Inside the Art of Afterglitch with Vladimir Kudelka
What is Afterglitch?
In the experimental sci-fi video game Afterglitch, players embark on a visually thrilling journey through the infinite expanse of space to find an extraterrestrial civilization. Created independently by Vladimir Kudelka, the game features simple gameplay mechanics with a heavy emphasis on the immersive and abstract environments. The game is crafted to be an artistic and experiential journey, with each scene approached as an individual painting. Over seven years of work and iteration, Vladimir developed the game directly in the engine without relying on pre-visualization techniques or concept art.
To learn more about his creative journey and the process of building Afterglitch, I asked Vladimir a few questions.
Interview with Vladimir Kudelka
How did you get started with Afterglitch? What was the original inspiration?
VK: The journey with Afterglitch began as a deeply personal exploration of spirituality within the vast and enigmatic dimensions of space. Inspired by films like 2001: A Space Odyssey and The Fountain, which delve into existence and consciousness, I aimed to create an experience that examines humanity’s place in the cosmos and our relationship with infinity. The aesthetic was crucial to me, heavily influenced by the utopian sci-fi visuals of the 70s and 80s, along with the work of Czech painter Zdeněk Burian and surrealist Salvador Dalí. Dalí’s Corpus Hypercubus, depicting Christ crucified on a hypercube, deeply impacted me. This image of a tesseract suggested a way to visually evoke the fourth dimension, becoming a cornerstone for Afterglitch and its portrayal of transcendence.
You mentioned that you approached each scene in Afterglitch like a painting. Did you start each scene with a clear idea or inspiration, or did you focus more on experimentation?
VK: Each scene in Afterglitch should be a picture unto itself. Instead of starting with a rigid idea, I leaned into experimentation, letting the scene evolve naturally as I worked. This allowed me to layer in unexpected elements, creating complex compositions that demand players’ curiosity. It’s a process akin to painting, where each stroke brings new possibilities, and in the end, it’s more about experiencing the journey than adhering to a strict plan.
You also mentioned that visuality was a primary concern; how did you balance giving players freedom to explore while also guiding them through your intended visual experience?
VK: Visuality is at the heart of Afterglitch, and while I wanted players to feel a genuine sense of freedom, I also sought to gently guide them toward certain visual experiences. I used glitches, dynamic lighting, and textures as “subtle cues” within the environment, leading players toward hidden meanings without confining them to a specific path. This balance allows players to explore freely while still encountering moments that resonate with the game’s underlying themes.
You've experimented over seven years with photogrammetry and abstraction. What stages did you go through during this long period of iteration? What did those early stages look like, and how did they change in the final game release?
VK: Seven years of iteration brought Afterglitch through various transformations. Early on, I experimented with more realistic textures and shapes, yet over time, I gravitated toward abstraction to express the higher-dimensional aspects I envisioned. Photogrammetry allowed for a textured, almost tangible connection to reality, while glitch effects and 3D modeling became tools to evoke what a higher dimension might look like. The final release integrates these early forms with layers of chaos and silence, inviting players into a fragmented but profound experience.
Many developers use sketches, early drafts, and storyboards to plan their projects. What were the benefits (or challenges) of skipping these steps and working directly in the engine?
VK: Working directly in Unity allowed me to experience each scene dynamically, experimenting and iterating in real-time. While traditional sketches and storyboards often serve as structured guides, working within the engine enabled a more fluid creative process. This approach demanded patience and intuition, as each scene evolved with minimal initial guidance. This method is challenging yet rewarding, as it facilitated a truly organic development, capturing the raw experience I aimed to achieve.
Would you describe Afterglitch as an art game? How do you feel about the intersection of art and video games in general?
VK: I would like Afterglitch to be an art game. Its mission is not to provide clear answers or a conventional goal but to evoke emotions that can’t easily be put into words—a sense of cosmic awe, transcendence, and philosophical curiosity. I see video games as a powerful medium for artistic expression, bridging the gap between art and philosophy in a unique way. Afterglitch is my attempt to push these boundaries, creating a space for players to explore meaning beyond what’s visible or describable.