How to Lead and Art Direct Smaller Games with Cecil Kim | GduX.me

[Music] so we have a history of sea salt so let's worth mentioning that it's worth mentioning okay seasonal took a chance on two young guys who are best friends in the game industry and gave us both jobs at section Studios so an entire and heartfelt shout out to all the guys at section Studios still working over there doing great concept art for big companies out there right now and Cecil leading the way over there you got good people at sections so that everyone is section who even patted us on the back and said hello while we work there we love you guys from the bottom of our hearts and thank you for being supporters of our journey through game development I am without further ado welcome with a little further into you this season that was brandy that wasn't me she still is a very humble guy we have to kind of wrap his resume for him all right can do you mind can Alyssa look at the team we can trade off a little bit so besides being a co-founder of his own studio right besides being a part of the visual design for God of War the series that is

kicking major a SS on the PlayStation combined art directors yeah already directly there yeah besides going to Squaresoft and helping them bring about one of their most lovable Final Fantasies Final Fantasy 9 parasite in Paris ID overcoming that's pretty much every way our age by the way the games I grew up with I googled it I didn't I didn't play it myself I googled oh just kidding I was I was definitely there for parasite of you besides all of that you know being a hard-working super talented concept artist for his entire career now giving back to students giving back to interns and leaving the next generation of concept artists under his lineage and tutelage I believe that's the best entry I could possibly give plus his wife owns fantastic restaurants so we got it we got to give her the shout out to Cecil thank you for everything that you've done and thank you for everything that you're about to do for everyone in the audience I can't clap any harder than this you buddy so happy to have you here with us okay hi hi you say so yes we hear you oh okay

hey man how you doing man thanks for joining us dude seriously yeah thanks for having me yeah hey you snarls growling good huh yeah yeah we can hear you just fine okay yeah proving it then I try to see your face open yeah go ahead so while I see so skinning set up getting his slides up for y'all we're gonna buy more time we've been doing it all day so of course I see stones getting set up everyone thank you again for tuning in sirs if you are just catching us this is the first day of three right I want to keep reminding people so if you are catching you at odd times owns you definitely want to take a look at all the schedules for the next three days and kind of go for the ones that are most appealing to you I would

say all that is very appealing but you can be very picky and and and do that yourself so uh see you so we're gonna hand the mic and shut up and you are all ears oh all you if you want will obviously be listening so we can chime in if you need help or something but for the most part man you get this yeah I thought it's going to be a more like how we did a podcast before all right I'll leave the microphones hot and we will make it that way for you yeah okay go for it all right all right hi everyone I hope I don't waste your time so so I picked a subject as a how to lead and not to act smaller games and this is another one of those Larry

requests cuz I was like hey man you just teach me in your in your speed yeah you gotta do it so take a literary there's a little bit of we call it uh like repeating sound against Mecca yeah cuz okay uh I hope I'm gonna ask the twitch audience as well just let us know if you guys are experiencing echo it'll help us diagnose if we need to do something for Cecil or perhaps if Cecil needs to do something on his in I think maybe just to check to commute your disc or now oh yeah yeah everyone else is fine everyone's good okay that is the power of twitch baby thank you to each audience once again for saving our butts alright Cecil alright okay so yeah it's better now I guess I'd to unmute and mute back so thanks for having me and then I guess I put together small presentation this so this particular

image that you see it's probably one of the most recent painting I did oh yeah yeah a common game you know it's like just section studios or we've been like pitching many games into fonsella and from platform and we keep trying right hit yeah yeah let's go to this yeah yeah listen I this is kind of like the imagination on this particular like time time period and certain characters and stuff so I can go into little bit more on this but let me my introduction so your app that shot looking at la that's pretty much everyday my commute so I

think it's important for everyone to know like like where I am and you know it's like not every everywhere la insane so we're in downtown and my background is I was born in Korea but I came to the States late 80s and went to art center got a bachelor degree and then I worked in Sony and square I mean like Larry and the Brendan said to be companies that work for one is the squares like Paris I even Final Fantasy 9 yeah you actually know a little part of our childhood man so while we have here a fan boy for that one second if I didn't do it enough I had yeah it's no I've had all of the games on there that I can see from here every single night so the first five games that I worked on each took about minimum three two years so even like

