IN E ESSENCE
ne o f the strongest design decisions in

O the development of the machines was

the adoption of carnivore and herbivore traits.
Aggressive machine types were
contrasted with more docile ones, the
latter becoming involved with tasks
like harvesting and transportation.
This distinction also helped players to gauge
whether their prey would attack on sight or
attempt to flee.

In the concept below, the machines look right

at home. If it weren't for the unusual lights
and head shapes, one would almost need a
second look to distinguish the machines
from their natural counterparts.

46 THE ART OF hj-of^jzojsl Z E R O DAW N

 “The Stalker is an ambush predator that uses cloaking and traps to catch its prey off-guard. As with the other machines, we looked at real-life animals
and tried to incorporate their characteristics into the design. In this case, the base is formed by the maned wolf - it has long legs that make it seem very fast
and agile. The hexagonal plating on the side acts as a cloaking device, and gives it a high-tech look." Erik van Helvoirt

MACHINES 141
 FORM AND FUNCTION
n designing the Tallneck, one of the toughest challenges was to come up with a

I purpose for its graceful aesthetic. Essentially an enormous, mobile focus point
for the player, the Tallneck requires a lot of space to move around it. This makes
the machine less suitable to certain environments. As such, it took a while for
the idea of the Tallneck to click’. The initial concept was well-liked, but finalizing
it required approval from a lot of different stakeholders, who all had different
demands and restrictions for the machine.
A single sketch drove the concept
of the Tallneck, which has been
through many iterations since that
earliest design. The core idea of a
communication disc replacing the
head of a giraffe has stuck with the
concept that is still in the game. Its
image is now iconic, impossible to
separate from Horizon Zero Dawn.
 \ \ w .1

* '■ V
L
■h. ». .
1 I
 Use same materials and textures for bottom os the top of the wing flops

O FIRST CONCEPTS
hen work on the machines started, the

"When we designed the Stormbird, we wanted to give the majesty

and power of an eagle to an advanced defensive machine. Built to
W link to real-life animals was quickly made.
However, it took a while for the team to reach the
protect the transport machines from external threats, it is able to point where every design was based on more natural,
condense static electricity from the air into defensive lighting, which organic shapes. The artists tried to avoid typical
stuns and damages its enemies." Miguel Angel Martinez human engineering cues, like mathematical shapes.

r \
MACHINES 15:
-
 These machines are evolving and adapting.
Their structure has become more open, but
also more armored. The neck of this giant
Thunderjaw machine is comprised of several
armored plates that protect the delicate system
underneath. Parts of its body can be blasted
away, including its defensive systems, which
can then be used against it.

56 THE ART OF h | - O R i Z O - | M Z E R O DAW N

■
® FACTS BEHIND THE FICTION
o inform the authenticity of the designs, Guerrilla’s visual art and story teams

T consulted with a robotics professor. They talked extensively about how the machines
would be produced from a technical perspective - whether they could be 3D-printed, and
how that might allow for better integrated functionality, combining structural strength
with a nervous system. Thinking along organic lines drove the team back to the drawing
board, where they reconstructed the machines with functional skeletal systems.
 r A ' -'
■. '? >

■' a , F- * "
 L
160 THE ART OF H "C X ^|Z O pi ZERO DAW N

a * ........"
 ® SECRET L IV E S
OF M A C H IN E S
t took a while for Guerrilla to settle on a specific look that worked

I for all machines. The Watcher, for instance, went through one
of the longest design trajectories of any machine in Horizon Zero
Dawn. Initially based on a small bipedal dinosaur, his appearance
kept changing and evolving throughout the project. However, there
was a sense of personality in the appearance, poses and movements
of the Watcher that made him a team favorite. Unsurprisingly,
the machines that made it into the final game all had similarly
recognizable personalities.

The exaggerated shapes on the machines hint at their core

functionality. For example, the Watcher has a big central 'eye'
because it is a machine built for surveillance and scanning,
and this needs to be clearly communicated to the player. In this
concept art, machines are surveying the forest.

