But it's the small notes that really draw out the uniqueness of their style. Hulking back-ends with dainty glass displays and bulky dais-based buttons exemplify the sort of off-brand future we're in. Even the content displayed on the screens is equally time appropriate, with constantly glitching graphics, and an especially awesome close-up look. As you approach the display the monitor appears to reveal more detail - showing off the arrays of bulky RGB pixels that underlay the image presented.

These pixels are much bigger than their real world counterparts, and yet they don't distort or muddy the normal image when you're further back from the screen. This is the sort of effect that you might not glance twice at as you're playing through Slime Rancher, but its a brilliant touch, that when noticed, makes you immediately appreciate whoever implemented it to be so effortlessly unique. There are a bunch of effects at play here, so let's tackle them one at a time.

Texture Pixelation

This one is a simple one, but it definitely helps to sell the dream of our very own retro TV - pixelation. When we chuck a texture onto a material normally, it will try to draw as much of the texture's detail as it can fit on the object (and screen!). We don't want that - we want our object to look like a display - and displays have a finite number of pixels to draw to. Regardless of the original texture's resolution, we need to pixelate our image to a fixed pixel resolution, and we'll do that by manipulating the UV coordinates.

UVs are what tell each part of our 3D mesh where to look in our 2D textures - mapping our 3D space to a normalized 2D space. They do so by acting as a two-dimensional lookup (coordinate). On a simple quad (what we'll be using), the bottom-left corner of the quad maps to (0.0, 0.0), and the top-right corner is (1.0, 1.0). Crucially these values tell us where to sample our textures - and by moving these values we can also move the texture we're drawing.