Disco Elysium is a 2019 role-playing video game developed and published by ZA/UM. Inspired by Infinity Engine-era games, particularly Planescape: Torment, the game was written and designed by a team led by Estonian novelist Robert Kurvitz and features an art style based on oil painting with music by the English band British Sea Power.
Disco Elysium takes place in the seaside district of a fictional city still recovering from a revolution that occurred decades prior to the game's start. Players take the role of an amnesiac detective who has been tasked with solving a murder mystery. During the investigation, he comes to recall events about his own past as well as current forces trying to affect the city. Disco Elysium was released for Windows in October 2019 and macOS in April 2020. An expanded version of the game featuring full voice acting and new content, subtitled The Final Cut, was released for consoles in 2021 alongside a free update for the PC versions.
Disco Elysium is a non-traditional role-playing game featuring very little combat. Instead, events are resolved through skill checks and dialogue trees via a system of 24 skills that represents different aspects of the protagonist, such as his perception and pain threshold. In addition, a system called the Thought Cabinet represents his other ideologies and personality traits, with players having the ability to freely support or suppress them. The game is based on a tabletop role-playing game setting that Kurvitz had previously created, later forming ZA/UM in 2016 to adapt it into a video game.
Disco Elysium has been cited as among the greatest video games ever made, with its narrative and art being praised. It won a number of awards from several publications, including Game of the Year. A television series adaptation was announced to be in development in 2020.
Gameplay
Disco Elysium is a role-playing video game that features an open world and dialogue-heavy gameplay mechanics. The game is presented in an isometric perspective in which the player character is controlled. The player takes the role of a detective, who suffers from alcohol and drug-induced amnesia, on a murder case. The player can move the detective about the current screen to interact with non-player characters (NPC) and highlighted objects or move onto other screens. Early in the game they gain a partner, Kim Kitsuragi, another detective who acts as the protagonist's voice of professionalism and who offers advice or support in certain dialogue options.
Setting
Disco Elysium takes place in the fantastic realist world of Elysium, developed by Kurvitz and his team in the years prior, which includes over six thousand years of history. The fiction has been constructed with attention to the theory of historical materialism, which posits that, even if the details were different, human history would play out in a similar way
The game takes place in the year '51 of the Current Century. Elysium is made of "isolas", masses of land and sea that are separated from each other by the Pale, an inscrutable, mist-like "connective tissue" in which the laws of reality break down. Prolonged exposure to the Pale can cause mental instability and eventually death, and traversing the Pale, which is typically done with aerostatics, is heavily regulated due to the danger
Events in the game take place in the impoverished district of Martinaise within the city of Revachol on the isola of Insulinde, the "New New World". Forty-nine years before the events of the game, a wave of communist revolutions swept multiple countries; the Suzerainty of Revachol, a monarchy that up to that point had been Elysium's pre-eminent superpower, was overthrown and replaced by a commune. Six years later, the Commune of Revachol was toppled by an invading alliance of moralist-capitalist nations called "the Coalition". Revachol was designated a Special Administrative Region and remains firmly under Coalition control decades later. One of the few governmental responsibilities that the Coalition concedes to the people of Revachol is policing, which is carried out by the Revachol Citizens Militia (RCM), a voluntary citizens' brigade turned semi-professional police force.
Development
Disco Elysium was developed by ZA/UM, a company founded in 2016 by Estonian novelist Robert Kurvitz, who served as the game's lead writer and designer. Kurvitz since 2001 had been part of a band called Ultramelanhool, and in 2005, while in Tallinn, Estonia, with the group struggling for finances, conceived of a fictional world during a drunken evening while listening to Tiësto's "Adagio for Strings". Feeling they had a solid idea, the group created a collective of artists and musicians, which included oil painter Aleksander Rostov, to expand upon the work of that night and developed a tabletop RPG based on Dungeons & Dragons on this steampunk-like concept
Kender suggested to Kurvitz that instead of pursuing a novel, that he try capturing his world as a video game as to draw a larger interest. Kurvitz had no experience in video games before, but once he had seen artwork of the game's setting of Revachol as easily fitting into an isometric format, as well as Rostov's agreement that they might as well continue taking the risk of failing on a video game together, Kurvitz proceeded with the idea.
The game was announced as an upcoming 2017 game under the title No Truce With the Furies, taken from the poem "Reflections" by R.S. Thomas and published in Thomas' No Truce with the Furies in 1995
Kurvitz established the ZA/UM team to create the game, using the name "za um", a reference to the Zaum constructed language created by Russian avant-garde poets in the early 1900s. Its name can be read in Russian as a shortcut for "vzyatsya za um" idiom, which is similar to the English idea of bootstrapping. The use of all-capitals and the slash symbol is to present the team as "something that definitely exists and weighs eight tonnes".
