{"id":1095809,"date":"2025-04-23T10:09:00","date_gmt":"2025-04-23T09:09:00","guid":{"rendered":"https:\/\/theaoi.com\/?post_type=inside-illustration&p=1095809"},"modified":"2025-05-12T16:55:32","modified_gmt":"2025-05-12T15:55:32","slug":"indie-vs-triple-a-games","status":"publish","type":"inside-illustration","link":"https:\/\/theaoi.com\/inside-illustration\/illustration-for-gaming-season\/indie-vs-triple-a-games\/","title":{"rendered":"Article Indie vs Triple-A games"},"content":{"rendered":"\n

Indie vs. Triple-A games – insights into the gaming industry<\/h2>\n\n\n\n
<\/div>\n\n\n\n

The gaming industry is big business across AAA and Indie games, and working on the visuals side offers roles that range from the highly specialised to ones that allow for more creative freedom. Dr Alina Potemska<\/a>, researcher and lecturer in games art speaks to Yaroslav Odnorogov and Rich Harper about critical thinking, specialisation, software and where to start.<\/h4>\n\n\n\n
<\/div>\n\n\n\n
\"\"
Yaroslav Odnorogov, Lisbon earthquake, concept art, Assassin’s Creed Rogue<\/a><\/em>, Ubisoft<\/figcaption><\/figure>\n\n\n\n

When we talk of video games, many might think of The Witcher<\/a><\/em>, The Last of Us<\/a><\/em>, or Cyberpunk 2077<\/a><\/em>, which are all examples of AAA production. The Triple-A label is used for games developed in large studios with high budgets, high-fidelity production values, and significant marketing. At the same time there is a blossoming indie games sector which publishes independently developed games, usually made by small teams or individuals without major publisher funding. They often focus on creativity and unique mechanics, allowing experimental, creative expression, which is almost unthinkable in big corporations.<\/p>\n\n\n\n

The gaming industry has become a phenomenon, with the attractive number of one third of the population playing games, with over 3.3 billion players worldwide. In 2023, it generated a record $184 billion<\/a> in revenue, surpassing earnings of the film and music industries combined. As technology advances with AI, cloud gaming, and subscription services, the industry is projected to hit $200 billion by 2025. Despite the industry’s growth, the gaming sector is facing similar challenges to much of the entertainment industries, with some studios closing and game projects being cancelled.<\/p>\n\n\n\n

However, in 2024, the indie game market<\/a> achieved significant milestones, with indie games representing 58%<\/a> of releases compared to 42% for AAA and AA games, particularly on popular platforms like Steam<\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Sea of Thieves<\/a><\/em>, 2025 Edition, Rare Ltd, Xbox Game Studios<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

To dive into the realities between both worlds, and for illustrators looking to transition into the gaming industry and explore potential niches, we\u2019ve had a wider conversion with Art Director, Yaroslav Odnorogov, and Principal Technical Artist, Rich Harper, discussing their insights into the industry and what artists should be aware of.<\/p>\n\n\n\n

Yaroslav Odnorogov<\/a>, an Art Director at Splash Damage<\/a> with over a decade of experience in games, film, and production design, has led creative direction and concept development for AAA and indie titles. Splash Damage is a British studio known for multiplayer FPS games, publishing Gears Tactics<\/a><\/em> and Halo: The Master Chief Collection<\/a><\/em>. Recently, they announced Project Astrid<\/em><\/a>, a AAA open-world survival game. <\/p>\n\n\n\n

Rich Harper<\/a> is Principal Technical Artist at Rare<\/a> \/ Xbox \/ Microsoft and is currently developing Everwild<\/a>. With prior experience in academia and VFX, Rich has expertise in imaging technologies, photogrammetry (converting photos into 3D models), colour science, and tools development.
Rare is a British game studio founded in 1985 and known for its rich history, innovation and strong legacy in the industry. Partnering with Nintendo, Rare developed iconic classics like Donkey Kong Country<\/em><\/a>, Banjo-Kazooie<\/em><\/a>, GoldenEye 007<\/em><\/a>. Microsoft acquired Rare <\/em>in 2002, shifting its focus on to titles for Xbox. The studio has around 300 employees and also known for a widely appreciated open-world pirate adventure Sea of Thieves<\/a><\/em> (below).<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Sea of Thieves<\/a><\/em>, 2025 Edition, Rare Ltd, Xbox Game Studios<\/figcaption><\/figure>\n\n\n\n

