ZA/UM Studio, as it exists now, is the result of what happens when investors get too excited about a project and assume more control than they rightfully deserve. I’m speaking from experience when I say that it’s a painful thing nobody can really comment on, unless they’ve felt it themselves. Unfortunately, this is what happens to organizations that are founded based on anything outside of capitalistic merit. My sincerest thanks to all that have rooted for us. I still encourage people to organize, and I would say that one of the qualities that the ZA/UM cultural organization sorely lacked was pretty much any formal structure.įor a while, it was beautiful. I find that the organization was successful overall and most of the mistakes that were made were contingent, determined by the sociocultural conditions we were thrown into. People and ideas are meant to be eternal organizations may well be temporary. The reason for dissolving the cultural organization is that it no longer represents the ethos it was founded on. Which would seem like bad news for the loving fans that are waiting for the Disco sequel.) I, Martin Luiga, a founding member and Secretary of the ZA/UM cultural association, as well as the assembler of most of the core team, am hereby dissolving the ZA/UM cultural association (not to be confused with the ZA/UM company, on which subject I would note that neither Kurvitz, Hindpere nor Rostov are working there since the end of last year and their leaving the company was involuntary. The cultural association has dissolved as of late, with this statement from co-founder and organizer Martin Luiga:
To clarify something, there were technically two ZA/UMs: ZA/UM Studio, the game-making side (founded in 2016), and the ZA/UM Cultural Association, which has existed since 2009 and, by and large, was the creative backbone to this whole operation. But regardless, it’s still incredibly disappointing and heartbreaking, since Disco Elysium was the product of several years, decades, of profound imagination and creative passion. Yes, it can be said that by and large, the devs still remaining at the studio are innocent and, as usual, capital is to blame for this development. Regarding the sequel to Disco Elysium, which is in the early stages of development, Luiga remarked that things are actually “sweet enough”, though he said it might take a “sh*t ton” of time.A post shared by ZA/UM come on. He also conceded that those same backers were likely critical to getting the game made in the first place. In a comment on the Medium post and replies via Twitter, Luiga appeared to claim that Studio ZA/UM’s financial backers had something to do with the departures. Luiga then thanked supporters, remarking that “for a while, it was beautiful.” I still encourage people to organize, and I would say that one of the qualities that the ZA/UM cultural organization sorely lacked was pretty much any formal structure. He also said that he found the organization successful, despite challenging circumstances and lacking a formal structure.
DISCO ELYSIUM SEQUEL FULL
Here’s the full quote from Luiga explaining why the ZA/UM Cultural Association was dissolved. The Cultural Association and Studio ZA/UM had pretty much the same personnel until its apparent dissolution. The ZA/UM Cultural Association is (or was) an artists’ collective that went on to form Studio ZA/UM and develop Disco Elysium as a game. Rostov confirmed their departure via Twitter. Martin Luiga, an editor on Disco Elysium and founding member of the studio, posted on Medium that the “ZA/UM Cultural Association ” was “dissolved,” and that Disco Elysium writer/designer Robert Kurvitz, lead art and design developer Aleksandr Rostov, and writer Helen Hindpere all left the company “involuntarily” at the end of 2021. Creators who played important roles in the creation of hit RPG Disco Elysium may have left developer Studio ZA/UM.
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