Rob Haines Creative Space

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in game photography

At the end of April 2024, Nier: Reincarnation shut down. For a game about the last survivors of a civilisation living in a distant server, it was an incongruous end.

The importance of digital archaeology in the games industry has become ever more urgent, as the industry shifts towards the live-service model. Even with a game so fundamentally compromised by gacha mechanics - used to gatekeep its otherwise-excellent storytelling - it’s a tragedy when such a creative world is taken offline, locked away in a vault to fester.

So join me as we wander the halls of the Cage, and marvel at the wonders of the last bastion of humankind.

All photos were taken on Android, and post-processed in Affinity Photo.

An insectoid monster in black chitin stands next to a small white ghost, against a backdrop of pink-grey spikes and dark cogs. An insectoid monster stands next to a small white ghost, beside a ruined grey-green building. The background is full of abstract circles and cog-like shapes. A man in ragged winter clothes runs towards a birdcage drenched in shadow. A pillar of writing darkness rises vertically above; behind it is a tower partially obscured in blue static. A red-hued cathedral, reflected vertically across the midline. On the ceiling, a small black birdcage stands in a paved square, and a writing pillar of black and white falls from it. Two small dark figures stand in a vast cathedral painted with deep-red light. All the architecture is reflected vertically, every column, window and path having an upside-down twin above it. A man in a monochrome bodysuit stands on a road against a neon green cityscape. A caption reads "When he sees how the static hangs over the city like a shroud, understanding finally dawns." Two characters in black and white run up a flight of stone stairs. The geometry of the room is rotationally symmetrical, the same stairs and paths appearing against the walls and ceiling. In the background, a barrier glows turquoise, with vertical scan lines. A man in a monochrome jumpsuit walks up a flight of stairs in a vast sun-soaked library. Giant dolls and disembodied puppets hang from the ceiling by wires. A man in a monochrome jumpsuit and a woman with long white hair stand in a library. The red-haired twins Devola and Popola are collapsed against a bookshelf, leaning on each other. Two figures in white run up a slope towards an ornate window and a pillar of black energy. Pillars rise from a circular structure like spokes from a wheel, shimmering with static and scanlines. Two boys run upside-down along a path on the ceiling of a cathedral soaked in amber light. A monstrous goddess figure with skin like cracked black stone raises her hands to apocalyptic skies, as four monochrome figures gather to fight her. Her eyes are covered in a fan of stone, and her mouth lolls open as she screams. A woman in high heels stalks through an empty military command centre. A light-blue screen shows a battle plan, with labels for Earth, the Moon, and a fleet of Aliens. A woman leads two teenagers and a floating red pod into an abstract representation of a server, appearing as beige cubes and simple pillars. A white mechanical pod floats in front of a white city. A path leads onwards to a circular amphitheatre. A small, white mechanical pod flies through a diamond of light in front of a stark white cityscape. A young girl in a white dress and black leather bonds stands before a cavernous white room. At the heart of the room, a silhouette floats in a sphere of light. A young girl in white and a monster in black chitin run up a long ramp in an abstract beige server space. The central pillar is thronged with spirals of black data storage blocks. A girl with white hair and a red dress levitates in front of a series of white and grey arches.
© Rob Haines, 2025
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