Daniel Nikoi Djanie

ImagineFX - - Imagine Nation -

On what mo­bile game art

can of­fer artists…

What’s be­hind the new fo­cus on art in mo­bile gam­ing?

For years, art was con­sid­ered as a rel­a­tively dis­posal el­e­ment to mo­bile gam­ing. Now the in­dus­try is mov­ing in the di­rec­tion of more artis­tic qual­ity. The im­pact of in­die ti­tles and art-driven games such as An­gry Birds, Mon­u­ment Val­ley or Bas­tion are in my opin­ion the rea­son for this change.

What are the ben­e­fits to artists of work­ing in mo­bile games?

As a new­bie you have the chance to work on more dif­fer­ent as­pects of game art when you work for a mo­bile com­pany. In AAA pro­duc­tion of­ten you’ll be stuck in one area, which can be very frus­trat­ing if, for ex­am­ple, you only pro­duce the same kind of as­sets. The pro­duc­tion cy­cles are gen­er­ally much shorter for mo­bile games. This way ideas can be tested in shorter time pe­ri­ods, and means there are more op­por­tu­ni­ties to cre­ate new stuff. Of­ten pro­duc­tions can run par­al­lel, which leads to more space for dar­ing projects.

What about down­sides?

You’re of­ten pro­duc­ing art for the re­cy­cle bin. Due to the shorter pro­duc­tion cy­cles, projects are can­celled more of­ten than in AAA game com­pa­nies. The time pres­sure in the mo­bile game in­dus­try also leads to com­pro­mises re­gard­ing the qual­ity in or­der to achieve the pro­duc­tion mile­stones.

What ad­vice would you give an artist look­ing to get into the mo­bile game in­dus­try?

Show that you know your skills. Un­der­stand that your port­fo­lio is only as good as your weak­est work. And show that you’re pas­sion­ate for what you’re do­ing.

www.gilmec.car­bon­made.com Daniel is head of il­lus­tra­tion for Game­du­ell. He pre­vi­ously worked as a free­lanc­ing il­lus­tra­tor and an­i­ma­tor.

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