MACHINES
 s mysterious and awe-inspiring as the ancient cities of the past, this is what our cities
could look like 1000 years from today. W hen Aloy enters the world of her forebears,
it is no less breathtaking than expected. Gazing upon these structures with her own eyes
for the first time, she realizes that there is truth to the stories her people tell about the Old
Ones. From afar the ruins appear majestic, though the towers resemble nothing so much as
epitaphs to a dead civilization. They have a magnetic hold on Aloys curiosity, and players are
compelled to investigate along with her.

Though nature laid a blanket over the remains, laying the Old Ones to rest, the secret of the
machines still stirs somewhere within. Beneath towers so tall they disappear into clouds,
Aloy will have her answers revealed. She would stop and marvel at this fateful moment, but
the silence of the lost city has an unnerving effect.
 ^& }E S O LA T IO N
r ith the natural landscape obscured from view, all that lays

( ' VV before Aloy now is ruins. Resting below an ossified traffic

Jf '
flight stand - its concept entirely alien to her - the city appears as a
jungle of crumbling facades. This place is no longer welcoming, but
/t foreboding; it feels forgotten and thrown away. Above all, it presents
a challenge to Aloy, which is a central theme to Horizon Zero Dawn.
Familiar skills learned while navigating her homeland must now be
adapted, and she must be on her guard.

However, there is also the sense of a new day dawning - and with
it, an air of discovery. There is hope amid the rubble, and a sense of
excitement over the possible avenues of exploration.

almost imagine the chill from fhe water, adding

to the coolness of the morning air. These ruim
I hese-Wjhs
may be among Aloys f irst^g h tin g s of the Old
Ones. She is on the right tra it

X .1
 BELOW: Aloy stands atone in what might once have been a busy thoroughfare, the overgrown setting a far cry from the bustle of burger stands, ticket

booths and fast food restaurants. She would have no concept of this, and we are encouraged to leave such imagery behind.

166 THE ART OF k-J-QRjZOj^ Z E R O DAW N

 Swooping, reclaimed terrain hides the angular structures that once were. There's an oversized donut atop one building, which would have
been jolly and comforting in its day. Consigned to the dim, distant past, our need to consume coffee and cake seems strange.

RUINS 16"
 ■
a '

Ik ORGANIC DEGRADATION
ne of the problems with creating sci-fi imagery that’s intended to look prehistoric, is

O that almost nothing has symmetry. Gazing upon something that’s decrepit, we expect
the unevenness; the broken, sagging and lopsided. Such models almost need to be sculpted,
rather than mathematically rendered. Texture artists also face a colossal challenge to show
the patchiness of the weather-worn effects. If the player spots repeated patterns, the illusion
is broken. This is why such scenes are rarely attempted to the degree seen in Horizon Zero
Dawn. Sorrowful shapes are deliberately imposed on the structures, while light and shadow
A cross section of the ancient city reveals are used to describe detail in sepulchral hues. It all appears chillingly real.
mysterious structures below.

6© THE ART OF hJ-ORjZOjN Z E R O DAW N

Stairways that reach to nowhere, and supports that have tong since broken down. Frailty is evident
throughout these concepts, evoking pity for those that once felt so comfortable and safe among
these structures. As daylight streams through the window frames and reveals sections of collapsed
wall, it almost seems like the trees that surround these broken building have come to pay their
final respects.
'■i CWK
An example of the thoroughness with which concepts are
explored. A town is shown in various stages of decay and gradual
reclamation. Its lines become.softened by nature until most of
them vanish.

k-J-ORiZO-fsl Z E R O DAW N
■

j/ -•• s ■■ >7-- «s£ L , • • • < • '- '

■ 4 ■ » '• ( il l.
* b-. -'
STi r ?*t-’
' »i£ •
7 ; 7 >• ■-
» •. . ■<■•*„><»•.» '

