How Blasphemous Was Made: An Interview with the Game's Artist and Animator

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Andrey Gogia is a talented artist and animator from Russia who actively collaborated with The Game Kitchen studio on the development of the first part of the Blasphemous game. This project, distinguished by atmospheric Metroidvania gameplay and inspired by Spanish folklore, became a significant milestone in the gaming industry. Despite participating in the creation of the second part, Gogia left the studio a year before its release due to disagreement with the publisher's policies. He is currently focused on developing his solo project, the fighting game "Chukovishcha," based on the fairy tales of Korney Chukovsky. This new project promises to be unique and engaging, combining elements of traditional folklore with modern gameplay mechanics. We sat down with Gogia to understand the animator's workflow, whether his approach to developing Blasphemous 2 has changed since the success of the first game, and to uncover the secrets of his spectacular pixel animation. I'm curious about the new techniques and methods implemented to make the game even more appealing to players.

You mentioned that you haven't been involved in the development of Blasphemous 2 for the past year and that your influence on the project has been minimal. Specifically, your approach to cutscenes has changed. Can you elaborate on this? What exactly remains of your ideas, what is the new approach to creating cutscenes, and how were they originally planned?

We initially created pixel scenes, like in the first game. For the first game, I worked on them myself, based on the storyboard. However, action scenes with a flying camera were rare and required considerable effort.

For the sequel, the producer was looking for ways to speed up animation production. To this end, a scheme was tested in which one artist develops a scene template using 3D models or non-pixel lines. A second artist, based on this template, creates key pixel frames. Then, using the EbSynth neural network, it is planned to convert these elements into pixel video. This approach significantly reduces animation production time and improves the quality of the final product.

Mauri (Mauricio Garcia, founder of The Game Kitchen) communicated with the developers of the neural network, which demonstrated interesting but unsuccessful results in test animations. In particular, the neural network turned out to be completely unsuitable for creating pixel art. In an example of early tests, you can see how it processes the animation of a flying ball. The ball moves for several frames, maintaining perspective, but without textures and lighting. We paint only a few key frames, and in theory the neural network should fill in the intermediate frames using complex algorithms. However, in practice, this did not produce the expected results.

We conducted testing to evaluate how the device reacts to changes in lighting created by a moving ball. The study showed that the system successfully adapts to various lighting conditions, ensuring stable operation and accuracy in object tracking.

I created small scenes using ancient methods.

During the experimental period, studies were conducted aimed at studying various aspects. The main focus was on the analysis of new approaches and methods. This time became an important stage in the search for innovative solutions and the expansion of knowledge in a certain area.

As a result, it took me significantly longer than if I had created everything from scratch. I tweaked every frame generated by the neural network, but still added classic frame-by-frame animations for complex elements, lighting, and other details. Furthermore, the overly smooth 3D base of the pixel art made it look out of place, which also required my intervention and refinement.

The animation is created by hand, despite the use of a variety of tools. When working with the wings, legs, and tail, we sought to optimize the process to avoid wasting unnecessary time. Ultimately, the result leaves a feeling of incompleteness, as if tool marks are still present in the animation. Experimenting with movement allowed us to better understand how to achieve the desired effect in a short period of time, but the work still requires careful attention to detail.

In the first part of the project, we created animations without any particular difficulties. However, in the second season, our search and experimentation were not driven by a desire to simplify the work or save money. The main reason for this was the desire to meet the established deadlines without sacrificing the quality of the animation in cutscenes and other tasks. We strive for a balance between efficiency and high quality execution, which allows us to successfully complete the project on time.

Later, the team decided to create a separate studio that developed the cutscenes featured in the current version of the game. This decision was made not out of a desire to save money, but to allocate time to polish other aspects of the game.

The Game Kitchen team responded to my departure with understanding. My departure was a challenge for them, but they continued working on the project. Changes to the cutscenes were prompted not only by my departure, but also by a desire to improve the overall quality of the game. The team focused on refining the script and visual design to make the story more engaging and immersive for players. My departure became a catalyst for changes that ultimately positively impacted the final product.

For the first time, I decided to take a sabbatical and explained why it was necessary. My colleagues suggested various options, but at the time, I felt it would be beneficial for the development of Blasphemous 2 if I devoted time exclusively to my personal projects. This allowed me to focus on the creative process and bring fresh ideas to the future game.

