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Liam Cullen reposted thisLiam Cullen reposted thisWho wants to be my Lead Env Artist? Looking for a world-class person to work on a world-class project. https://lnkd.in/dQ9uYvqE
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Liam Cullen shared thisDo you like Rock Paper Scissors, but just wish it had more body mutilation? Then boy, is there a game for you! https://lnkd.in/ezNCEegD
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Liam Cullen reposted thisLiam Cullen reposted thisGet the balls to the goals... this time with a whole world to explore!! Perchang World is coming to Apple Arcade on May 7th. It's been a looooong journey to get to this point, and the amazing team at Perchang towers has really put something special together. A big, huge, massive thank you to everyone who helped us along the way. Soundcuts Ltd Clockwork Monkey Studios Mark Sparling Ryan Denham James Vincent Marshall Amelia Tyler and our mighty narrator, James Acaster And of course, the biggest thank you to our team. The most talent group of lovely people you could ever wish to work with. You are all the best. Can't wait to share it all with you in May! In the meantime, enjoy this trailer 😉
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Liam Cullen shared thisCan you help? This is lovely write up about my son, Seraph.Can you help? Can we kick this upstairs?Can you help? Can we kick this upstairs?
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Liam Cullen shared thisWarhammer Quest 2: The End Times is out now in the Apple App Store!
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Liam Cullen liked thisSome of the best artists I’ve worked with had more to offer than their portfolios showed. Having hired and led artists across multiple disciplines, I’ve learned that problem-solving, adaptability and collaboration can be just as valuable as technical skill. Sometimes the biggest challenge isn’t a lack of talent, but a lack of visibility. As creative leaders and fellow artists we can help change that. A simple share or introduction could open the right door for someone. Great initiative, Ahmad! 👏Liam Cullen liked thisAny artist looking for a job? I've lived through layoffs in this industry too, many of them. I know the silence after you hit apply. Again. And again. So once a month, I hand this space over to you. One of these posts reached 88,000 people and visibility is what artists need in these tough times. Drop your portfolio below and I'll like and reply, so your work travels further across my 37,000+ network. Honestly, it's my favorite post of the month, seeing your amazing work. Everyone else: one share could be the reason someone gets hired this month. 🤍
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Liam Cullen liked thisLiam Cullen liked thisPleasure to show finally some of my work for our epic single player Game Squadron 42. this is realtime footage all rendered in game. if you would like to check the trailer I will leave the link below here: https://lnkd.in/eNytct_T
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Liam Cullen liked thisLiam Cullen liked thisSo is it working? Is there now a better dialogue between the games industry and government? The UK Video Games Council had a great meeting with Minister Murray, Alastair Jones, Susanna Lazarus, Paweł Jarzembowski. Open discussion and a real effort to understand how our industry works, which I really appreciate. We talked about how to make the UK a better place to build games companies and a strategy for how to grow the industry in the UK. Games is an £8.76bn UK market growing 7%+ a year, and I think it can be a big part of the Creative Industries Sector Plan. To me it's working, and its definitely time to share the strategy wider and get your input, which we will do shortly. What should we be raising next time?
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Liam Cullen reacted on thisLiam Cullen reacted on thisI expanded my comfort zone by holding an 8-hour online workshop (twice) over the last two weeks! As part of the GameSkills Master Class series organized and hosted by GAMASTE, I shared a mix of presentation, exercises, and quizzes on the topic "Beyond Metrics: Making Better Production Decisions". We touched on topics such as choosing and combining the right metrics, understanding the target audience, identifying risks, blind spots and biases, decision-making frameworks and more. It was the first time I prepared such a long workshop and while it was a good amount of work to put together, it was also good experience. What made it rewarding were the participants (thank you!), who joined in with great input and insights throughout the sessions. A big thank you to Pierre Carde, who decided to give me this opportunity. Thanks to Pierre and his entire team for the invitation and their support in shaping the course. New GameSkill unlocked!