RUINS 17c
Living waters and an imagined hillside breeze make this scene
feel refreshing, like it was intended for players to breathe in
its beauty. Much like gameplay pacing and story pacing, visual
pacing is important to keep an adventurous spirit alive and
eager to face the next challenge.
4 .
 “\Ne designed different vehicles and drones for our pre-apocalyptic vision of the future. These are now rusted wrecks scattered
throughout the world, giving the players a glimpse of the futuristic things that are now in Aloys past.” Lloyd Allan

76 THE ART OF Z E R O DAW N

RUINS 17
 z
Bi THE CAULDRONS
loy stands inside an immense machine foundry crackling with
powers This place is not intended for humans; the machines
do not need warmth and they may not even require the light. The
Cauldrons are the embodiment of function over form, though the
anatomical nature of the machine birth sites reveals some traces of
manmade structure. Navigation will be difficult for Aloy with few,
if any, clues as to which surfaces are safe to tread or touch. This
alien environment presents a challenge for which she is unprepared.
Players are shown where to go, but not how to go, relying on a kind
of gut instinct informed by Aloy s exploits in previous areas.

I B
A

The Cauldrons are fully automated; their

workings have remained a mystery to the
tribes for hundreds of years.
r 'ty B N k fi
K*WWm . ' 4*
"While designing the Cauldrt
we came up with the idea to
have the machines cut away
rock using a triangular laser
and build a cavern resem blr
an ant colony. Since the robo
are part of a cycle of life on t
surface of the planet, it was
important to make the Caulc
feel like a living organism.
Erik van Helvoirt
Two concepts explore the same scene under different lighting conditions,
helping the design team to decide which is better suited to first sightings
of the Cauldron. With a triangular threshold in the rock and a procession of
smaller robots, there's something unusual happening here.
 Ik BUNKERS
hese underground complexes are isolated and relatively well-

T preserved pockets of the old world, representing the last hiding

places of humans before doomsday. It’s also where Aloy finds more
clues about the fate of the Old Ones.

/
 t.

Located deep underground, sheltered from the

threats on the surface, this vast installation /
is a time capsule of mankind's technological
capabilities prior to facing near-extinction. This is
where Aloy may discover some of the answers to
the mystery she’s trying to solve.
£
 rw

■
"The design process of the bunkers consisted

of us first exploring what bunkers would look

like in the future. During the second design

phase we aged them, slowly blending them into
natural caverns." Lloyd Allan
—
"Bunkers are strategic strongholds full of
military equipment. When Aloy journeys into
the bunkers to find answers, she crosses
paths with the Eclipse, who are after the
military hardware. This picture shows a ;
military bunker punctured by a hostile war
machine." Lloyd Allan \
r iiir r i ’ ..•*,- z ? s
« Arfy h ' ^ f e ■ r* - ■>
JKS ' JLba IdCraSH
x
 GUERRILLA

Art Directors Jan-Bart van Beek I Roy Postma I Dan Calvert I Alex Zapata I Maarten van c

Concept Artists Lloyd Allan [Lois van Baarle IRichard Dumont I Eric Felten I Ilya Golitsyn I Luc de Haan I Erik Helvoirt I Kait Kybar
I Miguel Angel Martinez I Joseph Noel I Jorry Rosman I Michel Voogt I Koen Wijffelaars I Miles Williams I Roland Ijzermans

Guerrilla Games Management: iTermen Hulst I Steven ter Heide I Angie Smets I Mathijs de Jonge I Michiel van der Leeuw I
Lambert Wolterbeek Muller tag —

Concept Art interns and temps Thomas Abna I Bob Albers I Robin Bouwmeester I Terrence Carter I Alanay Cekic I Charly Cheung
I Yu Ting Chiu I Maurice Diemeer I Joris Dijkhuis I Scott Gravee I Suzanne Helmich I Rolandos Jankauskas I Daniel Joustra I
Hakan Kamar I Matthias Kapuvari I Robert Kiss I Rutger Klunder I Isabella Koelman I Tom Kolbeek I Tino Kort I Guido Kuip I
Malte Langheim I Chander Lieve I Stan Loiseaux I Yannick Maaskant I Ruben Matevosyan I Marinda Mensch I Chereton Mercelina
I Jonas Minnebo I Danar Mohamed I Lisa Plokker I Damir Popovic I Siim Rimm I Ramtin Saeedi I Adriaan Stam I Thomas Stoop I
Samantha van der Touw I Willem van Lelyveld I Noud van Miltenburg I Eelco van Rooij I Inge van Schallenburg I Jort van Welbergen
I Sander Verhoeven I Max Wedding I Ab Wienk I Danar WoryaJ Robin Wouters