While working on the first game, the DLC pack, and the sequel, I accumulated a multitude of ideas that I explored in my free time. However, I couldn't seriously pursue them alongside Blasphemous. One project inevitably begins to occupy all my thoughts; you wake up with new ideas about it and become completely immersed in it. The second project, despite all my efforts, often feels more like an obligation than an expression of creative inspiration.

All the tasks on Blasphemous, with the exception of working with the neural network, were creative and exciting. I didn't want to lose this creative drive by combining work on the project with other activities. I strive to create art inspired by a love for what I do, not just perform tasks mechanically.

I explained that I needed to sort out current projects over the next few months, after which we could discuss next steps. At that point, I wasn't planning on implementing any major projects, and the "Chukovishcha" project was conceived as a short animated sketch. I expected to quickly create several such projects over the course of six months or a year and then return to our agreement with the studio.

Most likely, the cutscenes weren't reworked solely because of my departure. Due to a combination of factors, it was likely decided not to risk the quality of the entire game and to hand over the creation of the animated scenes to a separate studio. This allowed us to focus on other aspects of the project, thereby ensuring the stability and high quality of the final product.

In terms of its impact on the overall project, judging by the reviews and the first hours of my playthrough, my departure contributed to the game reaching new heights that previously seemed unattainable.

Do you still keep in touch with the studio? Perhaps they had questions or asked you for advice later?

Yes, of course. We often communicate with Enrique Cabeza, the studio's art director and narrative designer. We consulted on a number of stylistic aspects. The new game takes a different approach to enemy and boss animations compared to the first part. This approach is truly impressive, but it required a slight stylistic adaptation.

Pixel art offers a lot of possibilities for drawing and animation, creating a unique feel. The sequel has a classic stop-motion animation atmosphere, which is unfortunately often missing from modern 2D games. This style is very close to me, but in some cases, especially for large developers, it is necessary to search for solutions for a harmonious combination of pixel aesthetics with mechanics, as is done in Blasphemous.

Critics note that Blasphemous 2 surpasses its predecessor in every aspect. What is your opinion? I'm especially interested in what you think of the art style and animation in the game.

Right now I'm enjoying the process of playing the game. There are some compromises in the approach to level design, but they are justified. These changes made the platforming much clearer and more intuitive, which improved the overall experience.

The mob animations in the game have a more cartoonish style compared to the first game, and I really like that choice. Interestingly, the character animation approach reminiscent of Sega games like Aladdin or Earthworm Jim is rarely used in modern games. While such animation creates a sense of life and uniqueness, its use has become rare. Modern technology makes it much easier to create such animations than before, and they give the characters a unique charisma, creating a bright and memorable impression.

This style is characterized by clean, minimalist design and moderate textures, which makes it less overwhelming. However, it has a certain appeal: the enemy movements are pleasant to watch, they do not cause fatigue.

This approach to animation is neither better nor worse than others, but it is precisely this that I currently miss. Blasphemous II, while maintaining its dark and bloody atmosphere, surprisingly satisfied my nostalgia for games with worms, Jim, and Aladdin. The path of the Regrettable Miracle truly defies explanation.

The technical aspects of the first game were impressive, and it's difficult to definitively determine whether it's better or worse. For now, I'm enjoying the thrills of the second game.

Understanding the changes to Prince of Persia's gameplay evokes a variety of emotions. Reducing the lethal force of the spikes, which previously instantly killed characters, feels like a betrayal of the game's original intent. This change, driven by the developers' desire to make the game more accessible, may disappoint dedicated fans. It's important to preserve the spirit of the original, as the challenge and tension of the gameplay are what attracted generations of players. Prince of Persia fans are hoping for a return to the traditional elements that made the game iconic.

In an interview on DTF, you shared your experience using dumbbells on your legs to better understand the behavior of one of the bosses in the first Blasphemous, and also talked about your training with a shovel. Were there any similarly interesting experiments during the development of the second part of the game?

The experience of watching a friend feed children using a special device for attaching a breast turned out to be useful in certain situations.

For the sequel, I focused on creating cutscenes and designing various NPCs, and also worked on animating a less challenging boss. The characters turned out interesting, but due to the limitations in their movements, it was not possible to experiment with animation.

Currently, I'm more focused on the "Chukovishcha" project. I'm currently figuring out how a massive 50-foot ballerina in a fly-like spacesuit would navigate combat. However, humanity probably isn't ready for my videos of this process yet.

