No Man’s Sky is what happens if you take the median colour scheme of every E3 game - black, blue, and charcoal - and invert it in Microsoft Paint. Thousands attempted to adjust their displays when it was trailered at the Sony conference last night, drowning press and punters alike in a technicolour wash of dandelion yellows, pomegranate reds and orange, er, oranges.
Far Cry 2 had grassfires; No Man’s Sky has grass that looks like it’s on fire all the time.
Dinosaurs tall as trees, wallowing in the water! Star Wars-styled one-seater ships, whipping by overhead!
But the killer moment, of course, is that seamless transition from frolicking with the fauna to dogfighting in the upper atmosphere. No Man Sky’s worlds are procedurally generated, and its trick seems to be to procedurally generate everything very close together. That means not only that space is just seconds away, but that conflict ripples naturally through its forests.
It’s the sort of stuff Bethesda have spent decades perfecting, tied to an art style best described as Lucas on Acid.
The only worry is that PlayStation logo. No Man’s Sky is one of those ambiguous ‘exclusives’: the best case scenario is that it comes to PS4 and PC first, Xbox later. So let’s hope for that, eh?