Guerrilla Team: Elroy Aarts I Kim Aava I NasierAbdoel I IsakAberg Nordmark I Nikhat Ali I Daniele Antinolfi I Leo Arler I Sem
Assink I Brian Baltus I Ana Barbuta I Denis Barth I Karim Baz I Jelle van der Beek I Richard van Beersum I Arjen Beij I Desmond
van den Berg I Felix van den Bergh I Yvonne von Berg-Meijboom I Julian Berteling I Bas Bijpost I Stuart Billinghurst I Cesar Bittar
\ . I Tony Blokker I Lucas Bolt I Eric Boltjes I (Js£ar van den Bosch I Lucas Bramlage I Dennis van den Broek I Wim van Brussel I
' Gary Buchanan I Giliang de Carpentier I Fries Carton I Neil Chatterjee I Jonathan Colinl Frank Compagner I Lennart Denninger
I Bernd Efiemer I Andrius Drevinskas I Kenzo ter Elst I Benjamin Erdt I Joel Eschler I Jose Ayllon Escribano I Fenske Everhartz
Jaap Fahner I Martir).Felis I Niko Fernandez I David Ford I Jonny Frammington ILennart Franken I Rigel Freeman I Julian
Fries I Joshua van Gageldonk I Victor Gaza I Cayle George I M^rijn Giesbertz I Angela Gillespie^ Robin Gomar I Dave Gomes I
, John Gonzalez I Paul van Grinsven I I Niels de Groen I Stefan Groenewoud I Guido de Haan I Riem Hatawani FRob Heald I Jeroen
Heemskerk [Kim van Heest JErJile van der Heide I Paul van der Heijden I Mas Hein I Sjoerd Hendriks I Anthonie van der Heul I
Tim Hijkema I Trevor van Mfcof I Paul-Jon Hughes I Alexander Hush I Ivana tvakii I Olaf Jansen I Willem Janssen I Ben Jaramillo
I Wouter Josemans I Hakan Kamar I Annika Kappner I Bryan Keiren I Pieter van de Kerkhof I Jacqueline Kerkmeijer I Bjorn
Kjerrgren I Hylke Kleve^l James Kneuper II I Oliver Kogelriig I Tom Kolbeek I Floris Kooij I Chaime Korper I Jeroen Krebbers I Thijs