Following the successful release of the first game, the studio reconsidered its development approach. They incorporated the lessons learned and mistakes made during the previous project. As a result, the team has increased attention to detail and improved testing processes, which minimizes bugs and improves the quality of the final product. Furthermore, a decision was made to more actively engage the player community early in development to incorporate their feedback and suggestions. This allows for a deeper and more engaging gameplay experience that will meet audience expectations.

The approach to platforming and combat has undergone a change, which is reflected in the game's visual design. To improve the readability of platform boundaries, their pseudo-perspective was changed, making the contact area with the edge more noticeable. Enrique, the creative director and author of the world and lore, also took on responsibilities for game design and combat mechanics development. His dedication and persistence made these changes a success.

He's quite exhausted right now, but it was worth it. If you feel like writing him something nice during your playthrough, feel free to do so. If you have reason for constructive criticism, it's best to wait a bit and not burden him. He's just put a lot of effort into his work. Besides, the team knows how to improve the game with expansions.

The artist and animator pipeline includes several key stages that allow for the creation of high-quality game characters, including NPCs and bosses. The main stages of the process include concept art, modeling, texturing, animation, and integration into the game environment.

In the initial stage, the artist creates concept art that represents the overall vision of the character. This stage includes sketches, choosing a color palette, and detailed elaboration of the appearance. For example, if we are considering an NPC from Blasphemous, the artist might start by creating various design options to determine which style and details best suit the game's atmosphere.

The next stage is modeling. Here, a 3D artist creates a volumetric model of the character based on the approved concept. NPC and boss models require a high level of detail to match the visual style of Blasphemous.

After modeling, the texturing stage begins. The artist applies textures to the model, giving it a realistic appearance. It is important to take into account lighting features and materials so that the characters fit organically into the game world.

Next comes animation. An animator creates the character's movements, including walking, attacks, and other actions. Using animation tools such as skeletal animation, the animator brings the character to life, making their interactions with the player more engaging.

The final stage is integration into the game environment. At this stage, developers implement the character into the game, testing its interactions with the environment and other game elements. This includes fixing bugs and optimizing the character to ensure smooth gameplay.

Thus, the artist and animator pipeline is a complex process that requires the collaboration of various specialists to create memorable and high-quality characters in video games like Blasphemous.

Blasphemous is a game in which every element is thought out to the smallest detail. It invites players to immerse themselves in a dark, atmospheric world filled with challenging enemies and intricate levels. Every aspect of the game, from design to mechanics, creates a unique experience that attracts attention and holds interest. Players will explore a variety of locations, solve puzzles, and fight powerful bosses. Blasphemous combines platformer and RPG elements, making it appealing to a wide audience. Not only does this game offer engaging gameplay, but it also tells a deep, nuanced story, making it a true work of art in the world of video games.

You are given tasks for a two-week sprint. You may also be offered useful materials, such as reference images, concept art, and cutscene storyboards, if available. These resources help better understand the project's requirements and meet expectations.

Sometimes you'll find ready-made pixel character sprites, which significantly simplifies the development process. This eliminates the need to spend time choosing colors and worrying about not ruining the concept artist's ideas. Although I'm not aware of any examples of using ready-made sprites in the sequels, it's worth noting that the character sprite for the main menu of one of the first game's DLCs was created by Katya Rudenok. My task was only to animate and bring this sprite to life.

Depending on the task and mood It's important to choose the right method to solve it. Choosing the right method will help you effectively tackle the task and achieve the desired results. Animation can be viewed from a variety of angles, and each approach produces a unique result. One approach is to consistently modify and refine the original sprite frame by frame. This method is particularly suitable for slow animations, such as large characters breathing calmly. This approach allows for more natural and smooth movement, which significantly improves the viewer's perception of the animation.

You can combine this with additional animations overlaid on the main content. This will increase visual appeal and improve the user experience, making interaction with the site more dynamic and interesting. Animations can be used to draw attention to key page elements, such as buttons or important messages, which in turn can increase conversion and retention.

Most of the time this is not typical for action scenes, however, in the project "Chukovishcha" I sometimes use the technique of frame-by-frame animation without keyframes to create movement reminiscent of a stop-motion style. This creates an effect reminiscent of old Hollywood monsters like Talos from the 1963 film Jason and the Argonauts, animated by the master Ray Harryhausen.

