A lot of Art students get told early on to be specialists in their field, to focus on something and get really good at it. Our 3D generalist, Anne-Karina (AK), feels otherwise. In particular in the worlds of mobile and indie gaming, being a generalist is super important. This doesn’t apply to your art skills only – it’s super important to also have the mindset of continuous learning, for both art and software.
AK recently spoke about this topic to the students at DADIU (the National Academy of Digital, Interactive Entertainment), with the aim of showing what it’s like to work as an artist in the ‘real world’. We wanted to share her story, experiences and reflections from her 2 decade long career in this article.
The highs, the lows and all the good stuff in between
Hi all, my name is Anne-Karina, it’s lovely to e-meet you!
My journey into the world of art started at the Animation Workshop in Viborg (a tiny town in the west of Denmark), where I enrolled into a course in character animation (called KIKA). This was back in the olden days with 2D hand drawings and flipbook animations. Something really awesome about that education was that our teachers were people from the business, from companies such as Disney and Pixar, and it was incredible to learn from them.
After graduating, I worked as a freelancer for a couple of years, mainly as an animator. One day the principal of the Animation Workshop reached out to me with a potential job opportunity. He’s apparently been getting a lot of calls from a company and he asked if I’d be interested in talking to them. I decided to call them, got the job and this is how I ended up in gaming!
The company I was working with was developing PC games and my role involved a lot of hand drawing (this was back in 2006). But soon after that, PC games started declining and mobile gaming started growing (first iPhone was launched in 2007 👀). My company bought the Hugo IP and I started working on 3D more, focusing on the boardpieces, the icon and characters. This was when I really got into rigging, texturing and modelling, figuring out everything on the go and learning as I worked. My foundation for 3D was basically a 1 week course we did at the Animation Workshop, but the design principles are not different from 2D. Yes, you do get another dimension and you can’t just draw your way out of things, but the basic design principles I learned during my education were the same. The hardest thing was learning the software (Maya), but luckily I am very tech curious and love building bridges between tech and art. This is why I truly believe it’s important to have the mindset of learning – it helps with picking up new skills and adapting to the ever changing world we’re in.
Then in 2016, Tactile approached me and I initially said no because I wanted to stay within the world of 3D. Unfortunately, 1 year later my company shut down its Danish office and I was out of a job. Tactile stuck in my mind and so I decided to follow-up with them. As I’ve already done the art test the previous year, the process moved really quickly and I basically started working there a week later! The first project I worked on was Disco Ducks. After that I moved to Bee Brilliant and finally, to Lily’s Garden. I started rigging characters, modelling, animating, and setting up the entire art pipeline. Again, by keeping my mind open and focusing on the whole package, I started taking on more and more responsibilities.
An optimized art pipeline
When we are making games at Tactile, we first spend a lot of time trying to figure out what players want. We do so through user research and extensive data analysis (we get loads of data from our players, the devices they’re playing on, etc.). We also of course want to make a game that people actually can play. If the game sucks so much battery life that your phone keeps dying, or the app keeps crashing, or your device gets too hot when using the app, then it’ll eventually stop people from playing. This is why optimisation is so important and something to always be aware of! Making all this work is not just on QA and programmers. It’s a collective effort of all departments and Art has a big responsibility in it.
I want to illustrate what I mean by giving you a little run-down on how we handled the ‘heavy’ 3D character pipeline on our Makeover Match game, which I’ve been the 3D Lead on. The 3D process can seem a bit mysterious to those who haven’t worked with it, especially when colleagues come over to my computer and I’m working on a skin texture for a character and it looks like I flayed some poor cartoon character alive to do my evil deeds in Photoshop 🤣
Well here’s Emma from Makeover Match. Let’s have a little look at how she got from idea to finished game asset.
In the end we have an optimized 3D character pipeline, ready to produce a bunch of new characters.
Specialist vs. Generalist and the importance of having a portfolio
Now you’ve learned a little bit about 3D in the ‘real world’, but how do you decide what direction you want to go in if you’ve just finished your studies (or are about to)? Should you become a specialist, or stay more of a generalist? As a generalist in gaming, your skills will be highly useful on mobile and indie projects, whereas specialist roles exist more in AAA games.
