Ultimate Game Design : Building game worlds

C H A P T E R 3
RS: The working environment is always set up as teams of specialists in every area of production.
You have conceptual design (some people call it production design), or art direction, then modeling,
animating, environments, particle effects, compositing, and textures. You have to specialize.
TM: What kinds of games would you like to build in the future?
RS: The most wicked, mind-blowin’, intense, sensory-overload, knock-your- socks-off action and
graphics ever!
TM: What games still excite you?
RS: Halo, Tom Clancy’s “Splinter Cell,” Mech-Assault, Commando … to name a few of my
favorites.
TM: How do you compare working in games with working in TV or film projects?
RS: Well, working on film is the most demanding art-wise. You have to be the absolute best at
what you do. Film graphics are satisfying due to the end result, which is usually amazing when it all
comes together. Everything is done in layers for ultimate control when compositing. TV is not as
intense, but is a little more high-pressure due to the time and budget constraints. You’re usually
expected to crank out an episode of animation per week—not a whole lot of time to be tweaking
an animation or redoing a character.
Working in games is a lot of fun, though you still have the deadlines to meet. It’s usually a lot more
relaxed atmosphere. You’re able to work at a steady pace, and you don’t have anybody breathing
down your neck. If you do, it’s usually some other dude just admiring your work or comparing notes,
cool things like that.
TM: What’s the best way to revitalize your art skills over time?
RS: Always look at other artists and notice what they’re doing. Believe me, there is nothing more
humbling than that. It forces you to push yourself harder. Either that, or it can make you want to quit
out of frustration. You have to believe in your vision, be persistent, and always ask yourself: “How did
he do that?”
TM: How has working in art changed over your career?
RS: It’s only gotten better and easier due to the tools you now have as an artist. I still remember
doing paste-up for advertising ads, magazine layouts, coloring by hand, stick-on lettering,
etc.—especially stick-on lettering. Man! What a pain!
TM: Thanks for taking the time to talk it over, Rick!
MEGA TIPS
1. Learn as much as you can about how the “cornerstone” elements function
in games. Remember that game worlds are built as hosts for gameplay—
not as visual grandstands.
2. When you begin lighting your level, use only as many lights as it takes to
achieve your objectives, and no more. Use your savings to finalize other
level details. Weigh the trade-offs before putting in more lights.
3. Build up a wealth of environmental lighting references by clipping
architectural magazines.
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Lighting, Texturing, Particles, Effects, and Audio