 <\/p>\n\n\n\n

Companies in between AAA and AA  <\/h2>\n\n\n\n
<\/div>\n\n\n\n

Splash Damage<\/em> has a history of developing high-quality AAA games like Quake<\/em>, Wolfenstein<\/em>, and Gears of War<\/em>, but they’ve also worked on stylised games. They are positioned between AAA and smaller-scale developers.<\/p>\n\n\n\n

\u201cSplash Damage is a bit of a both,\u201d says Yaro,\u201d More on the side of higher quality polished AAA for sure, but just because of the list of their past projects. But that doesn’t discard the fact that Splash Damage has done Outcasters<\/em><\/a> specifically for Google Stadia<\/a> (below), which was an exclusive. It’s a heavily stylised game with art style done for a specific product type that serves the needs of that product.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/a>
Outcasters<\/em>, Splash Damage & Google Stadia<\/figcaption><\/figure>\n\n\n\n

\u201cLet\u2019s take Journey<\/a><\/em>, he adds,”It\u2019s an indie adventure game developed by Thatgamecompany, and published by Sony Computer Entertainment for the PlayStation 3 (below). It uses a very interesting art style to emphasise the satisfaction or feeling of locomotion in the game, where you are as a player represented as a flying carpet that smoothly rides through the dunes and hills of the mountains, and the art style of that game is very helpful in translating the feeling of the smooth locomotion in the game. It’s a choice that’s been done very smartly to represent these components and make them work well together. So it’s not just an artistic aspiration of one person. The whole game was developed by a smart, small group of people. It’s like well-crafted cuisine that needs very correct components to be put together.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/a>
Journey<\/em>, Thatgamecompany, Sony Computer Entertainment<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Where to start?<\/h2>\n\n\n\n
<\/div>\n\n\n\n

Approaching big companies can be one of an illustrator\u2019s strategies, but keep in mind that it will take you longer to polish the skillset you will need to specialise in an AAA company. It can be be a good idea to look into indie games, not only because it’s a low entry level, but also because there is a lot more dynamic change happening in that part of the industry.<\/p>\n\n\n\n

\u201cI think the modern industry is transforming \u2014 orientating from big games to something that is much more niche,\u201d emphasises Yaro, \u201cBecause indie projects are exploring all sorts of different ideas. They are iterated upon very quickly. They don’t cost too much. But they can significantly shift the landscape in the game design field. And art is supposed to be supportive of any game idea that game designers put in it.\u201d<\/p>\n\n\n\n

\u201cOrientation towards big companies, big studios, or even successful projects should not inform your choices, both in career or in art style,\u201d he advises, “Because once something has become very successful, to replicate that success using the same tools is practically impossible.\u201d
Rich introduced a unique internship model<\/a> in Rare<\/em>, where applicants are given the opportunity to apply for paid internships with a focus on diversity and removing barriers. Interns are considered as full-time employees during the year-long program. Interestingly, around 15% of staff have previously been interns.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Experienced illustrator vs Aspiring game artist<\/h2>\n\n\n\n
<\/div>\n\n\n\n

Studying aspects that are important for a potential role is critical, because everything in this area is based, hopefully, on the principle of meritocracy. It\u2019s a competitive area, so if you are a motion designer, or illustrator, or animator, your core skill is your best tool for dealing with projects and any troubleshooting that may arise. <\/p>\n\n\n\n

When Yaro was tailoring his concept art skills, he aimed to make work that covered most of the topics in that area. Working on the level of stylisation of his art, understanding software, learning techniques, researching the market and the projects that inspired him.<\/p>\n\n\n\n

