‘Free Guy’: Crafting a Gaming World with Real-world Inspiration

In this article, let's delve into the design aspects of "Free Guy" because what's intriguing is that this gaming world isn't entirely computer-generated. It's worth mentioning that Zack Penn, the screenwriter for this movie, is also known for his work on the acclaimed film "Ready Player One." His professional experience and a strong foundation in gamer-centric material ensured robust support for later production design and filming.

However, Ethan Tobman, the Art Director for "Free Guy," hadn't previously delved much into CG films. His most renowned work was on the 2015 Oscar-nominated film "Room." Yet, Tobman's remarkable achievements in music videos paved the way for his opportunity to interview for "Free Guy."

Before officially taking charge as the film's Art Director, Tobman extensively perused gaming forums and commentaries to uncover the points gamers often fervently discuss. He even observed NPC behaviors while playing games like "Grand Theft Auto V" and "Red Dead" to experience game bugs and boundaries.

Due to an early green light for the project, Tobman swiftly engaged in open discussions during the initial stages. Director Shawn Levy welcomed ideas from everyone. The segment in the movie where the buildings on both sides of the street squeeze vehicles and the road rises as a ramp was Tobman's suggestion. He even went as far as organizing a team to stage a special rehearsal to substantiate the concept.

The design inspiration for Free City mainly draws from "Grand Theft Auto V" and "Fortnite," such as the gliders frequently used in "Fortnite" and rabbit-shaped skins. Additionally, one can spot elements from other games on the streets, like futuristic tanks from "HALO."

The fundamental challenge and core of the movie's world design lay in distinguishing the electronic world from the real one. Because in Guy's eyes, the game world appears human-like, necessitating more distinction in terms of settings.

Free City

The game streets we ultimately witness are shot in real Boston neighborhoods. This decision factored in distinctive street layouts and a blend of brutalist and federalist-style architecture. However, the production team extensively modified the setting later on. Based on experience, game worlds tend to be tidier and use more highly saturated colors and geometric shapes. Buildings have more symmetry and regularity in layout and elements, deliberately creating a sense of depth in space.

In contrast, the natural world showcases more low-saturation gray tones and a greater sense of disorder. The weather tends to be more rainy and gloomy, with a shallower sense of depth.

These observations quickly bring to mind the impressions of Japanese streets. I recall being struck by the cleanliness of Japanese streets and the unreal feel while touring there, with many roads and furnishings resembling game models. Hence, in "Free Guy," the game world incorporates Japanese street elements like trash cans and vending machines and various features from different regions, such as Indian taxis, European pharmacies, and neon-lit intersections.

Regarding building facades, sunshades of similar specifications recur throughout, and storefronts and slogans exclusive to the game reinforce the immersion and humor of the virtual world. For instance, there's a travel agency with a sign stating, "Take nowhere flights at prices you can't afford, available tomorrow," hinting at the NPCs' fate of having nowhere to go. The gym's ad slogan reads, "Look more fit and fabulous while being robbed."

To differentiate between what Guy sees with and without glasses, Free City streets mimic the appearance of New York in the 1970s or resemble 1990s Detroit, with less saturation and filled with nostalgic signs and neon lights. The bank uses brown marble and giant murals, creating a monotonous ambiance reminiscent of the "worker bee" fate found in Fritz Lang's "Metropolis." More high-saturation and three-dimensional holographic effects are portrayed with glasses, generating a mix and sense of fun only felt within the game.

Guy's Home

Guy's home resembles an unfinished model. Because in the game, the environment for NPCs isn't the primary focus for players. Often, it's merely an exterior, with interiors just textures or simple models. For instance, Guy's door has five latches and no doorknob, the books on the table lack numbering or titles, and the calendar on the wall needs to include a day...

Interestingly, the furniture, like the tables and chairs, is cantilevered, mimicking the anti-physics phenomenon found in the game. Moreover, the wardrobe details feature regular square patterns without bevels. The open loft bedroom reinforces the limitations of Guy's living space.

The Guy's backstory and game interaction logic still need to be completed. His wardrobe consists of khaki twill trousers and blue shirts, the kitchen has a few cereal boxes, the fridge only contains milk, and the utensils include spoons and cereal bowls. He accesses the bathroom via an open veranda because he never takes showers.

Various Types of Storage Units

Antagonist's Storage
The antagonist's storage area is more extensive than a football field inside a massive warehouse. It boasts sparkling floors, backlit marbled walls (made from resin and transparent cut glass), and free-floating spiral staircases. To create the illusion of this colossal floating staircase, the production crew used a whopping 40 tons of steel and dedicated three months to its construction. Top-of-the-line Lamborghini sports cars, rocket launchers, helicopters, Humvees, and military tanks are stored inside. It even includes a full-size missile.

Molotov Girl's Storage

Molotov is the avatar of the female protagonist Millie in Free City and evokes images of Trinity from "The Matrix" and Alice from "Resident Evil." Her storage is constructed from white curved elements, suspended using 100 semi-transparent panels illuminated from the outside. The gun racks were specially crafted by the prop master using parts from a gun cabinet manufacturer. The set decorator purchased weapons and armor elements with intriguing contours to add visual interest to the otherwise airy environment.

Guy's Storage
Guy's storage overall exudes a comedic and humorous tone in terms of color and style. It features many collections with stark contrasts, including sports cars, catapults, space pods, helicopters, and even a black horse.

SooNomi

SooNomi, a nod to the Japanese game giant Konami in its name, is constructed within a vacant ten-story modern glass building. It comprises predominantly workstations and an open office space with 90 arc-shaped desks. To underscore the big boss Antwan's exploitative vibe towards his employees, office materials are primarily in shades of blue and gray. The 8th floor of the building is transformed into a server room.

Other Scenes

The players' lounge mirrors the somber atmosphere of regular large gaming lounges while paying homage to the tavern scene from "Star Wars" on the Tatooine planet. As a game designer and programmer, Millie's home revolves mainly around a workstation, which occupies a significant portion of the living room. Old keyboards and hard drives lie beneath her desk—the artwork and references on the living room sofa wall hint at her penchant for natural environments.

Overall, "Free Guy" isn't merely replicating gaming settings or appearances or directly transforming game scenes into cinematic representations. Instead, it grasps the essence of its 'little people' and succeeds in visual presentation and innovative story concepts.