With "Aphelion," DON'T NOD ventures into the icy blackness at the edge of our solar system. No flashy special effects, no laser battles. Instead, the studio delivers an intimate story-driven adventure that balances human fragility against the unforgiving physics of a hypothetical ninth planet. A daring journey.
In our detailed review, we already explained why the technical presentation and dense atmosphere make this game a must-buy for sci-fi purists. But beneath the ESA-certified spacesuits and physically grounded sound design sit several creative decisions that are likely to divide players.
Grounded science fiction between realism and myth
We had the opportunity to speak with Executive Producer Dimitri Weideli about the scientific core of “Aphelion”, the deceleration and the biological secrets behind Nemesis.
PF: Let's be honest: Why the ninth planet? We have Mars, we have the Moon – but you send Ariane and Thomas to the literal edge of the solar system on this hypothetical Persephone. What made this "grounded sci-fi" approach more appealing than the usual space opera with lightsabers?
DN: We wanted to set our story in a near-future science fiction setting. There are already many great space opera games and films—and we love them—but our goal was to place players in a world that seems plausible within the next forty years. A timeframe in which our children could grow up.
Aphelion is also a very intimate story. It focuses on two characters, Ariane and Thomas, who are separated in a hostile environment and struggle to find each other again. This emotional core means far more to us than mere spectacle. That's why we drew inspiration from classical literature rather than traditional science fiction tropes—particularly Greek mythology, with references to the myth of Ariadne and Theseus.
Persephone is the fictional planet we created to tell the story of Ariane and Thomas. It's inspired by the scientific hypothesis of Planet Nine, a mathematically predicted planet that researchers are still searching for in the outer reaches of our solar system. This foundation allows us to design a "what-if" scenario based on real research, while also giving us the creative freedom to shape our own planet in terms of art, story, and game design. Mars and the Moon are cool, but creating your own planet is even better.
Between realism and playful freedom
PF: The contrast between the high-end presentation and the animations is striking. Why do Ariane's jumps often appear so unnaturally floating and imprecise, while the rest of the world is simulated with such physical accuracy? Why does the "grounded" feeling end with the movement?
DN: One of the biggest challenges was finding the right balance between realism and player freedom. We wanted to stay within a believable setting, with realistic, detailed character animations, while also offering fluid controls.
Movement and locomotion are core pillars of the experience: climbing, navigating hostile environments, and surviving under extreme conditions. The characters are scientists trained for emergency situations, but—as in real life—training never fully prepares you for reality. This tension was important to us.
As a result, the characters possess the necessary movement repertoire to make the game entertaining and responsive, but they are deliberately not portrayed as superheroes. Their movements reflect both their competence and their limitations. They constantly remind the player that they are controlling vulnerable human beings, not action heroes.
PF: In Thomas' sections, oxygen deprivation often becomes a massive stress factor. How did you prevent this mechanic from completely stifling the quiet, narrative moments of his character development?
DN: Oxygen management was one of the earliest design features. Since the story follows two characters, we wanted to offer different gameplay experiences for each and vary the pace.
Both storylines, but especially Thomas's, are designed with urgency in mind. After his injury, he fights for survival and desperately searches for rescue. Time is constantly running out, and despite the pressure to act quickly, his physical condition slows him down. This tension is at the heart of his gameplay.
From a design perspective, the oxygen mechanic serves as a counterpoint to Ariane's parkour-oriented movement. It compensates for the loss of mobility due to pressure, resource management, and decision-making under stress. We strategically placed these oxygen sequences at specific points in the game—either as intense emergency situations or as puzzle-oriented areas requiring careful planning. Once the player reaches a pressure zone, the gameplay deliberately shifts toward a calmer, more investigative experience to create contrast and emotional space. We conducted playtests to ensure the pacing was right.
When survival becomes a game mechanic
PF: The Pathfinder tool scans magnetic fields to find gripping points – but in practice, it often feels like a simple "lock and key" principle. Were there any prototypes where the scanner offered more mechanical depth than just detecting markers?
DN: As with any game development, we explored a wide range of ideas, many of which we discarded for creative or production reasons. For example, we experimented with systems that would have allowed players to mark everything in the environment or, under certain conditions, see through materials.
With the Pathfinder, however, it was always our intention to give the two main characters a tool that felt grounded and realistic. Since they are scientists who have crash-landed on an unknown planet, we didn't want them carrying a highly advanced, all-purpose device that could effortlessly solve every situation.
Instead, the Pathfinder was designed as a limited, practical tool—useful, but not omniscient. Its limitations are a conscious choice. They reinforce the idea that characters must rely on observation and adaptation, rather than a single, all-powerful tool.
The biological idea behind Nemesis
PF: The stealth sequences end with death at the slightest noise. Why did you decide against a "second chance" mechanic to minimize trial-and-error frustration?
DN: That was one of the features we tested and considered adding at one point. However, based on feedback from playtests and production limitations, we ultimately decided against it.