Work on the game started around 2016, with the local team living in a squat in a former gallery in Tallinn. They were able to secure venture capital into the game during that first year which allowed Kurvitz to seek out the English band Sea Power for their music for the game's soundtrack. While in Birmingham to speak to the band, Kurvitz realised England was a better location for the main development team as there were more local resources for both development and for voice-overs.
As originally planned, the game was to focus on action in a single city location to make the 2017 release. However, as ZA/UM had indicated to investors that this was to be a game that spanned a larger world, they found the need to spread beyond that single location, forcing them to delay the game's release, along with the name change to Disco Elysium. This title plays on a few double meanings related to the word "disco"; in one sense, it refers to ideas that briefly gain the spotlight before burning out similar to the fad of disco music, and reflected in the protagonist's clothing style, while in a more literal sense, "disco" is Latin for "I learn", thus reflecting on the protagonist's overcoming his amnesia to learn about the world of Elysium. Kurvitz had always anticipated the No Truce title to be more of a working title and wanted to reserve it for when they had bundled Disco Elysium with a second planned game
Design, voices, and influences
The game's art, drawn mostly in a painterly style, was led by Aleksander Rostov, while the game's soundtrack was written by the English band British Sea Power. The original release also had voice-acting by Dasha Nekrasova of the cultural commentary podcast Red Scare and four of the hosts from the political satire podcast Chapo Trap House; these would later be replaced in The Final Cut.
ZA/UM cited several works that influenced the writing and style of Disco Elysium. One major influence is the 1999 video game Planescape: Torment, which, like Disco Elysium, features an amnesiac player character, heavily emphasises dialogue, and is rendered isometrically. The television show The Wire was also used as an influence for the game's working class setting, while Émile Zola's writings shared stories on the misery of human life that narrative writer Helen Hindpere said she felt resonated within the game. Other works that influenced Disco Elysium included the video game Kentucky Route Zero; television shows True Detective and The Shield; the literary works of Dashiell Hammett, China Miéville, and the Strugatsky brothers; and artists Rembrandt, Ilya Repin, Jenny Saville, Alex Kanevsky, and Wassily Kandinsky. The creators have also said that their work owes a lot to the Estonian urbanist poet Arvi Siig. Kurvitz said while accepting the Estonian President's Young Cultural Figure annual award for 2020 "Without his modernism, Elysium – the world the game is placed in – would not be half of what it is." He also said Siig's vision of an international, radical and humanist Estonian culture lives on in Disco Elysium.
Kurvitz said that an aim was to have a full, complex depth of choices and outcomes, limited by the practicalities of game development. Knowing they could not realistically cover all possible choices, Kurvitz and his team instead focused more on what he called "microreactivity", small acts and decisions the player may make such as an embarrassing comment, and how that may propagate throughout events. The dialogue of the player's various skills helped then to provide critique and internalisation of how these small decisions had larger effects on the game world, so that the player would become more aware of such choices in the future. An additional factor in writing was the recognition that there was no real solution to the game; while the player may resolve some portions of the story, the primary case is nearly unworkable, similar to the rest of Revachol. They created the companion Kim as a no-nonsense character to help keep the player on track of resolving some part of the game and recognising that there were some story threads they simply could not fix or resolve.
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I suspect it's because most people who bought the game secretly haven't played much of it. (I'm one of them.)
I can literally hear the Whirling-in-Rags theme playing in my head. Go play the game.
Would it be strange of me to admit that I usually turn game music off?
... there's a special level of hell reserved for you!
Okay, at first I was just a little annoyed by this statement, but the more I think about it, the angrier I'm getting. Why should someone who's brain works a little differently from people who enjoy music deserve eternal torture?
From my perspective, a game that sits on its own without music is already worthy of praise, but a game that can also sit on its own by music alone is equally worth of praising. Artists on both the visual and audio side have contributed months of thought and effort into it to make this a complete experience.
Essentially you're missing out on half the game, and I curse you and your entire family for this great injustice.
Would you say the same thing about deaf people?
Mmm good point. I'd argue that they'd definitely be missing out, but that they have no choice in the matter. That being said, perhaps their visual experience is far more enhanced than mine is. Whilst I don't think that constitutes them getting a better experience, I can understand that the experience is meaningful to them in a different way.
I just find that music gets in the way while I'm trying to focus.
I find that you get in the way of me enjoying hexbear, so again.
I usually do as well but I find I liked the music in Disco Elysium
I do the same, I prefer to listen to my own music/podcasts or just appreciate the silence. I played 98% of disco elysium on my deck with the sound off entirely and don’t feel like I missed anything. I tend to hyper focus and block out sound when I’m fully engaged with something anyway, silence helps me focus more easily.
Shame on you. Guess me never buying the game but beating it three times makes up for it.
I've found I end up in a cycle:
So no. I doubt I'll play much of it. Visual novels just aren't my thing.