A great place to start is having a portfolio. But what makes a good portfolio? In general in the Art craft, we all have the tendency to want to look at and make really neat pieces of art, so sometimes we get ourselves lost in the details before we have even built a proper foundation. I have looked through many portfolios full of highly realistic Zbrush assets. Whilst these are really neat and impressive, they don’t give me an understanding of whether this person can actually contribute to a production pipeline of stylized, low-poly 3D characters.
So when I look at portfolios, I want to see your work process. How do you texture? Do you have an interest in color and design? Have you been learning design basics from the old masters? I want to see behind the glossy surface, so that I really understand what you can do. If you can also show me that you understand the game engine you’re working in (whether it’s Unity or Unreal or something else), you’re very far along!
Grow your skills, but don’t forget the basics
Let’s take a look at a practical example.
A bird… I want to draw a bird. I start in one corner and draw some sort of a bird, but I’d like to stop myself and see if I can do better before I lose myself in starting to render this ‘masterpiece’
Construction… Yes, this part can sometimes feel boring and even mechanical. With the first few attempts you’re figuring out the actual geometric figure which will help you draw well-constructed drawings later, but the process feels clumsy and stiff. But I promise if you keep going, your hand and brain will start relaxing and you will soon get a looser style, whilst still keeping the technique underneath! The beauty of digital art is that you can make as many layers as you wish, so try and try again. And CTRL+Z as much as you want.
Keep practising the underlying construction and you can render in whichever style is needed for your project. And when you really understand the shapes…
… and your art director says: “Nooo, I want a different angle!”, you don’t panic! You can do a different angle easily. You build it with the shapes and as always, remember the perspective.
This really goes for any type of drawing, and very much for 3D modelling as well. Understanding good design, pleasing shapes, good silhouettes and ensuring the edge flow is good no matter how you twist and turn your character are just as important in 3D art as in 2D. The point is that you need to work on the foundation first in art. Whether it’s 2D or 3D, don’t forget the basic principles of construction and perspective. Keep training your craft!
Besides all of this, you also need to be open to doing some things that are maybe not so exciting, or not exactly your style… Remember, they don’t always have to be, you’re doing a job.
Working with styles or stories that aren’t for you is bound to happen. My own example of something I might not loooove making a game about is needlepoint work. BUT, I would research it intensely and make the best needlepoint game art ever, I promise! That’s what our craft is and that’s what a good game artist can do – make game assets following the vision of someone else. And do so well. For ourselves, we can do projects on the side which will quench that thirst of creating something that is really our vision.
So the best piece of advice I can give you is to keep learning and stay flexible in styles. Adapt to whatever game you’re working on, even if it’s not your ‘specialization’.
Something that can help you with this is strong team collaboration. Rely on your team to give you feedback and help direct you in your work. Taking feedback is not always easy, because you’re likely to get triggered. We pour our heart and artistry into our work and then someone comes by and totally tears us down – or so it feels at the time. Some critique or feedback is great, some is good, some is unfair. Some is not delivered in a great way and some can be seen as a matter of taste. But if you build a good foundation of trust within your team, you can always find something useful to take out of the criticism you receive. Being able to take critique is key to becoming better in your work.
Keep learnin’, keep learnin’ and embrace new tech
I would like to wrap up this story by saying – keep your mind open to learning new things, it will make you a more diverse artist.
In the generalist mindset, I encourage you to have diverse interests and learn more about how the world works, about fashion, book binding, cooking, other cultures, philosophy, maybe even needlepoint embroideries 😉, so you always have something to draw inspiration from. Also learn more about the market and players you’re making games for.
Just don’t be like Blockbusters …
… They didn’t believe in streaming and now they don’t exist. We have to deal with reality however little we like it at times. New technology can be scary and it is getting better extremely fast. But, I will say this… AI is just another tool and let’s face it, it’s here to stay. So just like streaming movies instead of renting physical copies, learn about the new technology and see what it can do for you. Is there some tedious work it can take care of for you so that you can focus on the creative part? AI is here and we have to adapt to this wild new reality as artists and game makers.
