If we take into account the scale of the scenery, costumes and the amount of work done, this is the first Russian film in the sci-fi action genre. The action takes place in the near future on the planet Saraksh, where the main character Maxim falls. A totalitarian system reigns on Saraksh, the inhabitants are enslaved. Maxim, as a noble knight, fights against evil and tries to save the planet from military dictatorship.

"It is incredibly difficult to realize the future in cinema, and even the cosmic future; you have to figure out and think through literally everything," says project designer Kirill Murzin. He developed military uniforms, insignia, weapons, equipment, and even a planetary scheme with Saraksh in the center. Under his leadership, the artists created a map of the continents, so that it was clear where the enemies are coming from and in what territory the main character travels. In addition, they drew maps of cities, and also invented for their fantastic planet their own octal system of calculus and their own alphabet, not to mention the interiors in which the action takes place. For about a year, the concept designer of the project only sketched - both during the preparatory period and during the filming. Moreover, even the seemingly unimportant trifles received the most serious attention. For example, how the Propaganda Department’s stamps will look. In the story, the Department is located in the Main Tower, which is the focus of evil on the planet. Hence, the artistic solution of its interior is a gloomy, hermetic, metaphorically airless space.

Metaphor and symbolism are important techniques in the artistic structure of the scenery. For example ... fist. The sculpture with the image of a fist is placed in the middle of the scenery, depicting the central hall of the Main Tower. The concept of space is such that the fist must be visible from different points to everyone who happens to be here. To the one who caught socialism, the fist will seem strangely familiar. And indeed, it is a kind of quote. Everyone remembers the sculptures, posters and drawings of the Soviet period. But here the concept designer applied the current technique today - he highlighted a significant detail of a sculpture or a poster and enlarged it. Thus, the item received additional weight and became even more significant. “We tried to creatively rethink the legacy of the art of totalitarian regimes,” says Kirill Murzin. “We tried to take into account the heaviness of the Stalinist empire with its characteristic monuments to the leaders, and the pathos of the political posters of the 30s and 40s.”

According to the story of the story and the film in the final, the explosion and the ensuing fire completely destroy the Imperial City. So, the scenery was burned by the filmmakers right in front of the camera in order to maximize the authenticity of the climax scenes. And the results of the three-year work of the film crew, as expected, remained on film.