back in 90s that's kind of long production time so I worked on this big titles and then span of like 15 years I only worked on five games well I but I take a lot of pride in it because I stayed through from the start to end because a lot of developers are saying I worked on this game out on the game but not not that everyone's that that means like they stayed through the entire production so after God of War three that's when most spotlight we we got and also my career and I got the award the BAFTA Award as a best achievement and then that's when I was started looking at myself and thinking [Music] what else can what I mean I what is my

potential right I mean I always wanted to make a game around my vision whether it's a small game play or so it's about story about two characters that I invented or just just journey through this particular famous area that I want to portray so I met a couple people who is willing to kind of like kick off the business with some seed money and we found the chemistry and has really good people and so I partner with this to two partners and it starts section studios and then since then you know both running business that's probably like main part of not my job but they my partner called me I'm a quality quality guy meaning and everything when we doing a sex change to do I have to be responsible it it nothing gets out the door unless I say good on this ice this looks good

a lot of service that we do is mostly on visual side so that's something that I feel comfortable like someone comes to me and hey we need this character can you guys help us and because I work with so many talented concept artists from Sony and square basically Sony was amazing because I work with Andy Park now was a Marvel visual director and Charlie when used to be a Marvel visual director and then you know there's so many concert what is that easy Medrano Chong Park was also least considered a least fun right now so it was really good like almost like majorly team that I really and also although Sony's like support and everything was really amazing time but once you start the solo

section Studios we have to figure out how to keep the lights on start making money and started building the client it's a whole different story when like all of those expenses that are normally just handled right come out of your pocket and your efforts like directly yeah I mean if you go to a kitchen you don't see like beef Jerky's and like my fancy snacks anymore you know we have a really like Costco coffees and you get to really grind so it's like if you're just so used to luxuries of a bigger studio and you start walking in and is like oh there's no cereal boxes it's like oh it's real about it is really real now but it's true but but those are the things you do take for granted being up at your Studios you're not having to worry about the bills but it gets uh if anything very intimate and cozy when you can

switch to a smaller studio it's true that it's the first thing you do probably notice when you walk through the talk I gotta say this though I Scott hitomi a section bought me breakfast like a couple of times no other studio have I ever worked for if they bought me breakfast you so you know shout out the second yeah cool so I guess what I wanted to say is my career jump from lead concept artist to our Turkish flash game director and this is something didn't wasn't given to me something that I had to create and I have to take take on so all the fears and that challenges you have to face is real and I I try to be prepared as much as I can but a lot

of it I had to learn on the way so this presentation I guess what you guys can take away is you know some challenges in making games from ground up first time you're making games and you have a very limited resources and also the funding and then how to lead a new team and with your own vision right and then continue to support your own vision and also you know like blended blending like your team's vision together and anyone was thinking about studying their own Studios and building their own team can learn from my experience and hopefully they can make parodies than me and you know that everyone can succeed that is my like outline of pitch but when I putting together this

presentation I start to like you know sidetrack little bit and it it has a lot more of my personal experience as a business owner and game director and stuff like that but I try to focus on Hartsook more so maybe you guys can like you know ask me questions later if you if I skip that some of the things that you want to hear from me no problem okay so that they're painting up here is also the mirror painting that I painted for the studio with actually the character inside that's done by Nathan oh yeah it's actually a friend of mine he's a great role all LA painter need to know that that painting with me it's just kind of like we wanted to deep revitalize the studio and after the last game kind of hit hit it hit hard and

financially we kind of like be grouping and visualizing the our feature so we wanted to make the painting basically saying like hey you know it's just create start creating again then look I in the yeah but that's good energy that's really good energy I was it's very easy to look at something that happens to say well we tried and then it's harder to pick yourself up and say no let's refocus let's reevaluate and let's redirect all that yeah yeah I mean here to like replace some of the majestic existence that we used to have like Larry standing there working is design away so right now video it's a little bit feel empty so that painting really covers the energy okay so let's talk about for a tight so I think everyone can do design on paper but the years of experience