So learn new tools (yes, jump on that AI train), figure out how to make it useful for your work and be curious, always!
I want to leave you with a final thought …
I think that working with games is a little bit like our friend Indiana Jones here. Trying to find the right formula to get the gold – making that next game a real success. Sometimes we end up running with a boulder chasing us, wondering what in the world happened…
… And sometimes we end up getting the gold and getting away with it all! I hope you all get to learn from a bunch of lovely failures and successes and make awesome games in the future. I can’t wait to play them!
Time for Talent with Théo Maillard
At Tactile, we encourage our team members to take ownership of their own development and drive their upskilling to match the needs of the company, as well as their own aspirations.
The desire to upskill oneself is crucial for the success of our business, so having team members with that mindset is what we believe is part of pushing us forward.
In our bi-annual development talks, each team member defines their individual goals. Team Leads and our People Partners then help to support them with setting up their development journey and milestones alongside it. On top of that, Tactile supports by covering the costs of any relevant courses and learning materials, which can support the team member’s development.
We chatted to our brand new Product Owner, Théo, who recently transitioned into this role from his previous role as QA Engineer on our Core team. Read more about his development journey below.
Tactile: Hi Theo, can you tell us a little bit about what your role was when you started at Tactile?
Théo: Hi, sure! I joined Tactile 2 years ago as a QA Engineer on the Core team. I was only the 2nd test engineer, so we were a small, but very efficient team. Our main responsibility was to perform QA for our internal tools. This mainly involved our LiveOps dashboard, which is used to configure games, conduct A/B tests, and offer an overview of what’s going on in our live games, as well as our game build server. So I started off with just focusing on this.
My day-to-day workflow was to re-test whatever our Core team developers have been working on and ensure that everything works as expected. I was also responsible for providing test cases to document and streamline our test processes. So there were a lot of person-to-person interactions with designers and developers and writing down issues in JIRA. This was a part of my work that I really enjoyed.
Tactile: How have you grown and developed in your journey at Tactile since then?
Théo: As time went by, I grew more comfortable and confident in my day-to-day job. This pushed me to become more proactive and explore different areas of what the Core team does. For example, I started working with Embrace, our crash reporting tool, and got more involved in our internal communication about what are the issues we’re facing and how we can solve them. I wanted to understand more about why some things don’t work so well and when we decide to implement certain changes as a business.
I didn’t realise this back then, but I was already following a Product Owner (PO) approach, which includes a lot of talking to stakeholders and asking what needs to be done. As a QA, I was also giving a lot of feedback on new product designs, and providing that user experience, which is also an integral part of the PO role.
It was important for me to be proactive and not stay confined to the responsibilities of my QA role. I have always been a very curious person, and I love learning new things, which is why I take the opportunities that present themselves to me. And so, I wanted to go above and beyond in my role as well.
Tactile: So how did the transition into the PO role officially happen?
Théo: The conversation about this came up after my development talk earlier in the year. I expressed the want to develop and take on more responsibility in some way. I was initially considering transitioning into a programming position, but then a few weeks after my development talk, my Team Lead came back to me and offered this PO role. Many people have joined the Core team since I started, and there was a need for more product and project management support. The idea sounded really interesting to me, and so I immediately jumped on board!
The more I grow into the role, the more I see how good it is for me. It is a much better choice for me than programming, because it has that social aspect. I think I am good at talking to people, I enjoy communicating a lot and being the middle man, and this PO role enables me to do just that.
Tactile: How have you been developing as a PO since the transition?
Théo: It has been a fairly slow, paced transition. In the first months, I was still mainly working as a QA, but I started joining meetings with the Core team’s stakeholders – these are all the people using the tools we’re building, such as game producers and game product specialists. My initial focus was to understand what the stakeholders need, what issues they’re facing, what else could be added to the already existing tools, and what we could potentially start doing differently. I also started to document these things in JIRA.
To further support my development, I took a Project Management (PM) course on Coursera. This helped me to get more into the PM mindset. As a QA, I was normally getting involved only at the end of a project, when it was close to being completed. Now, I am involved at the inception of a project. This was completely new to me and something I needed to learn more about. How do projects get kicked off? Where do the ideas come from? And how do products get developed to the point where I used to jump in?