Keyframes can be drawn, and then in-between frames can be added to create Smooth animation. It's recommended to create an animation draft in a vector graphics program and then reduce the resulting image to pixel dimensions. Then, based on the draft, you can create a pixel version of the animation, which will ensure clarity and expressiveness of each element. This approach ensures high-quality animation and simplifies the editing process.

You can use a smaller sprite to create the main movement character without getting distracted by details. First, develop the animation on a small model, then scale it up to the size of the main character. Then, go over the frames with a brush, refining and refining the shape to achieve a more detailed and high-quality animation. This approach allows you to focus on movement and dynamics, improving the end result.

Animating characters created from a limited number of pixels can be convenient thanks to the use of the "spot" technique. This technique allows you to easily customize the movement and interaction of elements. Once you've mastered the basics, you can complicate your animation by combining different techniques and approaches. This way, you can achieve expressiveness and dynamism in your animations without losing the originality and uniqueness of the design.

Animation can be created on paper, and then the resulting images can be scanned or photographed. These finished drawings can be used as a basis for animation, as was done in the Sega game "Aladdin." This approach allows us to preserve traditional animation methods and adapt them to digital technologies.

I rarely use multi-colored blanks for animations, when each moving part has its own color. However, in the case of the "Disney Princess," I chose this approach. This is because the character gradually "stripping" down to her skeleton, and using color coding helped preserve her movements, which is an important aspect of animation. This method allows for better control over every detail and ensures precision in conveying movements.

From the very beginning, the concept was slightly updated with cherubs, but I couldn't resist adding a scene in which she, like Snow White, surrounded by birds and squirrels, appears before her life is filled with details about what our heroines are made of.

If a character is large and has a lot of colors, it's helpful to depict it rotation. This provides a visual reference for how it looks from different angles and helps better understand its shape. While theoretically adapted sprite elements can be used in animations, in practice it's often faster and more efficient to simply re-draw them.

Nevertheless, using the "incorporation" mechanic into a character really enhances immersion. In Blasphemous 2, I didn't use such techniques, since NPCs aren't actively involved, and there was no point in them rotating.

I've digressed a bit from the topic of describing a pipeline. In the context of Blasphemous, I acted on a situational basis, whereas I turn to strict pipelines when I need to complete a set of similar tasks.

When creating action animation, the process begins with developing a draft, which serves as the basis for subsequent stages. We then move on to creating line art, which helps clearly define the contours of objects. This is followed by the coloring stage, where local colors are applied to the main elements. Next, it's important to add details, using halftones to create volume and depth. Using completed frames, you can create in-between animation frames, which helps achieve smooth movements. Finishing involves adjusting lighting and shadows, as well as completing small objects and details, giving the animation a finished and professional look. This approach ensures high-quality animation and improves the visual perception of the final product.

To create a hero's moveset, I often use a useful technique, demonstrated in the video below. This method allows you to effectively compose animations and improve the quality of game interactions.

Creating an animation without action requires following a specific sequence. First, an outline is drawn, then filled with color, after which the image is cut into individual elements, such as the head, limbs, and tail of the crocodile. Next, the process of animating the sprites takes place, frame by frame. Attention to detail is crucial: working with lighting, as well as animating skin and muscle movements, will add realism to the work. Small details, such as drool dripping from the mouth, significantly improve visual perception and create a cohesive animation, avoiding the effect of disjointed individual parts. This approach makes the animation more lively and interesting for the viewer.

In my work, I use various tools that help optimize processes and improve efficiency. Key tools include text editors, project management software, and specialized SEO services. Text editors allow you to conveniently create and edit content, while project management software provides organization and task control. SEO services help analyze keywords, track search engine rankings, and identify opportunities to improve website visibility. Using these tools significantly improves the quality of work and helps you achieve your goals.

I typically create graphics in Photoshop on a laptop and use Pixaki 4 on an iPad for digital drawing. For non-pixel animations, I recently started working with Callipeg, which has proven very convenient for sketching. This allows me to efficiently develop ideas and quickly move from concept to implementation.

In Blasphemous 2 I worked on the animation of the hand of one of the characters, but was dissatisfied with the result achieved. Honestly, I don't know how I managed to create such an animation in a state of creative confusion.

I still What's interesting is this nervous little fellow, who waits his turn in the crowd, irritated and submissive. Under different circumstances, he would have long ago demonstrated his charisma and confidence to those around him, becoming a true Spanish macho. This contrast between his inner world and outer behavior makes him a character that attracts attention and arouses curiosity.

