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176 pages, Hardcover
First published May 19, 2015

This gives rise to another of our key design precepts...
'Even in the Wasteland, people make beautiful things.'
No matter how impoverished the circumstances there are always, among us, artisans and artists able to create a strong, utilitarian aesthetic. The impulses which drove our Paleolithic ancestors to make exquisite cave paintings persist in the post-apocalyptic 'Black Fingers' (motor mechanics) restoring a War Rig and in the War Boys scarifying themselves with sacramental body art.
Production designer Colin Gibson describes more of the theory behind the Buzzard tribe. "The Buzzards are basically vultures. They're a pack of hyenas. If you build a world full of carrion, then the hyena and the vulture will circle. And the difference with them is, they have much baser needs, because they were after just material, the crude mechanics, the very stuff of things. They didn't see a Cadillac, [the Buzzards] saw metal; not man, but meat. George had the theory that they were Russian and I think maybe they were White Russian and way too white--their bodies were ravaged by impetigo and infection. They were suppurating flesh and peeling skin, held in place with Saran Wrap and bandage. It was just a little too moist in this dry and dirty place, so they hid inside the spiky vehicles. They were spiky as much to keep people away from them as for attack. The anthropomorphic treatment worked both on the front and the back, there was a sense of trying to find vehicles that had eyes, that we could add a grinning grille of a mouth to, that the radiator could look like braces on an inbred mouth."