My biggest struggle at the start, and still now, being so new to the role, is balancing out my QA vs. PO mentality. This desire to fix every bug we find vs. understanding what is actually urgent right now and what will bring value to the business. Understanding the latter is my biggest focus currently.
Tactile: How does your daily routine look like now you’re fully transitioned into the PO role?
Théo: The entire Core team recently shifted to working in scrum. We now have 2 cross-functional scrum teams, each including backend, frontend, product designer and QA. On paper, myself and our Team Lead are responsible for one scrum team each, but since we’re still very early in the transition, we’re both involved in both teams, to make sure we streamline the processes and do things in the same way. We are just getting into the rhythm of doing things properly, running planning sessions, retrospectives and 2 week sprint cycles. As a PO, this requires me to have things clear and planned out further in advance than we used to.
So life as a PO these days looks a bit like this – my main responsibility is to groom our backlog and make sure all tasks are prioritised, including removing all the obsolete ones, and that tasks are distributed in sprint planning. I also provide clarity and support for scrum teams in this process. I am syncing up with individual team members, to make sure everything fits together. I often sync with product designers to ensure that what they’re designing fits in with the design vision of the stakeholder. I sync with the developers to make sure they’re still building in the right direction and that everything is going according to plan. I also still look at things from the QA perspective myself, because I now have the full overview of how things are supposed to work. On top of this, I am always communicating with our stakeholders, to make sure we’re still aligned on everything.
Tactile: What do your development plans look like now?
Théo: My first priority is to figure out scrum, so that I can make sure I’m running and supporting my team as well as possible.
Personally – on a higher level – I want to stay in this role for a couple of years to build credibility. Besides taking the Project Management course, I have been wanting to read Scrum: The Art of Doing Twice the Work in Half the Time, which is a book about optimisation and methodologies for scrum specifically. I am also spending a lot of time playing around in JIRA. I realised that my team easily gets lost in there, so I want to gather as much knowledge about it as possible, and share best practices with everyone. This will enable us to improve our workflows. In line with this, I am also looking into JIRA reporting tools so that I can monitor our scrum health better. As you can see, the learning never ends!
Back in 2019 when we released Lily’s Garden to the world, we knew we made something special. Despite the fact that the match-3 puzzle game market was already saturated, what made this game stand out from the crowd was its storyline. Players come to our games for many reasons, but we believe that what keeps them there for the long run is our narrative.
And so throughout the last 5 years, Lily’s Garden storyline became one of the main pillars of the game. Like with a favourite TV show or book, we have a distinct group of players that keep coming back to the game to find out what’s going on with their favourite characters. And within Tactile, we have a dedicated team focusing solely on producing brand new content for them. We truly believe that if you get the story right, it absorbs the players and creates an extremely devoted player base. Ultimately, this is what sets us apart, gives the game a strong personality and helps to hold players in our world.
Building new in-game story chapters and days, however, is no joke and it quite literally takes an army to do so. As a company, we follow the principles of agile and lean development in everything that we do, including in the development of our story narratives. Our Lily’s Garden story team is an extremely efficient and unique high-level team, with an incredible amount of talent. They are working on the foundation of story writing that has been cultivated at Tactile for many years.
And so to dig deeper into how the team developed such an efficient workflow over the years, connecting many different disciplines into producing new weekly content for our players, we sat down with two of our Story Directors, Saran and Chris.
Pre-production
Being a 5 year-old game, Lily’s Garden has a very established content pipeline. Every week, we release a new story day, which is a part of the overarching story chapter. Choosing the setting for each chapter is key. The great thing about how we do things here at Tactile is that ideas can come from anywhere and everywhere – we do a lot of player testing, in order to see what characters, locations and tasks are interesting to them, but we also have the entire story team pitching in with their own ideas. This enables the team to explore different game settings and go to a bunch of fun locations (most recently, Lily has been to Denmark, Australia and Germany, and will be heading to Japan next).
