[Music] [Applause] [Music]  A we marathon's visual language is heavily

rooted in what Bungie calls graphic realism, a concept that synthesizes simplified, impactful design with the

fidelity of the real world. This approach shapes every aspect of the game's aesthetics, creating an art style that

feels grounded in a tangible reality while also embracing stylization. In this context, the 'graphic' part of graphic

realism means something that's simplified, deconstructed; a universal design language that has strong graphic and color statements with limited

materials. While the 'realism' component indicates that they utilize proportions and scale with implied functional details in a generally

grounded world. Basically, graphic realism depicts something we could see in the real world with extraordinary techniques of

vibrant colors, materials, textures, and so on. It's a use of accents, contrast, and scales. Marathon's environments, objects, and

character designs are rendered in a visually pared-down style where each form serves a purpose. Surfaces aren't

overloaded with detail; instead, the focus is on clean shapes and clear forms that convey their function without

unnecessary visual noise. The game uses saturated colors selectively. Graphic realism prioritizes a visual language that feels accessible and recognizable.

The result is a world where signs, symbols, and objects have immediate visual impact and clarity. In keeping

with the graphic approach, materials are simplified with textures that suggest their real-world equivalents: metals, glass, or synthetic fabrics. These

materials appear tactile yet minimalistic, balancing realism with a stylized clarity. Everything in Marathon is proportioned as though it could exist

in our reality. Buildings, weapons, and armor have realistic scales, making it easy to imagine them as functional objects in a physically plausible world.

The environments are textured with restrained realism, striking a balance between clean visual design and believable surface detail. This grounded

approach allows players to feel as though they are navigating real spaces while still experiencing surreal and stylized sci-fi universe elements.

After the first trailer, Marathon's art director, Joseph Cross—known for his work on projects like *Dune*, *Destiny*, the

live-action *Ghost in the Shell*, *Dead Space*, Apple TV's *Foundation*, and much more—shared the sources of inspiration for

developing the art style of *Marathon*. He described how elements from various influential works and industries merged

to shape the game's unique visual language. Formula 1 and MotoGP racing circuits: every detail, down to

color schemes and material finishes, reflects precision, speed, and efficiency. The sleek, angular forms of F1 cars and

MotoGP bikes are mirrored in *Marathon*'s character and environmental design. Just as these machines are optimized for

performance, *Marathon*'s tech-centered world is filled with streamlined, aggressive lines and sharp edges. F1 and MotoGP use bright, eye-catching colors

to improve visibility at high speeds, which is echoed in *Marathon*'s use of neon highlights and contrast-heavy

palettes. Bright greens, reds, and blues over metallic or dark backdrops create a dynamic, high-octane feel. The visible

mechanics, exposed gears, and modularity of F1 and MotoGP machines are reflected in the game's intricate details,

especially in weapon and armor designs that seem as though each piece has a specific functional purpose. Nike: much like Nike's athletic wear and branding,

*Marathon*'s design is both clean and precise. Nike's designs focus on performance, which aligns with the

implied speed and efficiency in its visual language. The armor suits and weapons feel light, flexible, and engineered for agility. Nike is known for its iconic

Logos and use of graphic symbols; this finds a parallel in Marathon's glyphs, digital markings, and holographic interfaces.

Ghost in the Shell: The 1995 *Ghost in the Shell* anime brought a deeply cyberpunk, philosophical aesthetic to science fiction. The influence here is clear.

*Ghost in the Shell* combined sleek, advanced technology with grittier industrial elements; a balance that Marathon captures in its futuristic grunge aesthetic.

Marathon's lighting—heavy shadows on bright surfaces with bursts of neon—echoes the layered, atmospheric lighting in *Ghost in the Shell*, helping evoke an eerie, contemplative sci-fi setting.

Just as *Ghost in the Shell* explores cybernetic enhancement, Marathon integrates digital interfaces and projections directly into the environment, creating a sense of interconnected technology within the world.

Under the Skin: It is actually a weird inspiration material, but after a closer look it becomes easy to understand.

The film's minimalist sets and stark contrasts are found in Marathon's stripped-down environments, where key objects and lighting provide stark contrast to empty, cavernous spaces. This is a perfect example of the graphic realism trope, as we've discussed earlier, where lighting plays a huge role in helping portray a believable yet surreal scene.

*Under the Skin* suggests an otherworldly presence through simple yet unsettling visuals. Marathon employs stark color contrast and visual minimalism to convey a similar feeling of otherness and mystery.

PlayStation 2 Commercials: Sony's PlayStation 2 advertisements, and many of its other experimental ads from the '90s and early 2000s, were known for their surreal and boundary-pushing visuals.

Marathon's design is clearly informed by this concept of surreal and sometimes confusing imagery that was featured in these ads. Both use abstract concepts and...

dreamlike visuals to evoke intrigue and mystery. I mean, you've probably seen something like that in one of your

dreams. Sony ads often utilize sharp, angular typography and well-known X, circle, square, and triangle iconography, a

style that's visible in Marathon's symbols and glyph system. These elements reinforce a sense of unearthly

communication and coded language. The Sony Y2K ads often feature dark backgrounds with shocking color contrast, something Marathon uses to create a

futuristic yet nostalgic feel that mirrors the ads' exploration of tech frontiers. Chris Cunningham, Oaker, and

Aphex Twin. Cunningham's visuals often combine organic and mechanical elements, creating unsettling, cyborg-like forms. The game's mechanical design suggests a

blend of human and machine, much like Ayer's visuals. And while we're on the subject, I'd be remiss not to mention

Aphex Twin's graphic language. Aphex Twin's style uses a clean but psychedelic visual style with minimalistic patterns

and stark, contrasting lime green color, much like in Marathon. The monospaced font is also extremely [Music]

similar. Now let's talk about works that share a similar aesthetic. These projects where the visual style immediately evokes parallels to Marathon. *Mirror's Edge*,

although Josef Fares mentioned this game as an inspiration in one of his replies, it stands out more as a kindred

spirit in aesthetic terms. In *Mirror's Edge*, we see a near-realistic urban environment elevated by striking color accents. The clean white architecture

serves as a canvas for bold injections of red, orange, and blue, creating a world that feels both familiar and futuristic.