\u201cIt’s important to remember as well,\u2019 he emphasises , \u2018alongside you developing your art, that critical thinking is extremely important. But you also have to keep in mind that the time spent on doing artwork is something that a hiring manager will take into account, so there has to be a balance between the quality of work that you’re trying to achieve by investing your time in it, and your ability to do the same thing within the production environment. You will be set time frames for any task execution, and you need to be aware of the quality of work you can produce in that time. It\u2019s a balance between the time available and what you can achieve in that time.\u201d<\/p>\n\n\n\n

Not every illustrator or concept artist in games is expected, especially at the entry-level, to know how to perfectly develop a human character, a whimsical creature, or a good environment, \u201cBut they have to have a certain level of expertise in at least one or two of those topics, to be able to overcome the first entry-level step to work in the studio.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Yarosla Odnorogov, Crowd<\/em>, personal work<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Teamwork<\/h2>\n\n\n\n
<\/div>\n\n\n\n

In contrast to an individual illustrator’s work, the games artist\u2019s role is very team oriented. Rich shared, \u201cIf I don’t have the skill set to push something forwards, it\u2019s beneficial for the company to let someone else to do the job.\u201d So if it takes 20 hours to do something that takes someone else one hour, that person should do it.<\/p>\n\n\n\n

\u201cIf you’re tasked with creating realistic, volumetric clouds in Unreal Engine, for example, you can start by referencing some concept art, which you, as a technical artist, have access to. First, you\u2019ll research how other games have handled similar tasks, watch GDC<\/a> or SIGGRAPH<\/a> talks, and gather a range of images to define the direction. You\u2019ll create a mood board, show it to your art director, and they\u2019ll highlight what works. From there, you refine the design to align with the original concept.\u201d<\/p>\n\n\n\n

\u201cIf you\u2019re collaborating with a colleague on something more artistic, you’ll provide technical solutions to support their expertise. Similarly, they might assist you with the artistic side, allowing everyone to grow and improve together. Being an illustrator can be helpful in this process, as it gives you an understanding of lighting and how to create realistic objects really quickly. What might take hours for me as a technical artist can sometimes be an immediate solution for an illustrator.\u201d<\/p>\n\n\n\n

This cross-disciplinary, collaborative approach helps everyone grow their skills, blending both technical and artistic knowledge in the process.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Specialisation<\/h2>\n\n\n\n
<\/div>\n\n\n\n

Typically, at larger studios, roles become highly specialised. For example, in a AAA studio, a technical artist might focus primarily on environment technical art with tools, whereas in a smaller studio or indie environment, a generalist role might be required, involving tasks like animation, sculpting, and painting. <\/p>\n\n\n\n

Specialisation in a AAA studio can make it challenging for those without the specific skill sets the studio demands. For instance, if an artist doesn\u2019t already have experience with specialised packages like Substance, or ZBrush for sculpting and painting, it can be difficult to integrate them into the workflow. The hiring process at this level focuses around solving specific problems, and studios often want to hire individuals who already possess the right expertise to tackle those challenges.<\/p>\n\n\n\n

\u201cIf I was doing an indie type of project, my role wouldn’t really exist, I’d be a generalist,\u2019 says Rich, \u201cSo I’d be doing animation as well, and some sculpting and painting and drawing and things like that. But if I was to do my role as a technical artist at an AA studio, then I’d probably be doing some visual effects work. I would do some shader work. I’ll be doing much more arty things, possibly across multiple projects. So there’s that consideration for a pyramid skillset narrowing down at AAA, which makes it really difficult if you’ve not got that specialised skillset. As I work on the technical side of environment art with mostly tools, that’s really narrow.\u201c<\/p>\n\n\n\n

At <\/em>Rare, game artists are expected to be skilled with tools like Blender<\/a>. If the artist is good at modeling and sculpting in Blender, learning other software like Maya<\/a> is easy. The real challenge is improving your skills. For example, it is important being able to work with 3D models and paint over them, knowing how to utilise screenshots from Unreal Engine<\/a> for concept art.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Yaroslav Odnorogov, Sketchbook drawings<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Software knowledge<\/h2>\n\n\n\n
<\/div>\n\n\n\n