In The Game At Kitchen, the work between artists, animators, and other team members is organized through active collaboration and communication. We hold regular brainstorming sessions to discuss ideas and concepts, share opinions and inspiration. This allows us to create a unified vision for the project and incorporate diverse perspectives. Team communication occurs both in person and through online platforms, facilitating the rapid exchange of information and the effective resolution of emerging issues. This approach not only helps us improve the quality of the final product but also creates a more harmonious atmosphere within the team.

In most cases, we discussed all issues with Enrique before the start of the sprint. At the end of the sprint, I presented the results of our work, after which we exchanged compliments and, after the weekend, moved on to the next sprint. We developed an atmosphere of trust in which errors were virtually nonexistent, and no one supervised us excessively.

The creation of a single creature, including animation, takes varying amounts of time depending on the complexity of the project. On average, the process can take anywhere from a few hours to several days. The main factors affecting production time include the level of detail, the type of animation, and the tools used. Each project is unique, and therefore the exact timeframe may vary.

Let's clarify the topic of conversation to avoid confusion. Currently, I am interested in the "Monster" project, and I can use it as an example.

Creating the basic character sprite took about one day. This is not due to the difficulty of drawing, but rather to the fact that further work on the character requires careful preparation and thought. Developing a full set of animations for the character took about two months. This is due to the fact that the project is a fighting game with a complex combat and throwing system. This approach allows for a deeper and more dynamic gameplay, which is an important aspect for attracting players.

To optimize the animation process, you can systematize the animated elements, which will increase their replay value. However, since I am working on this project for fun, I am not in a rush and prefer to devote about two months to the development of each character. This allows me to carefully work out the details and achieve the desired result.

Fighting games are complex genres that require players to use quick reflexes and think strategically. In contrast, platformers often have more simplified mechanics, making them accessible to a wider audience. An important aspect in game development is the size and detail of sprites, which can significantly impact visual perception and the overall quality of gameplay.

Creating a character from scratch requires a careful approach. It is recommended to set aside a day or two to think deeply about their characteristics, motivations, and appearance before moving on to sprite creation. This time, while not required, will prevent rushing and help you reject initial, less-than-successful ideas. As a result, you will be able to develop a more original and memorable character that will attract attention and engage your audience.

You mentioned that you sometimes work outside the office, for example, at a bar. How does that happen? Do you sit alone with a tablet, enjoy a beer, and create your projects?

Drink beer or tea, smoke hookah, and draw. Personally, I don't drink alcohol often or in large quantities. Using the word "pub" in the context of an artist can create the wrong impression of a bohemian lifestyle, associating it with some kind of drunkard.

Working in a noisy and cheerful environment can help improve concentration and productivity. Sometimes, at home, we face difficulties in completing tasks due to distractions or a lack of motivation. However, a change of scenery to a more active and lively one can help shift your focus and overcome creative block. Try working in a cafe or an open space, where the noise and activity of the surroundings will help you focus and complete the task more effectively.

When you start drawing at a bar, people often approach you with the question, "What are you drawing?" This creates a natural opportunity for conversation. Interest is shown not only by attractive people, but also by a wide variety of patrons. Drawing in public places not only helps develop skills but also helps make new connections.

The other day, I was working on a fencing scene and an enthusiastic boy of 10-12 years old approached me. It happened at night in a pub in Lyubertsy. I invited him to draw and try his hand at animation. He came back to me again, showing interest in the process.

The third participant joins the third stage of the project.

What's the most interesting thing you've done?

"Blasfemus" is a game that attracts attention with its unique style and exciting gameplay. It combines platformer and action elements, as well as a deep storyline based on religious themes and mythology. Players are immersed in a dark and atmospheric world where they will fight a variety of enemies and solve puzzles. "Blasfemus" stands out for its art style, inspired by Spanish culture and traditions. This game has become popular among indie fans thanks to its original mechanics and immersive storyline that makes you think about complex moral questions. If you're looking for something new and unusual in the world of video games, Blasphemus is definitely worth your attention.

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Have you ever met a man in a helmet?

Don't refuse.

I'm playing my trump card and am ready to present you with information that will change your perception of this topic. It is important to understand that each aspect has its own unique characteristics. This approach will allow you to delve deeper into the issue and see it from a new perspective. We will analyze key points that will help you make an informed decision. Don't miss the opportunity to familiarize yourself with the latest data and recommendations that can significantly influence your choice.