that already realizes you have a prototype and how do you start that right as an artist you have a great game design or just a vision that you want to create but you need some someone who actually designed the prototype and then actually put it in the engine and actually make it playable in some of the cases I found it I was fortunate that I found person who can do both meaning engineering and designer there is actually a lot of talented sort of a hybrid of designer and programmer out there especially who knows how to unity and I met one person actually through a friend and the other person actually through an mira there's like the group of a unity guys that get together and

stop and you go there and start talking to people and there's a ton of like talented people that are just hungry to create stuff but they don't have art resources so when I met these guys they're so excited that I can guarantee that I can bring some quality art to them and they can see their their game to look awesome and you know appearing so unity and unreal that was also that one of the thing that we it's kind of important topic for us because in the beginning we met these key programmers there are unity experts so one game we start working on it and they let the second game is stuff like that and slowly we build more unity pipeline and

unity experts in the house where unreal is pretty much the best engine for artists I mean I that's what I think and that's what I've been told however you need in some sense has a lot of advantage right it can iterate quicker and so we became a unit house so you find I'm still wanted to pip it and try to make games in non real but we haven't had a chance to get take us to that level yet we did create an awesome prototype around euro but not a full game in audio yeah I'm glad the second look at unreal by the way me personally yeah course it goes to multitasking artist because when you make prototype

the SS models and a like animation and character setup and things like that I happen to work with the couple people that had a long like triple a studio experience and terror a they are multi skilled people so actually we basically had an initial prototype on plot tail which is action RPG we only had like three or four people worked on it but extra people actually support the artists set now obviously the visual style needs to be established meaning that there needs to be a couple keyframe or the mark the high-level concert paintings needs to be done which is a lot of time is it painted by me so pillow two images you see in the slide one on the right is

actually painting I did for Eclipse which is the VR game when you read all the way in you're winning in fast mobile VR and some like one of the best art in the unity VR so in units paints actually he got couple of wars so this slides as an artist you know that first thing I did with the action RPG action RPG prototype was the ds3 three fight arena being connected actually there's a four and then there's a bridge is connecting to the final boss area so with no design help I had to sit down with the engineer basically tell them this is maybe we should try this the camera is gonna follow the character however this is the footprint of the

level design and you can see the middle painting there that sort of materials in how the scale between the arena and then side structures and rock style rock so in I try to kill two birds artists what stone right child provide high level direction on the level design Oh at the same time the art direction here and one of the left obviously that bridge and also some of the rocks shapes the marker I wanted to have a better look at that so I try to draw some of the stuff well look I jump in for one second you're getting yeah I love in the twitch notes I just want to read two things for you really quick one person is like oh my god what a talented artist it was the most recent common SC but once probably that caught my eye about 15 minutes ago I think Don asaurus rex was saying Final Fantasy 9 is a huge part of why I

became a concept artist that game is freaking hard still holds up so these are the people who are getting to you right now like just so you know man you're very much appreciated here oh thank you thank you yeah I mean the work working on a Final Fantasy 9 is a like a such a compact such an intense experience that I had I had to move to Hawaii and oh boy yeah we want to go to how I do you want to finish final finish as welcome to fine French tonight I said well I don't think about it well anyway because you know that was meaning like being like a sponge like I was surrounded with this over 100 developers from Japan Square headquarter and there's a lot of over-the-shoulder

learning because I look at these map illustrators they doing really tight pencil sketches right so that actually translate right here because because I went through that experience on two three years for me to kind of draft like map you know top angle-side-angle things like that it's very comfortable for me so I sat down with Naveen he's a engineer he was going hundred miles an hour he's already blocking stuff out and having cameras and stuff and he's keep asking so what do you what do you want I'm like dude like you would like to do that so it forced me to be I mean there's no Brooke how the design game right I mean that there must be but I took kind of like swinging swinging it so and I can't want to actually expand on that like you know it is one of the biggest things when you transition from a bigger studio to a smaller or even

your own studio is that you mentioned before the resources get very real and you don't really know how to deal with it until you actually have to deal with it where like you don't have the luxury of time to build your dream project you have this much time and you have this much money right and so I think I always feel like as a creative as anybody that's making something when you're designing inside a box you're always gonna come out with something a lot more a lot better right if you really really favor that behind spend with it right if you really enjoy the process now how hard did it hit you when you start realizing like you know we only have 20 people versus 200 plus right to actually put this game together on the

