The very first game I made was a hobbyist project done together with the Microflash team (Mika Keskikiikoinen & Tero Piispala). The work was done in our spare time starting in 1992 and we finished the demo version in 1994. Mika and Tero did the code, Vesa Palomäki did the music and I made the graphics using Deluxe Paint. Despite the fact that we never got it published, it was still a great experience and the Finnish games magazine Pelit lehti even published an article about it. Mika would later work on a game development book called PC - Pelintekijän Opas featuring our graphics on the book cover.
My responsibilities were creating all in game characters (except the main character) and pixel portraits for the dialogues which I did by scouring through hours and hours of video clips to find just the right angle, expression and lighting and working based on that. Using existing and overly used marketing shots would have felt lame and boring.
My responsibilities were creating the game menus and icons as well as many other 2D assets such as the tutorial characters which were inspired from the game designers character ideas.
I worked as lead artist on Dchoc's first Xbox game, Tower Bloxx Deluxe which was partially ported from the PC version. However the game needed a completely new menu and the 3d assets needed upgrading, textures needed to be higher res etc. There were only two artists on the team - myself and Kristian Riihimaa. It still amazes me to think that the two of us handled all of that ourselves! I took care of the UI menus, icons and other 2d artwork such as the cut scenes, whilst Kristian handled the 3d artwork, both upgrading old meshes and textures from the PC version as well as creating completely new assets.
I was not a part of the core TB NY team, but instead asked to help out with making some illustrations for their Monopoly inspired cards.
This project was one of Dchoc's first experimentations with social games. It started off with just me, a designer and a programmer allowing me to create the original visual style for the game. Later on during the production phase, more people joined in and each took their assigned parts further such as the UI, while I continued work with the animals and a good portion of the in game assets.
Island God was a project I joined quite late in production and helped out with some bits and pieces + marketing material such as the feed icons.
I was in the Crazy Penguin Wars project during preproduction as visual lead and worked on concepting the GUI style based on previous Crazy Penguin games as well as creating some character concepts.
My responsibility in GoB was working mainly on in game animated vector characters (to be added later), but I also helped the decoration team with making some buildings and decorations based on the style they had created.
I joined the KW team during end of production and helped out with many types of things such as in game buildings and map icons based on the style they had already set. In addition I was asked to create a completely new concept for the advisor character.
Through mutual Ultima fan friends, the Ultima Return team asked me to join them in making a fan based sequel to Serpent's Isle. My main role is to create nearly 20 character portraits which are shown when the player meets a new NPC in the game. If there is time, I'll help out with other 2d stuff as well. The project is ongoing and we'll hopefully have the game done this year. Read more about it here:
I joined Ubisoft RedLynx in 2012 and my first role was to be the UI artist for Trials Frontier. Later on, I also started helping with creating marketing assets such as the soft launch app icon and marketing screenshots etc.
After later rejoining the Frontier team, I worked as the lead artist, but still took care of some of the marketing assets on the side. For instance the 1-year anniversary infographic image.
I joined the folks at Seriously to work on their debut game "Best Fiends". One of the main things I was focused on was creating the final design for the hud, menus, popups, blocks, icons, buttons and other 2d assets. The game was developed with Unity, something I'd never used before, so it was a great chance to learn something new.
My second big project at Ubisoft RedLynx was working on the official South Park mobile game, "South Park Phone Destroyer". Most of my time revolved around the UI and asset creation for the Avatar maker, the cards for currencies and crafting items, icon design and designing and HTML-coding the FAQ site.
In addition, I also helped the rest of the art team with things such as the user interface, some of the map design and got the chance to do a few character card illustrations as well.
Although the game was originally released in 2006, Wurm also had a Steam release in 2020. The team hired me to help with the marketing and promotional material. Since Wurm had never had a keyart, I created one that could be used in many ways to promote the game for things like box art, wallpapers, social media backgrounds, banners and the various graphical assets needed for Steam.
In addition to the other promotional material, I was also asked to help with the official Steam release trailer. Originally, my only task was meant to be capturing video footage of the game and the plan was to send that footage and other bits to a production company. However one thing led to another and I ended up making the trailer myself. I started by creating a simple animated storyboard video that was edited together with the soundtrack and the proposed texts. Seeing the trailer already in rough form helped the team and I to refine the pacing, storyline and texts. The next task was to build all of the sets and locations seen in the trailer using GM tools. While I was setting up the scenes, I made requests to the programmers for camera tools to get cool shots. Once the footage was captured, the final stage was to compile it together with the texts, add sound effects and pace the scenes with the music. For editing, I used Davinci Resolve. Since my son Daniel Fryer is a composer, he was contracted to create the soundtrack for the trailer. Being able to collaborate with him so closely helped immensely in getting the music, footage and editing to go hand in hand.