Dear subscribers!🌷



The team at our studio, Black Caviar Games, wishes you a happy International Women’s Day!

Thank you for playing with us, inspiring us, and making our gaming community brighter, kinder, and more interesting.



May your lives be filled with more joy and victories—not only in games but also in real life—as well as more pleasant surprises, inspiration, and time for your favorite adventures.



Happy holiday of spring, beauty, and strength!

With love, the Black Caviar Games team 💜

🌟 Dear defenders!

We wholeheartedly congratulate you on Defender of the Fatherland Day—February 23!

This holiday is a tribute to all those who defend our country and ensure the safety and well-being of our families and loved ones. It reminds us of the courage, honor, and responsibility that have always been—and remain—the most important qualities of a true man.

We wish you:

-good health and a cheerful spirit;

-boundless energy and new achievements;

-peace and prosperity in your families;

-confidence in the future;

-joy in every day you live.

May there always be room in your life for good deeds, loyal friends, and sincere smiles! May you overcome any difficulties, and may those who are dear to you always be by your side.

With respect and gratitude, Black Caviar Games.

🚀 Let's start the time machine!

Today we’re launching more than just a series of articles. We’re launching a time machine. Our goal is to embark on an amazing journey at the intersection of two realities: the past as it was, and the future as it was imagined.

This article is our starting point. We stand on the threshold of that very “future” that was so vividly imagined in the past. And we have a unique opportunity to look back and assess: where has the road paved with fantasies led us?

Imagine a world where flying cars soar through the sky between skyscrapers in megacities, humanoid robots prepare breakfast, and space elevators transport passengers to orbital stations. This world doesn’t exist—but it lives on in the human imagination, frozen in the art, design, and pop culture of the last century. Welcome to retrofuturism—a unique cultural phenomenon where yesterday’s visions of tomorrow become today’s aesthetics and philosophy.

Retrofuturism is both a view from the past into the future and our contemporary perspective on those predictions. It is an artistic movement that explores visions of the future that existed during various historical periods, primarily in the mid-20th century. Having emerged as a style in the 1970s, it has experienced a resurgence in the digital age, serving as a bridge between nostalgia and technological optimism.

This is the archaeology of human hopes—an excavation into the strata of the collective unconscious across different eras. Each retrofuturistic image is a time capsule that encapsulates not only predictions about technology, but also entire worldviews, social utopias, and the existential fears of its time.

The period following World War II (1940s–1960s) was characterized by an unprecedented faith in scientific and technological progress. This was driven by real breakthroughs: the launch of satellites, the use of nuclear energy, and the creation of the first computers. Society was dominated by the conviction that technology would solve all global problems and lead to a utopian future. Popular science and technology magazines, such as *Popular Mechanics* (U.S.) and *Tekhnika—Molodezhi* (USSR), actively shaped visual images of the future, offering bold but often oversimplified predictions.

Retrofuturism is not so much a historical style as it is a contemporary—for us in 2026—reflective term. This language emerged from a fusion of the postwar technological boom, the space race, and commercial design aimed at selling “tomorrow” today. Its essence lies in the materialization of the abstract idea of progress through concrete, often simplified, yet emotionally charged forms.

The streamlined shape, inspired by aviation and automotive design, has become a universal symbol of perfection and speed, even for stationary objects—from toasters to buildings. This is a visual metaphor: the future does not stand still; it races forward. At the same time, the forms often imitated natural contours (a drop, an egg, a wing), but were crafted from synthetic materials. This created the image of “bionics of the future”—technology as perfect as nature’s own creations.

Our predecessors envisioned the future as modular, like a construction set. Buildings, vehicles, and machinery were often depicted as consisting of standard spherical, cylindrical, or conical modules that fit together.

Instead of static patterns, graphic elements that created a sense of movement were used: parallel lines converging in perspective (pointing toward the horizon), concentric circles radiating from a central point (symbolizing an atom or radio waves), and radial compositions. Colors associated with science and space dominated:

A stylized image of an atom with orbiting electrons became the defining emblem of the era. It was a symbol not of destruction, but of inexhaustible energy harnessed by humankind. It appeared everywhere—from company logos to patterns on curtains. Rockets, satellites, planetary rings, and schematic star maps signified humanity’s new habitat. The shape of the rocket—especially its nozzles and stabilizers—was endlessly replicated in the design of everyday objects.

The surrounding technology was depicted as streamlined, devoid of seams, screws, or hatches—a monolithic, “grown” object. This reflected the belief that in the future, mechanisms would be so reliable and perfect that they would require no maintenance. And yet, the world of retrofuturism is analog. Information is conveyed not through flat screens, but through projections on walls, holographic models (often physical mockups), and printed display panels. Wires and cables are carefully concealed, creating the illusion of wireless yet tangible energy. Controls were often depicted as arrays of mysterious buttons, toggle switches, dials, and flashing lights without clear labels. This created the image of a complex, almost magical system operated by initiates (scientists, astronauts).