Do you know the game "Bunny"? This is a popular children's game that develops attentiveness and coordination. Through the game, children learn to work in a team and follow the rules. "Bunny" is great for active outdoor play and can also be adapted for indoor play. If you're looking for a fun activity for kids, then the game "Bunny" is a great option.

The text requires revision to improve SEO. It is important to maintain the original essence while adding keywords.

An exclamation of delight or surprise can be rephrased as follows: "I am absolutely delighted!" This will make the text more suitable for search engines and draw attention to the feelings expressed.

Thus, the text might look like this: "I am absolutely delighted with what is happening!"

Recently, the developer of the "Bunny" project asked me to star in a short three-second scene for the trailer for a new episode. I am confident that this small contribution to culture will long remain in the memory of viewers.

I am currently continuing to work on the "Chukaiju" project. This unique work combines elements of fantasy and social commentary. "Chukaiju" imagines a world in which various mythological creatures and human stories are intertwined. The main themes of the project are the exploration of identity, the struggle for survival, and the interaction between different cultures. I strive to create a deep and engaging narrative that addresses important issues in modern society. I hope that "Chukaiju" will attract the attention and interest of a wide audience.

I am currently working on an order that will ensure the development of the "Chukaiju" project for the next six months.

"Chukaiju" (Chukaiju) is a kaiju fighting game based on the work of Korney Chukovsky. The game takes place in a post-apocalyptic world where survivors, having lost touch with civilization, have created their own unique mythology, drawing inspiration from the half-charred pages of fairy tales. In this world, full of dangers and monsters, players will battle gigantic creatures, reflecting the influence of classical literature on modern perceptions. "Chukovishcha" combines elements of combat and strategy, allowing players to immerse themselves in a captivating storyline that intertwines fairy tale motifs with harsh reality.

According to their legends, a world of abundance was destroyed as a result of a war between gigantic creatures for sunlight. This conflict featured characters such as Cockroach, Tsokotukha, the Unclean Chimney Sweep, Spider, Mosquito, Aibolit's Monster, Magpies with White Sides, Fox Sisters, Crocodile, and others. These mythical creatures have become symbols of the struggle for resources and survival, reflecting timeless themes of conflict and the pursuit of light.

The game is a unique combination of elements from Primal Rage, WWE WrestleMania: The Arcade Game, and Worms. It offers dynamic battles in deformable arenas, where players can use environmental objects to attack each other. This blend of genres provides an engaging gameplay experience that combines elements of fighting and strategic interaction. Players will be able to enjoy exciting battles, adapting their tactics depending on the changing game environment.

Efforts should be made to create a high-quality trailer, although at the moment the situation does not yet seem quite finished.

I created character designs that simultaneously reference kaiju and mecha archetypes such as Godzilla, Waha, and Ultraman. Each character received unique animations and features, allowing them to look individual. At the same time, I sought to play with Chukovsky's texts, imagining how ancient peoples might have personalized the dangerous tendencies that threatened the world. The result is images that not only fit the genre but also carry deep meaning, reflecting current social and cultural issues.

The idea for "Chukovishchi" was inspired by the fairy tales of Korney Chukovsky. His works, filled with magic and unusual characters, formed the basis for the creation of a unique world where fantasy and reality intertwine. Chukovsky's tales not only entertain but also teach important life lessons, which has made them relevant for many years. In "Chukovishchi," we strive to capture the spirit of these works while introducing modern elements and adapting the plots for a new audience. Chukovsky's tales inspire us to create vibrant, memorable characters and captivating stories that can captivate both children and adults.

The tale of the stolen sun has always inspired me to create a unique plot for our Godzilla. The giant crocodile with the sun in its belly is the perfect image of a kaiju. The dark, gloomy landscapes that surround the world, filled with terrifying creatures like ferocious crayfish and other monsters, create a unique atmosphere. This contrast between the giant creature and the gloomy setting allows for a deeper storyline and adds elements of horror and tension, making it appealing to fans of the genre.

When I went on a sabbatical, I stopped at a bar to relax a bit. That's when I came up with the idea for a short scene: a fight between giant crocodiles and a bear in the forest. I wasn't planning on developing something large-scale, so I decided to limit myself to a looping scene in which the monsters fight in the spirit of King Kong and a T-Rex.

At the bar, a regular with a tendency to talk started a conversation with me. He seemed to imagine that I was doing something highly artistic, or at least drawing nudes.

