LUNA

Luna: Obscura is my creative vision (Sosoros). I designed and built the game's world, levels, creatures, and visual identity over two years. ANORMIC joined in the final year to handle programming and sound design. Cover art: The key art combines in-engine 3D renders, AI-assisted generation trained exclusively on my own handmade artworks and 3D sculpts, and extensive manual overpaint and compositing in Photoshop. Cinematic sequences: Most in-game sequences were produced using AI generation with direct in-engine screenshots as the visual reference base. I'm not an animator — producing these any other way would have been outside the scope of what we could do as a two-person project during this time period with the skill set that we currently have. I hope the results speak for themselves. Sound effects & enemy audio: The vast majority of audio was composed and engineered by ANORMIC. For the game's altered human enemies ( lunatics whose minds have been overtaken ) we made a deliberate artistic choice to use AI-generated vocal sounds. The result is audio that feels disturbingly human but remains completely incomprehensible, giving them an eerie, extraterrestrial psychological presence. AI voice sits in an uncanny valley . This was a creative decision, not a compromise. Remaining environmental assets were licensed through the Unreal Engine Marketplace. Everything else: the levels, the creatures, the paintings, the world, are human made. Looking forward: My goal for future projects is to scope the work to a scale where every visual and every sound can be built entirely by hand. No AI generated art, sequence or sound/music in the end product. Just the work. A note from the artist: As creators whose own work potentially has been scraped and used to train generative AI models without consent, we understand the weight of this disclosure more than most. Luna: Obscura sits at a transitional moment for independent artists navigating impossible production scopes. We made honest decisions, we're being transparent about every one of them, and we stand proudly behind the result. While these "tools" allowed us to achieve the uncanny audio and scale we envisioned for this specific project, our ultimate goal as studio purists is to scale future projects so they can be built entirely by hand. That is the future we are building toward.

Luna: Obscura is my creative vision (SOSOROS). I designed and built the game's world, levels, creatures, and visual identity over two years. ANORMIC joined in the final year to handle programming and sound design. The art on the walls: Every painting and sculpture you encounter inside the base is an original, physical artwork. Acrylics painted by hand, sculptures made by hand, by me. No AI, no prints of someone else's work. They existed in the real world before they existed on the moon. Cover art: The key art combines in-engine 3D renders, AI-assisted generation trained exclusively on my own handmade artworks and 3D sculpts, and extensive manual overpaint and compositing in Photoshop. Cinematic sequences: The in-game sequences are hybrids, built from direct in-engine screenshots of our own levels and creatures, extended through AI generation. I'm not an animator, and producing these any other way was beyond the scope of a two-person project. I hope the results speak for themselves. Sound effects & enemy audio: The vast majority of audio was composed and engineered by ANORMIC. For the game's altered human enemies (lunatics whose minds have been overtaken) we made a deliberate artistic choice to use AI-generated vocal sounds. The result is audio that feels disturbingly human but remains completely incomprehensible. AI voice sits in an uncanny valley, and that's exactly where these creatures live. This was a creative decision, not a compromise. Remaining environmental assets were licensed through the Unreal Engine Marketplace. Everything else, the levels, the creatures, the paintings, the world, is human made. And yes, there's a contradiction here. A statement against AI in art, inside a game that used it. I won't pretend otherwise. These two years were me testing that edge firsthand: I used these tools, learned what they can genuinely do, and somewhere along the way my conscience gave me the answer. Even where the hybrid approach worked, and I think the sequences are an honest use of it, I'd rather learn to rig and animate myself for the next project, even if the result is rougher. I stand with artists, and I'd rather earn my skills than borrow them. Sometimes you have to cross a line to understand exactly where it should be drawn. Where we stand: We're not against AI. We use it gladly where it belongs: code, tools, concepting aid, the invisible machinery of production, the same way we welcome it in medicine and science. But art is different. As creators whose own work has potentially been scraped to train these models without consent, we understand the weight of this disclosure more than most. Our position for future projects is firm: AI should not be in the end result, and where reality forces a compromise, it must remain a hybrid, grounded in our own hands and our own source material, never a replacement for them. We made honest decisions, we're transparent about every one of them, and we stand behind the result. The goal is simple: just the work.