The buildings were characterized by clean lines and functional zones, while the flat roofs and ribbon windows of Le Corbusier and the Bauhaus were accepted as axioms. To this foundation were added a sense of scale, ziggurat-like stepped forms, and a desire to create not merely buildings, but symbols (for example, in designs for “skyscraper cities”). Concrete (a symbol of power and malleability), glass (transparency, openness), and steel (the structural framework) were widely used. However, in retro-futuristic projects, Brutalism was stripped of its social grandiosity, becoming merely a backdrop for futuristic scenarios.

But architecture was conceived not as individual buildings, but as cohesive urban organisms—multi-level structures connected by overpasses, covered by dome-like biomes, or united within gigantic spatial frameworks. It was the dictates of order and rationality, taken to a utopian extreme.

In the 21st century, retrofuturism is undergoing a fundamental transformation. From a utopian vision, it has evolved into a complex cultural code—a tool for criticism and nostalgia—that allows society to come to terms with its unfulfilled technological hopes and digital reality.

Contemporary authors use the visual language of retrofuturism not to express admiration, but to offer social and technological criticism.

• *Blade Runner 2049* (2017): The film’s world is a hybrid of the archaic and high technology. Giant holographic advertising projections coexist with the concrete Brutalism of the 1970s, while advanced androids use mechanical cameras. This visual dissonance underscores the existential crisis in a society where technological progress has not brought humanity, but has only deepened loneliness and alienation.
• The TV series *Moonbase 8* (2020) and the film *The Archive* (2020). Here, retrofuturism takes the form of ironic nostalgia. The narrow corridors of space stations, styled after the 1970s, green monitors, and clicking buttons create a sense of a “minimalist future”—this is not a triumphant conquest of space, but rather an everyday, almost bureaucratic routine set against the backdrop of outdated but functional technology.
• The “BioShock” series: The underwater city of Rapture—a utopia of Objectivism and Art Deco preserved in the 1940s and 1950s, which collapsed due to human hubris. The player explores not just ruins, but the archaeological layers of a “failed future”—the ideology, architecture, and design that led to the catastrophe. Progress is portrayed here as a dead end.
• The “Fallout” series: A post-apocalyptic world frozen in the “atom-punk” aesthetic of the 1950s (round cars, CRT monitors), but one that has survived a nuclear war. This eerie contrast between the naive techno-optimism of the past and the grim reality of the present forms the basis of the plot. The player is constantly confronted with the gap between the advertised “bright tomorrow” and the “dark today” that has come to pass.

Design and fashion have evolved into an ironic—and commercially successful—dialogue between eras.

Contemporary design uses retrofuturism to create clever stylization, not a utopia. Instead of viewing synthetic materials as a panacea, today’s designers use plastic, metal, and neoprene with postmodern irony. This isn’t a uniform for conquering space, but a provocative gesture that harkens back to a time when the future could still be worn. It’s nostalgia for boldness.

And what about design? Atom-shaped lamps and furniture with the streamlined forms of the 1960s—these are not a belief in progress, but visual references. Such objects become “artifacts” of an alternative timeline, creating a “what if” atmosphere in the space.

Overall, contemporary retrofuturism serves three fundamentally new functions:

1. As a critique of blind techno-optimism, it serves as a vivid illustration of the history of ideas, demonstrating how a naïve belief in linear scientific progress has ignored the complexity of human nature, social inequality, and environmental risks. It does not paint a bright future for humanity, but rather a future that has “fallen short of expectations.”
2. Since the retrofuturism of the past was tangible and monumental (concrete, steel, rockets). Our reality is immaterial and algorithmic (cloud services, social media, Big Data). By turning to the aesthetics of the past, we yearn for the tangibility of progress, for a world where technology could be touched and seen, rather than merely used through an interface.
3. And the deepest and most paradoxical aspect of this is nostalgia for a future that could have been. We don’t yearn for the past as such, but for the horizon of possibilities it held within it. It’s the feeling that the future is an open-ended project that we can boldly design and build (even if naively), rather than a predetermined path dictated by global corporations and invisible algorithms.

Contemporary retrofuturism is a cultural tool for reflection. It no longer answers the question, “What will the future be like?” Instead, it asks: “Why is our present not what we imagined it would be?”, “What price have we paid for progress?”, and “What kind of future do we secretly long for?” It is the language we use to talk about our shattered utopias, our technological anxiety, and our longing for a tangible miracle.