After what must have been an hour of deep philosophical conversations with the Artist, he walked away from the counter, walked over to my iPad, and, recoiling in horror, screamed, "TOYS???!!!" Then he quickly left.

When the attractive receptionist asked what I was drawing, I realized that explaining about Godzilla fighting a bear could completely ruin my reputation. I also didn't want to bore the girl with long explanations about why it was actually fascinating.

I decided to focus on a new topic and promised to show the results in a month. Having fulfilled my promise, the next day I continued to develop the potential of this idea. A week later, when the bar closed, I already had some interesting developments for a fighting game. These developments allowed me to gain a deeper understanding of the genre's mechanics and capabilities, which opened up new horizons for future work.

I began to wonder: if I've delved so deeply into this topic...

I'm working on the game alone. At the moment, I have a clear vision for the project, and I'm actively developing it. I plan to begin searching for a publisher soon to secure funding and support for the game's completion. My plans include creating an engaging gaming experience and attracting audience attention, which will help further promote the project.

I'm working on the project alone. I realize I won't be able to complete the entire game with 16 characters alone, but before bringing in other specialists, I'm striving to develop the game's basic structure—gameplay, plot, and style. This will allow me to preserve the established foundation and minimize changes that may be made by other developers or publishers. I'm not currently seeking partners, although I do receive occasional offers. I hope that when the time comes to consider collaboration, the game will be attractive enough that the problem will be choosing a publisher, rather than searching for one.

It doesn't sound entirely modest, but it's because I want to showcase my achievements.

My immediate plans include creating a demo version of the game to thoroughly test the gameplay. This will ensure that the mechanics of changing locations function as intended. At the moment, everything is working correctly, and I am continuing testing.

Due to working on animations for "Chukovishchi", as well as other graphic projects and commissions, I haven't worked on code for some time. Now I have a choice: continue to refine the demo in Construct 2, remembering how the project is organized, or, before it's too late, switch to Unity. I could also consider finding a Unity programmer so I can focus on other aspects of the game, entrusting the project structure to a professional.

I enjoy programming, but it's too time-consuming for me. As a result, I could have created more than one game in that time.

"Monsters" seems more charming compared to Blasphemous, where images of blood, guts, and infant suffering clearly dominate. What do you prefer: creating and animating violent scenes or working with softer, kinder imagery?

I enjoy variety, but in natural settings, I prefer cartoonish violence. It's similar to the style of Metal Slug. There will be blood from blows in "Chukovishchi", but it is used more to enhance the sensations of the fight and emphasize the expected consequences of the attacks.

The game "Monsters" takes place in unpleasant circumstances, and I don't intend to delve into their grim details. The project devotes considerable attention to everyday scenes, where the little people under the titans' feet clash with the fighters for the Sun. These characters become victims of the situation and cannot be trampled, which certainly creates a contrast for a game about kaiju. Nevertheless, this presentation adds uniqueness and depth to the gameplay.

Western players often compare this game to Rampage, but it can be considered "anti-rampage." It is not simply a copy of the original, but a unique approach to gameplay that offers fresh ideas and mechanics that differ from the classic version.

The game features many everyday scenes that display the characters' reactions to battles. However, such moments are limited to the foreground and background, meaning the player will not be able to interact with the grandmother and grandchildren, such as trampling, burning, or eating them. This creates the effect of a living world, but does not allow the player to influence these elements.

Working on Blasphemous had an indirect influence on the Chukovish project. I am capable of creating high-quality backgrounds or locations for a game, but such tasks are rare in my practice, and, in general, it is not my main specialty.

After many years of immersing myself in the beauty of Cvstodia, I feel that magnificent background images for Blasphemous would significantly enrich the game's atmosphere. At the moment, I am using rather simple placeholders for the arena graphics so as not to get accustomed to them and to avoid thinking that such a level can be the final one. I need to find a suitable visual solution that will harmonize with the overall concept of the game.

When the opportunity arises, I will update the locations, making them more attractive. I'm in no hurry, and this will be a pleasant pastime in the future.

After completion While working at the studio, I received various interesting offers. Among them were proposals to collaborate on new film and television projects, as well as the opportunity to participate in theatrical productions. I also considered working as a consultant for creative teams and participating in master classes. These offers allowed me to expand my horizons and gain new experience in the field of art and media.