art side like what was uh if you can compare like a time when you were working at any of the games like got a war or Final Fantasy where you felt like he has so many infinite resources well lots of people to work with versus the time when you're sectioning you're like oh yeah this is not the same I got to really think differently yeah so that gap between the different team size is so like so different I mean I couldn't even compare so for me towards the Karo or three or even ascension it just is a massive production meaning not not many people not only many people working on it but each task everyone's working on text long or a long time right so it's just coming together magically because I don't know everything behind the curtain so there's

only sigh who does the sound who does this I I mean it's just such a big scope where to sit more like it's like a you know it compared to like when you actually had to walk in the kitchen you have to make a meal for 10 people and you understand the challenge I think important is knowing the challenge and kind of like running through your head meeting I would say imagine training like like very immediately sources but you always you always connected to each discipline meeting before you know everyone will tell you that's impossible that's possible we won't attempt to your ears open and

that's what I did and because I knew I'm not expert at anything else I when I talk to any mater I cannot tell him hey what can we have five more animation on this when he's saying because these reasons right technical coalition's and the time legions and it really is truly your it to find your reality and but and what you cannot compromise is your your vision meaning what kind of feeling do to you - I want this prototype to show what type of speed what type of like sensual like like feeling right that's something I do have a better taste and a taste because my entire my life being around its meaning you know I I respond more to a movie at least four more to the music I respond more to everything

around me so I really always in tune myself saying that what is that that that drive right and after a while that scope and everything is defined once you know that who who's gonna bring that even further that's a team because now once you say okay I got it like okay this is what we can do which is look at this level here that is actually one of the prototype but that one entire level is put together by intern so all the intern he graduate from Otis so Josiah actually started on this one but this one second level but he he man i sat down his basically is all motivated right but it because of this prototype we have luxury of things everything is not so cleanly put together is kind of sloppy right so

I told them this is how I want it there's a level that steps and then there's a toll is going to come out and there's a lightening happening in the sky and he's like well how do I disguise I'm like well someone has to paint the sky for hawks so it's just really fun everything put here so fast because once you know the limitation yeah and just like you have a Lego block right and you only have ten blocks but how do we make it epic okay just show awesome sky in the back and how do we make it really awesome like decorative awesome place and throw huge banner and how we create the banner and give it to concept guys gonna come up with something cool so so that's the I'm getting too excited so I'm just kind of - laughs okay no this is great stuff like this okay so it's

very true the advantage is worth as small as you're very agile you're able to kind of react and it's the speed even if it's sloppy you get to the finish line I kind of want to sign off to what you said before because you you having experience being an art director and most people I hope don't assume that even if you're a director of any discipline that you know everything right that's impossible I think if anything as an art director you can be visionary you have a sense of where you want to end up but it is a check with all your colleagues to tell you like this is the budget in time this is why we can't and can't not do that but I definitely agree with you like what you can't sacrifice is the vision so more so than saying that we can't do that because of these it's more like how do we get there as close as possible with the resources we have and creatively get to that end point right and I I completely agree with you because as soon as because you

eat being an art director for so long you have bi right to kind of in and the the ability to kind of convey a feeling through whatever medium that you're portraying in this case games I had to uh to sacrifice any of that you just end up with another product on the shelf which is what every artist wants to avoid right every desire yeah and a lot of times your job is keeping feedback so that's in itself it that's just like the full-time job right what are you doing paint over on Photoshop or you're actually sitting in a meeting room and going over process and just try to figure out where the best best way to articulate what your point is right and sometimes that you have to do that you for about five six people sometimes you have to sit down

one-on-one and do it so that is that is that is a full-time job and when I jump into this role as our director and sort of game director I think that I worry about is I don't know much about technical side of game development meaning I don't know much about engine I don't know much about how do you shader I don't know much about character pipeline but what I realize now is if you know how to use these tools the beauty of that is you feedback and communications a lot faster yeah but you cannot you can always cover everything so you also had to overly translate or communicate and screenshot and stuff so I think there's a future art directors

out there how you want to be sort of game direct and also our track together I think get familiar with the engine tool is very helpful and my and things like that and you just have to understand the process that's more important then it you actually sit down and model the object and stuff so let me continue on the slide so once I made a prototype and we had to do the pitch and then doing the pitch can happen in many different ways but one time we had to go to dice and we had to get a hotel room and just marathon of publishers that coming in and we had to have them play the demo and then also talk about to what we want