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Liam Cullen liked thisLiam Cullen liked thisVery excited to be heading off to Portugal for this year's Trojan Horse was a Unicorn's #THU2026 - a wonderfully creative event if ever there was one, big thanks out to André Luís for setting the whole thing up. Should be posting some exciting news about a THU collab in the very near future! Hope to see some of you there! 🙂
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Liam Cullen liked thisLiam Cullen liked thisI’ve spent most of my career on this one, and most of that time on the people in it! So can't help but point out a few things. The Faces. Every principal character started life as a full head scan of the actor, and every performance was captured in one go: face, body, and voice, same stage, same take. When Gary Oldman pauses mid-sentence, you’re watching Gary Oldman pause. That was the whole bar we set ourselves: get the performance from the actor to the screen without losing it on the way. When Trejo turns her head and her hair actually moves, that’s StarHair. Strand simulated, colliding with helmets and collars and the wind coming off a landing pad. It took years to get to the point where nobody notices it, which I’ll take as the win. Character DNA. Every face in the game comes out of the same system, hero or background. Scans of real people, blended through Character DNA into thousands of characters who each look like a specific person. Walk the deck of a capital ship and the crew you pass are running the same skin, the same eyes, and the same facial animation as Mark Hamill’s character. We built it once and it runs across the whole universe. The cloth. Coats, straps, flight-suit folds, the flags hanging in a hangar: all simulated. When a character drops into a chair, the clothing drops with them. The Vanduul. All of the above applies to the enemy too. Their faces run on a fully custom facial system built by Robert Howes, so an alien can hold a close-up and you can read what it’s about to do. Their armor is Maelstrom-enabled, so hit it and it cracks, dents, and comes off in chunks. We built them to be frightening, and when one is standing two feet from you, they are. Maelstrom. The world breaks the way you’d expect. Walls, hulls, cover, and the people behind it. Armor cracks and comes apart. Helmets shatter. Soldiers end up looking like whatever just happened to them, and none of it is scripted. And none of it ships without the tools. Sandbox Editor, the character customizer, the animation and tech-art toolchain, and the central engineering tools that let hundreds of people across Austin, Manchester, Frankfurt, and Montreal work in the same universe at the same time. The tools are the game. They just don’t get a trailer. I’m proud of all of it, and prouder of the character, animation, tech art, locations tech, and tools teams who carried this a very long way. It’s been an honor. https://squadron42.com/en/ Trailer below. Go wishlist it so I can stop refreshing the page. https://lnkd.in/gwxkk2Cr https://lnkd.in/gJYHimRr #Squadron42 #StarCitizen #CloudImperiumGames #GameDev #TechArt #TechAnimation #CharacterTech #StarEngine #Tools
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Liam Cullen liked thisLiam Cullen liked thisI’ve been working on a series of educational content in collaboration with Beyond Extent, focusing on tiling textures and creating materials in Substance Designer. You can find out more about the courses and explore the content here: https://lnkd.in/eRQ4Kv7e Thanks, Ben
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Liam Cullen liked thisLiam Cullen liked thisThank you to Console Classics for covering Dizzy’s return. Philip and I are excited to be making Dizzy games again, and hearing what the originals meant to people has been wonderful. https://lnkd.in/efn3FxfW For official Dizzy updates, sign up here: https://lnkd.in/e7wSc9Va - Andrew
Experience & Education
Projects
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Ryse - Son of Rome
Main level & environment artist for a specific mission for the upcoming "Ryse - Son of Rome" title.
Other creatorsSee project
Honors & Awards
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BAFTA Games Awards Juror
BAFTA
Selected as a Juror on the 2017 BAFTA Games Awards
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BAFTA Games Awards Juror
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Selected as a Juror on the 2016 BAFTA Games Awards
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BAFTA Games Awards Juror
BAFTA
Selected as a Juror on the 2015 BAFTA Games Awards - Artistic Achievement Award panel.
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CGHUB Editor's Pick
CGHUB
CGHUB Editor's Pick award for my work from Ryse: Son of Rome
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CGHUB Gold Award
CGHUB
CGHUB Editor's Pick award for my work from Ryse: Son of Rome
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Katrina Mosson
How do studios “keep up with the Joneses” on salaries without breaking themselves? It has been a while since I have been vocal on here. I am times feel it has lost its strengths to lots of samey same content written and shared in the same ways. One thing that I have been thinking about a lot lately is salary differences across the games industry. It has always existed, but in recent years the gaps have become enormous in some cases. The same development role can carry a salary difference of £20k, £30k or often more depending on the company. Not because the work is necessarily more complex or the person significantly more experienced but because one studio simply has deeper pockets, needs to grow quickly or is prepared to pay whatever it takes. So, who is to blame? The large corporations pushing salaries up? Studios following the crowd because they are scared of losing people? Projects Suffering! Recruitment leaders who encourage businesses to “match the market”? Or candidates who understandably accept the best offer available? Perhaps nobody is entirely to blame. Equally, perhaps we all play a part. Higher salaries can attract great talent, solve an immediate hiring problem and help a studio scale quickly. They can also improve someone’s life and we should never make people feel greedy for wanting to earn what a company is willing to pay them. But what happens when those salaries are built for rapid growth rather than long-term sustainability? We have seen the consequences: restructures, redundancies, cancelled projects and talented people suddenly entering the market with salary expectations that smaller or more cautious studios simply cannot meet. Then come the golden handcuffs. People stay in roles they no longer enjoy because moving would mean taking a significant pay cut. Others spend months searching because their previous salary has become the benchmark, even when it was well above the wider market. Of course, studios need to remain competitive. But competitive doesn’t always have to mean “pay more than everyone else.” Career development, strong leadership, interesting work, flexibility, stability, benefits and genuinely good culture all have value. The problem is that companies cannot underpay people and expect those things to magically make up the difference either. There has to be a sensible middle ground. Is paying £20k above the market a smart investment or are we creating a problem that will eventually correct itself, painfully? And who carries the biggest responsibility for keeping salaries fair, competitive and sustainable? Interested to hear perspectives from developers, studio leaders and recruitment teams. I suspect the answers will be very different depending on which side of the table you sit.
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