There is a lot of good news software wise. First of all, many of the essential tools used in the industry are free or offer free alternatives. For instance, Unreal Engine and Blender are offering free licence with access to powerful features for 3D modeling and sculpting. Even tools like Krita<\/a>, used for texture painting, are free and capable of achieving professional-level results. This accessibility opens the door for aspiring artists to build skills and portfolios using industry-standard tools without the financial barrier, allowing them to enter the field and demonstrate their abilities through practical, hands-on experience.<\/p>\n\n\n\n

At <\/em>Splash Damage, <\/em>you would be expected to master one or two software kits that are critical for your job. For most of the concept artists and illustrators, it’s Photoshop and any equivalent of that. At the same time, it\u2019s in an applicant\u2019s interest to build up their skill set and knowledge of different software, because it can help make a job quicker or more effective, giving you some shortcuts and advancements.<\/p>\n\n\n\n

<\/div>\n\n\n\n

2D or 3D?<\/h2>\n\n\n\n
<\/div>\n\n\n\n

There is a growing trend of 2D artists incorporating 3D into their work, mainly to leverage pre-made content and enhance their artwork. However, Yaro emphasises that the core skill for any illustrator is the ability to draw, ideally by hand. Drawing helps artists better analyse and learn through their mistakes, a crucial experience for any future role, even if they later transition to 3D work. While 3D software is not necessary for creating basic 2D illustrations, tools like 3D can assist with perspective, particularly for dynamic compositions like fight scenes. For less experienced artists, using 3D blockouts can be a helpful aid in creating accurate and compelling images, but mastering drawing skills remains essential for long-term success.<\/p>\n\n\n\n

Managing his group of game artists, Yaro notes, \u201cYou don’t really use much of the sophisticated software like 3D, for example. You don’t use much of the engine. You just use your round brush in Photoshop, your tablet, and white canvas. One of the tools that you can use whilst making these type of images is 3D for ease of perspective. If you’re able to do that all by hand, using your imagination and knowledge of how to craft these type of images, that\u2019s perfect. Then you’re probably a master with 10-15 years of experience. But if you are a striving artist, then you probably will help yourself by using basic blockouts in 3D.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
<\/div>\n\n\n\n
\n
<\/div>\n\n\n\n
\n
\"\"
Yaroslav Odnorogov, Sketchbook drawings<\/figcaption><\/figure>\n<\/div>\n\n\n\n
<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

The transition from high-polished realistic projects to indie quirky art styles<\/h2>\n\n\n\n
<\/div>\n\n\n\n

When considering stylised and realistic art, most game artists will find themselves somewhere in between, rather than constantly switching between both. In AAA there is a high level of artistic fidelity, preciseness and crispness of models, textures, and art in general, which are usually created by a big team.<\/p>\n\n\n\n

Talking from his own experience transitioning from an artist initially working on casual and mobile games and transitioning to AAA, Yaro states: \u201cThere are very, very rare cases when the artist is able to do both on each extreme side of that spectrum. I tried it myself. I think I got to a certain degree of success by making stylised art as well as making realistic art. But it didn’t come from my personal artistic desire. But that might not be a case for everyone. When you’re really, really good at what you do, and you have a stable job, you have delivered a few successful projects, you have a lot of work in your portfolio, that is the point where you can actually look around and see what else you can do. Maybe you can do a good animation or shift into a slightly different style level, or stylisation level, or in a completely different visual style. You have to be realistic with your goals and approaches and be smart about your time.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n

Will AI take away Junior roles in gaming?<\/h2>\n\n\n\n
<\/div>\n\n\n\n

A commonly discussed challenge in the industry is what will happen to junior roles with the evolution of AI. Junior roles have traditionally been seen as opportunities for long-term development, where artists can improve both technically and creatively over time. <\/p>\n\n\n\n

