INSIDE is such a beautiful game, it makes a great combination of pale dystopic colors and composition. Here’s a small analysis on INSIDE’s photography.
You can get INSIDE here.
In this first example there’s our character which placed a little bit to the left from the middle, looking (and directing the view of the player) towards the dark silhouette at the top left, which contrasts with the shape of light where the child is on (which is also at the other point of the diagonal of the screen, at the bottom left.) There are indications of the basic rule of third, although it’s not followed 100% precisely.
When we focus completely on the colors and shapes, we clearly get the sense of the composition, the contrast of the shape of light and the shape of dark, as well as the light shapes at the background (which are grays that because of color context look yellowish.)
The light and shadow can be perfectly seen even after heavily blurring the picture.
In general, the colors of INSIDE’s photography are desaturated, but favoring the blues a tiny bit, the colors that are not that desaturated (like the red or yellow above) are pastel-like, the red color has (180, 80, 80) on the rgb channels. The red color of course makes a great contrast to drive the view of the player to the relevant stuff of the level or the character. In the scene above we have the contrast of light (the dark silhouette and the shape of light), contrast of position (top right and bottom left), and contrast of color (the red shirt of the character and the blue desaturated environment.)
In this example we can see more clearly the rule of third being followed. There’s the contrast of the man-made mechanical submarine, and the curves of the underwater being and they hair. There’s of course the contrast of light, the dark water and the bright flashlight, which highlights the being of white pale skin and dark long hair.
Also a contrast of flow, the opposite diagonals that the submarine creates with the underwater being, and the perpendicular lines that the pipelines create at the background of the scene. There’s not so much color variation in this scene, it’s a dark chapter.
In this scene the rule of third is also met, there’s also directionality that indicates where the player should go next (the tilted plane where the character is sitting, as well as the character itself, which suggests where to go and what to do several times along the game.)
To make a great glow (as shown in the image above) make sure to add some light in what’s glowing, the more white you add, the more intense the glow is, left is good, right is bad.