to do with the gaming stuff and a lot of times these guys what they want to see is how passionate we are in the game because you're asking someone else to pay give money to make your game so you have to really show how help you live believe believe in your game and also how passionate about your game and so called elevator pitch that's like something the kind of cliche but I think it's really important to be able to like get the message across about what your game is by comparing your game to like its Dominator plus you know Diablo something like that that everyone's imagination just start like rolling right and different parties because we're gonna have these features and things like that so and then once you

working on your pitch is you start to think about a lot more than you should which is like when it goes to position for example like these are actually the previous prototype screenshots so this is where I had a personally have a very bad experience because I start to get into numbers and start like China negotiate how to like cut corners and stuff a very stressful part and what I want to tell you guys is straight as shown you just need to do on a sort of general idea of it you don't have to go like granularly all detail on it so here is another game

that kind of right now would shadow construct the game around this idea so it seems like the lineup of character instead me and our character concept guy Brian we worked together on this so I think as art director when you start the game project first of all you need to do the scope of your game and you have to understand the limitation that you're gonna have and then the key gameplay mechanics that you wanna have right but besides that I think what's important is like I talked to you guys before sort of emotional part of the game so heart of

the game meaning the would actually be inside what's the smell was the sound was the the mental like psychological like experience so this game I called a colleague program for now but basically that image on the left you know it's like Great Depression and there's like snow and you know like Prohibition said and there's like gangsters and like that in this time what if we make tower defense game where the gangsters are fighting my demons and things like that right the interesting juxtaposition he said gangsters like us snap all right take my interests yeah so from there and and then you have to before like getting to details you have to communicate with

the team that what your product is what your our study is gonna learn within this some of the examples there are very familiar with the gamers like long dark is great gain Firewatch is beautiful art and then inside is you know the amazing like like level design and such a detail on Lighting's and like timing and all that stuff so all this inspiration came examples and I really need to know where our game is gonna place right so that this 2 page is like where I sat down with the team and basically said I think this is what we how we see our game and then on top of that I also had to bring in some of my moment-to-moment experience meaning what are these characters are and how these characters

are are the heroes and are they what are they going to use and so I mean so this the examples of games are in movies basically movies sort of kind of help me define what I want to achieve in the game waiting for this so in that you know you get into full production so now you got the funding whether is the milestone base or is the investment and then what we did was we we found the producer who has experience and driving the dev team making sure all the disciplines working properly and meeting deadlines and then you know it's like another important thing is recognize a team leader and cheerleader

meaning it is it is team team based like effort right and we had always we need you like there's we have to have a leader and the team morale is like really important thing to carry so like going back to what I said about not knowing character pipeline on also the level building we I knew that tours are the area that I had to rely on someone else so for example like character site is create the things that I didn't know about where how competition dictates everything the follow meaning how the character needs to be designed how the

parts needs to be separated and how needs to be raked and all those things that I even though I worked on God of War I was mainly on the environments I didn't really understand but not only that using the pipeline and how do we get to the Polish level right so basically in the first pass what is the first pass means and how do I see most important thing in the first level and not get caught up with things that kind of still like loose and not ready so I learned from that and also environments environment is like even though I worked on environment a lot depends on the game it needs to put together differently so when Brendan worked on the car Paulo tails we went through some camera issue and that wasn't that wasn't

anyone's fault that was sort of as a art director me not having enough experience having formed the camera is needs to be played first and also later when we worked on of the simple platform game we actually took a very different approach where cameras fully move around but there's no block nothing is blocking on the character I was gonna say C's well if it makes you feel better to blame Brandon like totally we blame each other all the time it feels great I don't know maybe yeah just keep coming back but I love being blamed yeah you know so so you have to be prepared for long haul a meaning is definitely it's gonna be a morale up and

downs and especially like yeah things are moving slow right still here okay so I think that this one is the sorry about this no you're fine actually this hard whatever bank account information so let's break down elements in art direction okay okay in the game side so so first you will be the first higher if you're not director you're the first one working side by crave director to two people right and then you're probably in a hunt for someone who's gonna own third pillar which is engineering so the three three of you three of us is gonna start