Like Marathon, it uses color to guide the viewer's eye and emphasize key elements, balancing simplicity with moments of

vivid intensity. A similar aesthetic can be seen in *The Finals*, where the environments are heavily inspired by real-world architecture but infused with

Vibrant colors and sleek design: flat, angular surfaces mixed with bright, minimalistic symbols and iconography.

This creates a surreal but grounded atmosphere. The game shares Marathon's love for clean, high-contrast visuals and

bold graphic elements, while establishing a sense of energy and modernity in its design. The work of the designer Republic

on Wipeout is a time capsule of the Y2K era, arguably one of the most iconic

examples of this style in gaming. The studio's design for Wipeout combines sleek, futuristic elements with an intense

focus on branding, geometric layouts, and high-energy colors. Wipeout thrives on the balance between future realism and

stylization, with in-game assets and environments that feel artistically heightened. The heavy use of minimalistic

logos and typography in Marathon follows this lineage, firmly rooting it in a legacy of bold graphic experimentation. Teenage Engineering, known for its

innovative design of audio devices and synthesizers, embodies a philosophy of functional minimalism paired with

vibrant aesthetics. Their products, like the OP-1 synthesizer, combine sleek, retro-inspired interfaces with playful use of

color. This ethos aligns with Marathon's focus on graphic realism, especially in weapon design, where the balance of

functionality and bold design statements comes to the forefront. Both embrace a utilitarian approach that's elevated by

its strong graphic choices, merging utility with a striking visual identity. The work of Metahaven, a design

studio known for its experimental visual identity projects, has a clear kinship with Marathon's aesthetic. In particular, if we take the example of the mine from

the ARG, it immediately reveals this rebellious and almost schizophrenic style: the fragmented, collage-like layouts, saturated colors, and cryptic

Messages embody a sense of subversive energy; both styles reject traditional design norms in favor of something

deliberately disjointed and provocative, encouraging the audience to decode and engage with the chaos and rely on

pushing graphic design conventions into a futuristic and slightly chaotic direction, making it feel raw. Marathon leans heavily into brutalist graphic

design across its promotional materials, website, and branding. The visuals are marked by bright, almost neon colors juxtaposed against black or neutral

backgrounds, creating a striking and somewhat aggressive visual contrast. In graphic design, brutalism throws traditional grids out the window,

embracing unconventional, often jarring layouts. It takes inspiration from architectural brutalism, which emphasizes raw, unrefined, and highly functional

aesthetics. It often features minimalistic, grid-based layouts, bold typography, and limited color schemes. This style intentionally disregards

polish in favor of raw functionality, giving a rugged, utilitarian feel. It uses stark contrasts, large text, pixelation,

and heavy iconography to achieve a look that feels both retro and starkly modern. Before we conclude, I would like

to touch on an important question: Is this still Marathon? Does the game have the right to bear the same name as the

original trilogy, which is now approaching its 30th anniversary? The answer to this question is quite simple,

though perhaps not obvious to everyone: yes, this is still Marathon. The new game takes bold steps forward, but it does so

with a deep respect for its origins. For instance, the logo, a simple yet powerful symbol, pays direct homage to the

original while modernized with sharper edges that replace the rounded curves of the old design. It retains the iconic

form and unmistakable essence. This evolution reflects a bridge between eras, honoring the series' beginnings while embracing a sharper

More contemporary, aesthetic striped patterns are a hallmark of Marathon's visual identity. They're deeply embedded in the new game's graphical language, as

well, whether seen in the environmental textures or minimalist UI elements. They serve as a subtle yet effective callback to the limited design opportunities of

the originals. These patterns are more than decoration; they are a part of the DNA that makes Marathon what it is.

Then there's the phrase, "somewhere in the heavens," which is written in lowercase, just like everything else on the new

Marathon website. This typographic choice is deliberate, evoking a sense of understated confidence and tying the

game's identity to its broader world-building. It's a small but poignant detail that demonstrates how Marathon balances its reverence for the past with

a sleek, modern sensibility. The grittier concept art for the new game also brings to mind the

work of Craig Mullins, whose visionary illustrations defined much of the atmosphere in the original trilogy. The

sense of vastness, mystery, and tension that Mullins captured is alive and well in the new Marathon. This connection is

not mere coincidence; it's a conscious effort to channel the same spirit, reinterpreted for a new generation. And

all of this is just a small glimpse of the similarities we've already seen from the very few things the developers have

revealed. The game takes place in the same universe fans know and love, expanding and enriching its scope. Though

the visuals have evolved, the affection for the original trilogy shines through in every detail. We've already caught glimpses of unmistakable compiler

designs in the beloved Marathon automated defense drones, or MATs, and it's highly likely we'll encounter even

more familiar elements as the journey unfolds. Ultimately, the new Marathon is more than a reimagining; it is a

Marathon Art Style Breakdown

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