Imagine a world where the line between reality and the digital realm blurs, where intelligent programs question their very existence, and where the legacy of a groundbreaking franchise is reignited. That’s the world of Tron: Ares, a film that not only pushes the boundaries of visual storytelling but also revives ideas long thought abandoned.
Over four decades after the original Tron hit the big screen, the grid has reopened with Tron: Ares. This third installment follows Ares (Jared Leto), a highly intelligent computer program who begins to challenge the directives of CEO Julian Dillinger (Evan Peters). This rebellion sets Ares on a perilous journey into the real world, where he seeks out Eve Kim (Greta Lee), the current CEO of Encom. Meanwhile, both Encom and Dillinger Systems are locked in a high-stakes race to uncover Kevin Flynn (Jeff Bridges)’s elusive permanence code, further blurring the boundaries between software and reality. But here’s where it gets controversial: can a program truly achieve autonomy, and what does that mean for the future of humanity?
For production designer Darren Gilford, returning to the Tron universe 15 years after Tron: Legacy was more than just a trip down memory lane—it was an opportunity to resurrect ideas that had been shelved during the pre-production of the original sequel. “There were a lot of elements that carried over,” Gilford reveals. Director Joseph Kosinski had envisioned a sequel grounded more firmly in the real world, with the Dillinger grid as a central element. Work on these concepts began as early as 2015 or 2016, with Gilford collaborating with a team of concept artists and an art department. “I was able to revisit those key elements with director Joachim Rønning and bring them to life,” he explains.
One of the most striking revivals was the design of the Dillinger lightcycles, which play a pivotal role in a high-octane chase scene featuring Eve, Ares, and Athena (Jodie Turner-Smith). These life-size bikes, built alongside proxy motorcycles, had to strike a delicate balance. “They needed to feel military-grade and practical while also embodying the aesthetic of Encom’s rival corporation,” Gilford notes. And this is the part most people miss: the lightcycles aren’t just vehicles—they’re symbols of the fusion between man and machine.
Designing these bikes required meticulous attention to detail. “We had to establish the rules of the lightcycle,” Gilford explains. “It needed two critical riding positions and an aggressive high-speed stance, which is my favorite aspect of the design. When the full canopy and backpacks deploy, the rider becomes one with the machine—it’s as if they’re enveloped in a mechanical embrace.”
To bring these bikes to life, Gilford and his team engineered a unique power source. “We created a central yellow gyro that spins and animates, serving as the heart of the bike,” he says. “This gyro not only powers the bike but also telegraphs its motion. The front fork and wheel rotate around this energy source, giving the bike its distinctive movement.”
Having worked on both Tron: Legacy and Tron: Ares, Gilford reflects on the evolution of the franchise’s iconic vehicles. “In Legacy, we never actually built a real bike until the end—they were primarily digital creations or marketing props. But for Ares, Joachim insisted on having real bikes on the street, towed in any way possible. As someone with a background in transportation design and car design, it was an honor to bring these vehicles to life in a practical, tangible way.”
But here’s the question that lingers: as technology advances, how close are we to creating machines that blur the line between tool and entity? And what does that mean for our own humanity? Share your thoughts in the comments—let’s spark a conversation that’s as electrifying as the grid itself.