Retrofuturism, as a phenomenon, is not merely a collection of old futuristic illustrations. It is a dialogue between eras, a mirror reflecting our eternal questions: Where are we headed? What do we lose along the way? And what might the future have been like if history had taken a different course?

In a world where the future often seems frightening or uncertain, retrofuturism offers a space for dreams—albeit nostalgic ones. It reminds us that the future has always been and remains a projection of our hopes, and that sometimes, to move forward, it helps to look back at how people once imagined the path we are now traveling.

Perhaps it is precisely in this paradox—looking back to see ahead—that the magic of retrofuturism lies. It is a future that will never come to pass, yet one that continues to inspire new generations of dreamers and creators. Retrofuturism also teaches us an important lesson: the future is not predetermined. It has always been—and remains—a battleground of narratives, a projection of our values and fears.

Ultimately, retrofuturism is a story about human desire—the desire to overcome our limitations, the desire for a better world, the desire for tomorrow to be not just different, but meaningfully better. And in this desire, preserved in yellowed magazines and forgotten blueprints, lies all the tragedy and grandeur of our species.

In this article, we have merely outlined the basic contours of the phenomenon of retrofuturism: from its origins in postwar techno-optimism to its transformation into a critical tool for understanding the present. However, every aspect of this rich topic deserves in-depth and detailed study. We will continue to explore this topic in future articles.

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PIO is a story-driven adventure game with elements of action and puzzles. The story unfolds in an alternate reality where the Soviet Union has reached incredible heights in the development of science and technology. Players will experience this world through the eyes of a teenager named Kira and his companion—a unique robot named PIO.



Soon, we’ll begin to lift the veil on PIO’s development process and setting.



We are very grateful to all the individuals and organizations involved who helped us get started on the PIO project:

АCI — Agency for Creative Industries

IDI — Internet Development Institute

VGID — Video Game Industry Development

Skolkovo Moscow Video Game and Animation Cluster

We’re wrapping things up and announcing the list of winners for the Naukograd 2061 competition, which we held in collaboration with the National Institute of Design.

Competition winners:

1st place – Vitaly Yashin

[link to entry (https://dprofile.ru/case/141655/naukograd)]

2nd place – Viktoria Kutukova

[link to entry (https://dprofile.ru/case/140698/ulica-2055-goda)]

3rd place – Angelina Potrusova

[link to entry (https://dprofile.ru/case/141810/konkursnyi-proekt-naukograd-2061?utm_source=google.com&utm_medium=organic&utm_campaign=google.com&utm_referrer=google.com)]

We sincerely thank every participant. Thank you for your time, effort, and inspiration, which you have shared with us and with one another.

Igroprom 2025 features thousands of visitors, hundreds of participants, dozens of game booths, an unforgettable and colorful cosplay show, a packed program, and a raffle for valuable prizes.

This year, we had two booths at the Igroprom 2025 festival. Each one had its own special mission. The first booth was dedicated to our game studio and the project *Northflower: The Last Watch*. Visitors to the booth were the first in Russia to play the project’s demo and talk directly with the developers.

The second booth—Naukograd 2061—offered visitors the chance to learn about the Russian retrofuturism-themed concept art contest we organized together with our partners, as well as to view the works of the participants and winners.

Naukograd 2061 is a city in an alternate reality where the Soviet Union has reached incredible technological heights, creating a society that is entirely dependent on robots. It is a world where the aesthetics of the 1960s and 1970s blend with futuristic technologies: CRT screens coexist with quantum computers, and giant robots build cities under the slogan “A Bright Future—Today!”

Participants created a unique concept for the city of Naukograd 2061 in the retrofuturism style (using any graphic technique except neural networks). Submissions were accepted in two categories:

1. “Architecture”

– Develop concept art of a location featuring views of Naukograd’s architecture (any medium is acceptable: 2D concept—illustration / 3D concept—render / photomontage, or other*). The artwork must feature at least one of the following architectural structures: the Research Institute building, the library, the robot factory, or the government complex.

2. “Interior”

– Create concept art for the interiors of public buildings in Naukograd of your choice: the Research Institute building, the library, the robot factory, or the government buildings (method of execution: 2D concept – illustration / 3D concept – render / photomontage, or other).

Comic Con IgroMir 2025 is Russia's premier festival of games and pop culture.

This isn't just an exhibition—it's a large-scale, multi-format celebration where developers, cosplayers, artists, streamers, and everyone who lives and breathes the world of video games, comics, anime, and fantasy come together.

The studio presented an updated build of the game *NorthFlower: The Last Watch* at the partner booth of the Agency for Creative Industries (ACI) — Moscow GameHub.