A Japanese gaming company offered to develop a new game in the Metroid series. However, it turned out to be a misunderstanding, and in fact, they were talking about creating a new Metroidvania.

Recently, I received an interesting offer from an affiliated Skolkovo Foundation. They invited me to come and demonstrate my skills, and if successful, I would have the opportunity to work on my game for three months under the guidance of three mentors. However, I decided not to accept this offer. At the moment, I am not actively looking for work and do not plan to get involved in long-term projects until I finish work on Chukovishchi. I occasionally take on small, interesting commissions, but I'm not yet sure what I can show to a wider audience.

I understand that as the show gets closer, I'll need to become more involved in social interactions and fill the media space with my dances. However, at the moment I'm trying to delay this stage as much as possible.

Beginning artists and animators should be inspired by a variety of sources. It is recommended to read books on art theory, as well as biographies of famous artists and animators, to understand their approaches and methods. It is also helpful to study classical and contemporary artistic styles by analyzing the works of masters. Visual media, such as films, animated series, and documentaries about animation production, can significantly expand horizons and aid in understanding the process.

Practice is key to development. It is recommended to regularly create new works and experiment with different techniques and styles. Participating in workshops and online courses will help you improve your skills and receive constructive criticism from more experienced colleagues.

It is important to avoid isolation from the community. Networking with other artists and animators can be a source of inspiration and support. It is also important to avoid excessive self-criticism, which can paralyze creativity. It's better to focus on the process rather than the outcome, and don't be afraid to make mistakes, as they are part of the learning process.

Explore Pixel Logic—this compact booklet provides a comprehensive overview of the development of pixel art and shows how stylistic decisions arose from technical limitations.

Everything I write below may not coincide with my own work, but it is interesting that the sources of my inspiration are not always directly reflected in what I create. This phenomenon highlights the complexity of the creative process, where inspiration can only serve as a spark for new ideas unrelated to the original stimulus. Creativity often results from an internal dialogue shaped by various factors, resulting in something unique.

In the context of the alchemy of the 8-bit era, unique limitations are revealed that became a source of inspiration for original game mechanics and expressive aesthetics. These systems, despite their technological simplicity, allowed developers to find innovative solutions, making them particularly interesting to study. Pixel art on more powerful platforms is closer to classic drawing and offers new possibilities, but for a deep understanding of design and construction, I highly recommend turning to 8-bit systems. Understanding the specifics of graphical output on these platforms will help you better appreciate their contribution to the development of the gaming industry and the arts.

If you're looking for something to explore in the world of video games, consider a Chinese portable console like the RG350. Load it up with arcade games from the second half of the 1990s, especially from the Neo Geo collection. Pay attention to iconic series like Metal Slug, Fatal Fury, Samurai Shodown, and Last Blade. These games, often available on arcade machines, represent true pixel art, and getting to know them will allow you to appreciate the pinnacle of game design of that time. Don't miss the chance to enjoy these masterpieces, which are still relevant for many players.

In 2D graphics and Pixel art experienced a difficult period, perhaps called a dark decade. However, with the advent of a new Renaissance in the field, the situation has changed. New creative personalities emerged and working conditions changed, leading to a rethinking and reinvention of pixel art. This process opened up new horizons for artists, who began to use old techniques in modern contexts, creating unique works that combined nostalgia and innovation.

The 1990s and 1980s saw the emergence of unique visual styles and original solutions in both arcade games and home devices. These distinctive design elements continue to inspire modern developers and artists. Immerse yourself in the world of retro graphics and discover original ideas that can still be relevant today. Don't miss the opportunity to revive forgotten visual concepts that can add freshness and uniqueness to modern content.

It's important to remember that you shouldn't develop content for casinos. Avoid collaborating with Kiyosaki followers, as this could negatively impact your reputation. It's also helpful to devote time to morning exercise to maintain health and increase productivity throughout the day. Take care of your well-being and choose your partners wisely.

The speed of neural networks' development is impressive. They are becoming increasingly powerful tools for creativity. I'm considering integrating Midjourney into my projects, as it could significantly simplify the process of creating visual content. Using such technologies opens new horizons for artists and designers, allowing them to experiment with unique styles and ideas. Neural networks can be a valuable aid in the creative process, expanding the boundaries of what's possible in art.

This could be a great help, but for now, I find it more convenient and enjoyable to draw on my own. As for programming, I will be happy to delegate this task to specialists when the opportunity arises.