One of our priorities was to maintain the characters' vulnerability to Nemesis. Encounters should feel genuinely dangerous. Similar to a lion attack, the chances of survival are extremely low, especially unarmed. We wanted to convey this sense of danger in the game.
PF: The collaboration with the ESA is evident in the spacesuits and the Hope-01. Which technical detail of the equipment was the most difficult to implement while remaining scientifically accurate and still working for gameplay?
DN: Before collaborating with ESA, we extensively researched the history and development of spacesuits to envision a realistic next-generation design. The suit also needed to be visually striking and provide a strong contrast to the icy landscapes of Persephone. Since the game is played from a third-person perspective, the suit is constantly on screen, so it had to be visually appealing.
Since the story follows two characters who are often alone, it was essential that the suit allowed for strong body language and expressive performance capture. Although Ariane and Thomas wear the same suit, we wanted distinct differences in silhouette and movement. The suit had to support Ariane's agility while simultaneously reflecting Thomas's more cumbersome, restricted condition.
When we started working with the ESA, we were pleased to find that our initial research had largely hit the mark. We didn't have to fundamentally redesign the suit, but rather refined it with details such as the ESA and Hope 1 mission patches.
Our suit wouldn't be suitable for actual spacewalks, but fortunately, the story takes place on Persephone, which has an atmosphere. This narrative context gave us more flexibility. The helmet was also a challenge. It had to be functional, but at the same time allow emotions to be read through the characters' facial expressions. That's why we avoided designs that largely obscure the face.
PF: The first hour on Persephone remains narratively rather bland. Was it a conscious decision to familiarize players with the mechanics first before focusing on the tense relationship between Ariane and Thomas?
DN: It was a conscious decision. Nevertheless, the opening sequence serves to establish the setting and to hint at the narrative complexity of the relationship.
To give this relationship real depth, we had to take the time to properly introduce the player to Ariane, the planet, and its core systems. This gradual introduction grounds the experience before the stakes rise.
One of the biggest challenges is that the characters are alone on a seemingly unexplored planet. There are no NPCs and very few documents for traditional environmental storytelling. Therefore, we had to find ways to convey background information without resorting to simple flashbacks.
We opted for several complementary systems: optional data in Ariane's navigator, reports to mission control, and moments where the characters talk aloud to themselves.
When music fights against the storm
PF: The Cristal Baschet creates an incredible coldness in the soundtrack. How did you ensure that these experimental sounds didn't get lost in the heavy 3D audio mix of the storms on the PS5?
DN: Sound design and music were essential pillars of the development. The music plays a key role in expressing both the epic scope of the journey and the inner states of the characters.
We were very fortunate to work with Amine Bouhafa as composer. This was his first video game project. His background as a film composer brought a great deal of richness to the experience. We learned a lot from his cinematic approach while introducing him to the specific requirements of interactive audio.
The Cristal Baschet is a perfect example of that approach. Amine had a very specific vision for how these sounds should feel, and our audio team worked closely with him to blend them naturally with the aggressive weather effects. The goal was to preserve the emotional weight of the instrument without losing the intensity of the overall scene.
PF: The creature design – floating shards and black threads – is wonderfully abstract. How much "biology" is actually in these constructs, or are they purely mechanical manifestations of "The Source"?
DN: I'm trying not to give too much away, but the explanation is biological in nature. The Nemesis represents the hostile form of a microorganism-based life form that exists in the oceans of Planet 9.
This chimera is made of water in all its states – liquid, solid, and gaseous. This made it a fascinating subject for both the artistic direction and the technical rendering. Our goal was to create something menacing and intriguing without immediately labeling it a classic "alien enemy." Players should be asking themselves: Is it an animal? A machine? A dream?
It was important to us to leave room for interpretation. Part of the experience is that players develop their own understanding of the creature as the game progresses.
PF: During the sliding and climbing sequences, the game strongly evokes the PS3 era and Uncharted. Did the strictly linear storytelling limit your ability to experiment with more modern movement ideas?
DN: We tested many features. But as with any development, we had to make difficult decisions. Ultimately, we focused on making these sequences as memorable and intense as possible by refining the features that best served them.
Uncharted and the Tomb Raider reboot trilogy were strong references, but our goal was to adapt that DNA to our context. We opted for a simpler, less action-packed approach that suited our setting. Since the story is linear and the characters are central, this direction felt the most logical.
PF: The ending leaves the crew's future and the mission's consequences rather vague. Is this unsatisfying conclusion a thematic commentary on human hubris, or simply a teaser for what's to come?
DN: Aphelion tells the story of Ariane and Thomas, and by the end of the game, that journey reaches its conclusion. At the same time, we wanted the ending to carry a more metaphorical dimension. It was designed in a way that leaves room for personal interpretation. In that sense, both readings are valid.
Aphelion was created as a brand-new brand for DON'T NOD. While this particular story is coming to an end, the world we've built could hold other stories in the future.
Thank you so much for your time and the deep insight into Persephone and Aphelion. The interview took place after a complete playthrough of the game prior to its release.
