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Nate Wells, Epic Games artwork director and former artist on Looking Glass Studios classics like Thief: The Dark Project and System Shock 2, stated in this week’s episode of the Nightdive Studios Deep Dive podcast that the ecosystem of video games artists the place he began his profession is extinct. In its place is a panorama of artists who’re extra expert than ever—however it’s a panorama the place it is more durable than ever to face out.
“Young artists who are either new to the business or trying to get into the business ask me questions like, ‘How did you get into it?'” Wells stated within the interview. “And my answer is ‘The way I got in does not exist anymore.'”
Wells stated he—a self-taught artist—entered the video games business in an period when profession paths hadn’t been formalized. Because the expectations and trajectories for video games growth professions had been nonetheless being charted, artists who entered the business had been drawing on a wider vary of educational {and professional} backgrounds, and their histories flavored the aesthetics they created.
“None of us were experts. We all came in from completely different disciplines,” Wells stated. In his case, these disciplines concerned lots of yeast DNA.
“For the artist side of things, almost all of us came from other places. I was premed—biochemistry and anthropology,” Wells stated. “I focused on genetics mostly, working with brewer’s yeast.”
As an instance, Wells stated his biochem and genetics background immediately knowledgeable the vibe and ambiance of Bioshock. In manufacturing briefings, he steered the title and idea for its plasmid talents based mostly on the real-life DNA molecules accountable for introducing genes into current genomes.
“A lot of us studied English and literature and history and—for me—anthropology and archaeology, and we brought all that to bear and we still bring it to bear,” Wells stated.
In comparability, artists coming into the business at the moment get pleasure from a long time of further assets, technical theories, and formal coaching to orient themselves. But Wells says these clearer expectations have produced a narrowing pool of aesthetic influences.
“It’s not uncommon for artists that I meet now getting into the industry to have thought about and been inspired by nothing but videogames and anime,” Wells stated. “In many cases, they’re executing art at the highest level. They grew up in the shadow of ArtStation. They knew the quality they had to hit. They knew what was hot. They were able to follow all the best concept artists and some courses online and really refine their craft.
“But I believe the factor that’s nonetheless uncommon and treasured is the core concepts that underpin all the pieces.”
Essentially, Wells said, it’s hard to make videogames that don’t look and feel like most other videogames if all you’re looking at is videogames. It’s a sentiment that was recently shared by lead Diablo artists, who said the best way to make good Diablo art is to expose yourself to aesthetic influences that aren’t Diablo.
Unfortunately, because industry expectations have become more defined, it’s likewise become more difficult to find a foothold when your background doesn’t fall within those norms. Luckily, Wells said, you can develop a broader aesthetic palette without having a history in biochemistry.
“When you see actually attention-grabbing work, it is as a result of it appears to come back from some other place: an curiosity in historical past, an curiosity in science,” Wells said. “Touch grass, learn a ebook, throw a ball, get tackled infrequently. Get in not less than one battle. Learn how you can dance. Play the piano.”
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