building team together and like I said the character pipeline is very connected and what I what I realized is how much animation and the tech art is takes time and versus like modeling right because you think that character model is done and you think it's gonna be pretty much 80% there but animation pretty much animation will be guided and directed by game designer but I did sit in the room and try to listen and try to chime in to how I want to combat movements it's going to be me but I realized it's better to leave it to the expert to figure that out and then the environment

art environmental same thing environment it's also not like character environment art is very different from what from game to game from the side scroll for top-down strategy game to like third person action game right so environment art is very slow process and there's so much stuff to like create from the props to like you know the actually nav maps to what we call it hero props and things like that there's so many things to build so it's really hard to give feedback in early stage but then the

communication and being in tune with artists all the time basically you can oh you can - don't be afraid to ask questions right so basically I go always jump the gun too much let's see hey it's no looks really bad and they're like yeah if you know all those things right hold on let me turn on my other layers boss here you go so and then oftentimes the environment artists art also has so much time that I've to put in - in order to clean their church their levels to keep up with the build schedule right so yeah so as an art director I think yes just

being too and let's keep communicating with teams that's pre porn and then though UI that's let's talk about you a little bit okay so you guys one of those things that I never dealt with before and I mean in a small scale I - yeah go ahead I was going to say in mobile specifically right like it's that's you have less screen to work with your UI has to be even that much more purposeful otherwise you're hurting the experience we can't much exactly so in Mobile the UI is so important and it's not to actually connect the business side of the model and where you place the button and Howie things have certain things like you know stand out so I overly like overly stressed about UI because it's one of the things that you have to look at it for a long time meeting first passes in and instead of react because

you're talking about every day your preference changing and your you have to stand you understand things that has to grow on YouTube so for you I for example I realize is this you have to really sit on it and you have to look look at it and don't don't react too much and because we wanting you don't like you don't have to need to go to UI artist to stop and change the icon things like that yeah and then effects for some reason unfortunate that all our affection artists are almost like self you know they they can just go out and just create stuff even though they personally ask me it'll be awesome if we have some sort of visual direction they can follow which I try to help but I wasn't able to do much but it's really

hard if you are I always try to put myself in that person's shoes you are is something that a lot of times they create a right even the fire effects or even some sort of like electric shock effects they have to come up with their own if they don't have any concept and if someone doesn't like it tend to have to go back to the blank page so here so for example as an art director this particular character is also important as like moving into level and this is really big character and I went to Disneyland and I was looking at this small world and then I really like that design aesthetic so I sketched this out and then this is the constant forest he took my initial idea and finished it

then same thing with the small characters that in this game called awake this is the VR demo we created and then you just have to show the attraction of the character right and then eventually became a final characters I still love those guys and they're here because these games are different but some games are very in our age treatment meaning it's like oh you're kind of tell you a story too like these characters so something like this I to do sketches study board so you need a storyboard not only how the camera the camera is gonna work but also how some of the interaction is gonna happen in this so he's became about sort of a blueprint for the prototype and here is

another example for the UI because yeah so you guys you guys are pretty hard thing to do but again I is easy to make like quick judgment on what you see but I think it patience and it takes time to be able to make a proper judgment on this so I think what I can share with you guys what I did before and what I wanted to change if I do again is a the small game small production iteration it's necessary but you only do it when it's necessary meaning time is very very important part of the production and sometimes you get into the mode where

you want it to just in a very irate for the sake of to wanna see this option right and that's I've done it at Sony I've done it at square sometimes we enter it forever because you know that we they can because they that's why they can make this such a polish games and you know life-changing games but so the games that we make you know we don't have time you have money so we iterate only when it's necessary and everything we have to have our first pass to make a proper judgment so I realized instead of just having meeting and figure out was how to move forward I think a lot of it even the combat design to level design you have to just have to start and then just your change or polish from there and then find leads who can own the pipeline and also especially to our artists our