For the indie world, it makes designing games more accessible, with advancements in tools like AI and simplified software, allowing creative professionals to focus more on the essence of play and narrative. While technical mastery is important, the focus remains on the ability to learn, adapt, and contribute creatively.<\/p>\n\n\n\n

Rich underlines, \u201cIt’s so much easier to teach technical proficiency than it is soul or emotion, and that’s why we’re in this point of not a lot of roles for juniors.” He emphasises that this brings up two issues: firstly, the juniors don’t develop the experience to tell the stories, and this aspect is becoming more and more important. The other one is that technical proficiency is harder to gain without the experience.<\/p>\n\n\n\n

Another tendency is hiring specialists from sister industries, such as designers with backgrounds in avant-garde theatre or museum work, who can bring unique storytelling abilities to the table. \u201cSo we need people that can solve these problems in weird ways,\u201d Rich continues,  \u201cImagine you are given the choice; you go for the interesting person that can raise your product above what everyone else is doing \u2014 a lot of the time over the technical expertise you would get from a senior or higher employee. You wouldn’t want it from a junior. So for juniors with interesting work, you’re a person that I want to have around in five years time because you’re going to get good: technically, in those five years time, and then [also] the way that you think. I think that’s why we are hiring people more and more from sister industries.\u201d<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"<\/a>
Yaroslav Odnorogov, River stucco colour exploration concept, Gears 5<\/em>,<\/a> The Coalition, Xbox Game Studios<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

In conclusion, the gaming industry offers exciting paths for illustrators transitioning into game art. Whether in AAA studios or indie games, both worlds present unique opportunities for growth. However, it\u2019s important to keep in mind that AAA studios focus on specialised roles with a pyramid of skill set narrowing down, while in indie studios artists will be having creative freedom, wearing multiple hats.<\/p>\n\n\n\n

For illustrators entering game art, mastering drawing and concept art is essential, along with specific software usage skillsets. For some studios like Splash Damage<\/em>, the core drawing skill set and confident Photoshop knowledge with convincing portfolio could be enough, whereas some studios like Rare<\/em> will expect an expertise in tools like ZBrush, but will be open to supporting your transition to tools like Maya and Substance packages. Some other studios would expect knowledge of tools like Blender or Unreal Engine.<\/p>\n\n\n\n

As in any creative industry, the ability to tell a compelling story and think outside the box is increasingly valued. Slowly, but surely there are signs that industry is evolving towards a deeper focus on creativity, behavioral psychology, and authentic design, which will be valued more and more.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Dr Alina Potemska<\/a> is an illustrator, lecturer in games art, game designer and researcher.<\/p>\n\n\n\n

<\/p>\n\n\n\n

AOI Members have access to all Inside Illustration content<\/em> – explore it fully now.<\/a><\/p>\n\n\n\n

Links in this article are supplied for information only. AOI does not endorse any products or offers contained via them.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Read More<\/strong><\/p>\n\n\n\n

Infinite Interpretations<\/a> – Fashion Illustration<\/p>\n\n\n\n

Depicting the story<\/a> – Illustration for Publishing: Book Covers<\/p>\n\n\n\n

Illustration in the physical world<\/a> – Site Specific illustration<\/p>\n\n\n\n

Almost anything is possible<\/a> – Illustration for Children<\/p>\n\n\n\n

Branding is <\/a>Personal<\/a> – Branding Illustration<\/p>\n\n\n\n

Motion in Editorial<\/a> – Editorial animation<\/p>\n\n\n\n

<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Indie vs. Triple-A games – insights into the gaming industry The gaming industry is big business across AAA and Indie games, and working on the visuals side offers roles that […]<\/p>\n","protected":false},"featured_media":1096571,"parent":1092002,"menu_order":2,"template":"","class_list":["post-1095809","inside-illustration","type-inside-illustration","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/inside-illustration\/1095809","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/inside-illustration"}],"about":[{"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/types\/inside-illustration"}],"up":[{"embeddable":true,"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/inside-illustration\/1092002"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/media\/1096571"}],"wp:attachment":[{"href":"https:\/\/theaoi.com\/wp-json\/wp\/v2\/media?parent=1095809"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}