Kruithof I Midas de Laat I Francois Lacfiarriere I Stefan Lauwers I Perry Leijten I Peer Lemmers I Nick Liburd I Delano Lobman I
Vladimir Lopatin I Hu^h Malan I Troy Mashburn I Yannick Massa I Benjamin McCaw I Ronnie McFarlane I Joseph McKernan I David
McMullen 1 Guy Michielsens I Klaas van der Molen I Robert Morcus I Jaap van der Muijden I Patrick Munnik I Florentina Neagu I
Niek Neervens I Daniele Niero I Eva Nieuwdorp I Eri Noda.1 Riesh Varma Oedayrajsingh I Bo van Oord I Bart van Oosten I Wilbert
Oosterom I Kevin Ortegren I Richard Oud I Edouard Peregrine I H^anTersson I Johanna Persson I Mark Peters I Francisco Peters
I Willy Pieper I Marco Pisanu I Kristal Plain I Blake Politeski I Kevin Quaid I Blake Rebouche ] Stefan Reek I David Fornies Reyes
I Jessica Riga I Brian Roberts I Jeroen Roding I Tommy de Roos I Mathijs Roosen I Carles Martinez Ros I Jorrit Rouwe I Adriaan
de Ruijter I Ahmed Salama [Gilbert Sanders I Jelle van Scherpenzeel I Eelke Schipper I Arno Schmitz I Andrew Schneider I
Samantha Schoonen I Ben Schrijvers I Ben Schroder I Katharina Schuetz I Bastian Seelbach I Samrat Sharma I Laurens Simonis
I Andrew Simpson I Vincent van Soest I Espen Sogn I Igor Soldo I Ben Sprout I Jana Stadeler I Adriaan Stam I Sander van der
Steen I Roderick van der Steen I Tim Stobo I Remco Straatman I Patrick Stroombergen I Dan Sumaili I Leszek Szczepanski I Jacob
Tai I Pinar Temiz I Jamie Teo I Lucas van tol I Alina Ushakova I Andrea Varga I Berendine Venemans I Bryan Verboon I Sander
Vereecken I Sander Verhoeven I Matthijs Verkuijlen I Tim Verweij I Tommy Visser I Tiffany Vongerichten I Michel Voogt I Leon
Voorrips I Nathan Vos I Elco Vossers I Steven de Vries I Joeri Vromman I Nick Watkins I Kasper Wessing I Ryan Wetherall I Daniel
Wewerinke I Anton Wiegert I Bart Weijsman I Sietske Wielsma I Jochen Willemsen I Marcel de Wit I Anton Woldhek I Cho Yan Wong
I Tyler Woodburn I Jessica Wyeth I Anne van der Zanden I Dennis Zoetebier I Dennis Zopfi I Victor Zuylen

karakter
DESIGN STUDIO
 THE ART OF HORIZON ZERO DAWN
ISBN: 9781785653636
Lim ited Edition ISBN: 9781785653711
-oduct
GUERRILLA

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First edition: February 2017 No part of this publication may be reproduced, stored in a retrieval systeni, or transm itted,
1098765432 in any form or by any means w itho u t the p rio r w ritte n perm ission of the publisher, nor be
otherwise circulated in any form of binding or cover other than that in w hich it is published
Horizon Zero Dawn™ ©2017 Sony Interactive anc( w ithout a s im ila r condition being imposed on the subsequent purchaser.
Entertainm ent Europe. Published by Sony Interactive
E ntertainm ent Europe. Developed by G uerrilla. A CIP catalogue record fo r this title is available from the British Library.
Horizon Zero Dawn" is a tra d e m a rk of Sony Interactive
Entertainm ent Europe. A ll rights reserved. Printed and bound in Spain.
 The Art of Horizon Zero Dawn takes you through the vast and vibrant world
of Guerrilla Games’ newest title, featuring detailed sketches and gorgeous
concept artwork as well as insight from the artists and creators. From
magnificent cities and lush plains, to the diverse cultures of the tribes and the
amazing machines that roam the lands, this stunning visual companion is the
ultimate guide to the creation of a world as beautiful as it is dangerous.

' Official I

ILicensed I
Product J WWW.TITANBO OKS.COM
Horizon Zero Dawn™ ©2017 Sony Interactive
Entertainment Europe. Published by Sony
Interactive Entertainment Europe. Developed
by Guerrilla. "Horizon Zero Dawn" is a trademark
of Sony Interactive Entertainment Europe.
All rights reserved.
PAUL DAVIES has worked in gaming journalism for
twenty years, writing and editing magazines and
websites including Official Nintendo and Computer
& Video Games. He is the co-founder and director
of media agency Unlikely Hero Ltd. whose clients
include Yahoo! UK and Microsoft. He is the author
of several acclaimed gaming art books such as The
Art of Deus Ex Universe and the bestselling The Art
of Assassin's Creed Unity.
Over 1000 years ago a cataclysm destroyed life
as we know it, forcing humans to the brink of
extinction. In our place machines rose, and nature
took back our cities, until all that was left of our
world was the rumours of the old ones and the
ruins of a civilisation long past. The tribes of the
new world live scattered, some small and humble,
some as powerful as kings. If Aloy, an outcast and
hunter, is to find her true place in this world she
must combat the great robotic creatures of the land
and uncover the mysteries of a lost civilisation.