team they always want to do the best they always want to push the limit they always want to make it better and sometimes a lot of times I I have to be the one said no this is good enough no no no stop working on this is good right so because when you understand the fate of the company or the finance is if you don't have a money to keep going then that the team team is not gonna be around yeah so you have to be the one to make that reality check and how do you I mean so that sounds like there's a lot of pressure though that will obviously fall on your shoulders especially at a Direction level knowing that you're the be-all end-all but you're also the first in line when it comes to okay did we do well did we do not you know handling that stress I guess do you what what's your advice for people who are stepping into that kind of a role or who might

soon be directors themselves like how do you deal with stress or still keeping strong and keeping faith in the event that you might face some adversity well I mean if you take on everything on everything by yourself I think eventually you're gonna go crazy or break down or it's gonna be really hard so I think if you have enough forward resources maybe hire someone who can stay on tune with the finance and the schedule for you because I don't think the creativity and doing that both is is healthy so for my case my partner for doing that so it was more I had a freedom of just focused on what I what I need to do but yeah well Cecil I yeah I

really want to thank you we just have one little bit more time to ask one question from our twitch audience and we want to capture their time again for anybody that's watching you can ask on our Facebook twitch periscope wherever you're watching we do have moderators fielding the questions for you so this is from in develop a question is when you are going from one concept sketch or art style to bring all the other game assets into the project how do you like to design and cast those design styles into each asset for example characters backgrounds props etc I'm sorry can you defeat that question we asked so when you are going from one concept sketch or Arcel to bringing all the other game assets into the project huh you like to design those styles into

each asset any when it's specifically characters background props etc that's also a question yes but I pasted pretty straightforward - right yeah first of all I I try to find the good examples to mimic that what I try to achieve it doesn't have to be games it could be comic book or it could be anything but then I think a lot of the a lot of the style has to do with the shape language for example you could use more curves and you could use more realistic details or you could use more angular shapes right so that those are those and then you know and then you can get into colors and contrast and now what kind of texture you want to use but I usually

try to find some of the tone that I that could be representing the direction that I want to do for example like when you say Mobius right if you look at movies as art it's very like detailed but it's very line based and it doesn't feel aggressive it feels more sophisticated and you know so from there I try to achieve how do I achieve that right so those are my way i approaching things so putting a block program that game is strictly try to bring in what I felt from the plan in the game the limbo not limbo what is that game inside inside inside and also teen

fortress right it's kind of like because for me is like that'll be so awesome if I play that kind of game so it starts from me wanting to the play the game but the visual wise I try to find the examples and then ya go from there does that answer question yes it does man Cecil so again we have the honor of sitting with you spending time with you hearing about your journey hearing about what your experience is telling you and what you can share with our audience so you already know we have nothing but respect for you and we appreciate that you oh yeah come on and do this with us so thank you very your in our industry yes a solo before we let you go of course everybody can follow Cecil at 16 studios you can see the Twitter handle

right there and but see so if you have anything else to kind of tell our Watchers viewers and listeners out there where do you want them to go this this is yours this is your time I what I want to say is if you want to try to get the game and just do it and job market is hot and especially if you want to be an artist for games go for it like making art is the best thing and it's globally happening so it's great and just communication the key so it's like just learn how to communicate even I can communicate you know I mean I English is not my first language but the genuine good person humble communication is always the key and if you want to start your own business or to your games just have to remember it's very very very risky with

industry you know business bigger risk capital reward meaning 90% fails so I just have to put the way to do it is you just have to pay attention to who you know and just you guys gotta have a you're what we call it we call it wingman right like if you're not in so you have to enjoy engineer if you're engineer you're an artist because that those the important to the discipline if you put your head down work hard and when time is right you guys can attract publishers attention or investors what your point thing is you have to be a good person and and one of the things I want to say is who you who you are is what you want meaning you know I mean don't don't be

shy from chasing what you want to achieve you know I'm already past the time so I guess okay yeah and you know it's like be humble and there's so many people try to help you if I even though I go GDC when I also making a mobile game there's so many people came to me and try to give me advice and otherwise like precious you know just how to improvement it because we ran our time and stuff but and then yeah so just gained the gaming industry make more games together if you get a chance to go work for Cecil and the good folks at section I would say do it oh it's like he's so like yeah I definitely co-signed go helping out over there good people in there you'll learn a lot if anything you'll definitely learn a lot I see how the cost of team works underneath you men so okay alright Cecil I know get more okay I do it's great having you all right okay thank you guys [Music]

you [Music]