The Transformation of Borderlands
In 2007, Game Informer featured an upcoming first-person shooter titled Borderlands, developed by the relatively unknown Gearbox Software. Marketed as a blend of action/RPG elements akin to Diablo and a post-apocalyptic ambiance reminiscent of Mad Max, the game promised engaging gameplay and a seemingly endless array of weapons. However, as release deadlines loomed, Borderlands faced a significant identity crisis.
The original vision for Borderlands, which had begun development in 2005, drew heavily from its Mad Max inspirations. Despite collaboration with renowned artist Ron Cobb, known for his work on Star Wars and Indiana Jones, the art style felt increasingly misaligned with the game’s energetic gameplay and narrative.
Gearbox was primarily recognized for its contributions to well-known franchises like Tony Hawk’s Pro Skater and Halo, making the unconventional blend of genres in Borderlands a considerable gamble, especially as the military-shooter genre dominated the market. Randy Pitchford, Gearbox’s co-founder and CEO, reflected on the skepticism surrounding the project: “Before we launched it, there were a lot of people going, ‘Well, cute, but it’s a post-apocalyptic vibe, and id Software is making Rage and Bethesda is making Fallout. You guys are screwed.’ We believed in it, but a lot of people believe in things that don’t work, so are we tricking ourselves?”
The Search for a Unique Style
Initially, Gearbox explored six different art styles ranging from safe to experimental. However, the consistent choice leaned towards a grounded, realistic aesthetic, which eventually felt out of place within the game’s chaotic action. Pitchford noted, “There was, I think, a moment when, ‘Man, it’s kind of got to be realism or there’s just no market opportunity.’ And we did it, but we knew it wasn’t exactly right.”
The development team realized that the realism they pursued conflicted with the exaggerated gameplay where players could leap into the air and enemies burst into an array of colors when taken down. Adam May, the game’s art director, acknowledged the pressure from similar projects, particularly following the announcement of Fallout 3: “We were like, ‘Oh crap. We’re in the same visual space that they are.'”
During the development process, May observed his colleague Scott Kester’s sketches, which captured a distinctive style he described as “illustrated graffiti.” One such sketch inspired the character Captain Flynt and illuminated a new direction for the art team. They proposed transitioning to a more comic-book-like aesthetic, diverging from the realism that had been the original focus.
Making the Leap
After a tense two-week exploration of this new art style, Pitchford was apprehensive about what he would find. Yet, when the time came to review the results, he was pleasantly surprised: “Two weeks go by, I go into the meeting and, looking at it, it’s f—ing right; It’s right.” This revelation prompted a pivotal decision: to redesign the game entirely using this vibrant new art style.
Pitchford faced the added pressure of garnering approval from 2K, the game’s publisher. He traveled to California to present the radical shift, and while initial reactions included concerns about time constraints, he ultimately secured their support. “I wouldn’t have done it if I didn’t know that between the marketing team and the publishing team, and even [then-2K president] Christoph [Hartmann] himself, the leadership of 2K, they really were with us,” Pitchford explained.
Challenge and Creation
While many recognized the potential of this new direction, not all team members embraced it. May noted that transitioning away from the realistic art style led to some departures from the team. “We lost a few people during that art transition because we had a lot of people that were excited about doing something that looked pretty grounded and realistic,” he said.
Despite concerns about the ambitious undertaking, the team proceeded to reimagine not just the art style but the entire game world. Graham Timmins, who was the lead level designer, recalled the enormity of the task: “We basically threw out all of the levels – I think only Trash Coast and one other level made it through – everything else was rebuilt from scratch.”
As they adapted to their new visual identity, Gearbox introduced new characters, including Brick, one of the original Vault Hunters, and Claptrap, who would eventually become the franchise’s mascot. Timmins beautifully summarized the shift: “We started to figure out, ‘This is what Borderlands is. I can finally see it. We have a great art style that represents the attitude.'”
A New Legacy
The redesign of the iconic Psycho enemies marked another significant transformation; originally inspired by respirators and goggles, their look evolved into the distinctive masks seen today, driven by creative impulses from within the team. “I think it was our old art director, Jen Wildes, who first pushed us to push the style and tone,” May noted on the humorous inspirations that shaped their new look.
When Borderlands debuted in 2009, it achieved remarkable success, selling over 4.5 million units in its first years. The distinctive art style established in this installment laid the foundation for subsequent sequels and remains influential in shaping the franchise’s identity. As players gear up to explore Borderlands 4 this month, they will witness firsthand the culmination of a daring artistic shift that has defined a landmark in gaming history. Timmins concluded, “It was insane that we did it, but it was absolutely the right call.”