Once the core focal point of the story chapter is defined, the Story Director, writers and Area Art Lead meet for an initial brainstorm. They ask themselves questions like, “We’re going to this new location, what parts of it do we want to see in the game?” or “What is going to make this chapter fun and engaging?” or “What are we trying to convey with this storyline, is the focus on love, family, mystery, or something else?”. From there, they do a further breakdown of how they want to plot the story throughout individual story days. At this stage, they will also think about new characters that could enter the storyline.
“When we go to all these places in our games, it gives us a chance to do some edutainment, and that’s what makes the story so special,” says Lily’s Garden Story Director, Saran. In one of the story chapters of Lily’s Garden sister game, Penny & Flo, the characters went to Thailand and so we hired a consultant to learn more about the local culture, habits, language and people. ‘It is important for us to convey these through our stories, doing our best to honour the local culture and local environmental issues,’ adds Chris, who was the Story Director on Penny & Flo when the Thailand chapter was released. ‘For example, in the Australian storyline, we addressed the issue of reef preservation, so the focus is always on real culture, real people and real issues,” adds Saran.
The team is never just working on one story day or chapter at a time. At the time of writing, the team is wrapping up chapter 12, working on the pre-production of chapter 13 and already brainstorming ideas for upcoming chapters (which the players will get to play in late 2025 😲).
The creative process
The full cycle of creating a single story day in Lily’s Garden takes a whole month!
At any given point, every story day of the overarching chapter is at a different stage of the production pipeline. The different stages include story writing, area art and set-up, 2D and 3D art, as well as cinematic art. The game’s Story Director is like an octopus, stretching their limbs into and giving feedback to the different areas of production. This set-up enables the story team to move as fast as possible to get a new story day out to our players. The aim is always to create something that will be satisfying for the player, but also isn’t going to overwhelm the team whilst trying to produce it.
Saran has developed a bit of a ‘mad scientist’ brainstorming process over the years. When it’s time to nail down the high-level chapter ideas, she likes to use the floor, rolls of butcher’s paper, colourful pens and sticky notes to map it all out visually. She thinks about everything that will happen in a chapter and divides it into individual story days, which are kinda like episodes in a TV show. She thinks about what order of events makes most sense and draws out story map charts. It’s all about finding the right rhythm of the story.
Contrary to that, Chris, who is currently the Story Director of an upcoming project, uses a different workflow approach. Because his team is much smaller, he didn’t have a writer until very recently, and so he took advantage of the flat structure we have here at Tactile. “I would often talk to people who are available for a chat, pitch an idea to them, explain it using a whiteboard and see their reaction. Are they getting it? Do they have any feedback or ideas? And this could be absolutely anyone from Tactile, not only people from my direct team,” explains Chris. This gives people a break from their usual tasks, but also gives us the opportunity to find solutions using the internal resources we have available. Chris adds: “Nailing the tone of the game’s storyline is so important and so exposing what you’re working on to different people’s reactions and seeing how it lands is great!”
It takes an army
Story direction & writing
At the beginning of creating a new story day in Lily’s Garden, Saran will make a flowchart of all the tasks the players will need to complete (i.e. ‘Remove the weeds’, ‘Catch the pigeon’ or ‘Design the Hotdog Stand’ 😎). After that, the chart is passed on to the writing team, who writes the dialogue, providing context for the tasks the players must complete to move forward in the storyline. Saran will often rely on the writers for feedback, notes and involve them in new chapter brainstorming sessions.
After the dialogue is written, Saran will present the flowchart to the rest of the team and give them new tasks. All the different functions will then start working on their tasks simultaneously. The writers write, the 2D artists create story images, the 3D artists work on animations, and the implementation specialist prepares the area for work. When all of this is done and imported, the torch is handed over to the localization team on one side, and the implementation specialist on another to prepare it for the Cinematic Artists, who round things off by bringing it all together in Unity, our game language. As a side note, we translate our in-game dialogue into more than 10 languages(!), to ensure we give the best experience to our non-English speaking players as well.
Character Art
Whilst the writers write, the 2D team starts working on the 2D characters and depending on the storyline, they might need to create new characters from scratch, or add more expressions and positioning for existing characters to match the new dialogue. As mentioned previously, they will also create new story images, which are normally representing character dreams, flashbacks or memories.
Once their work is done, they hand the torch over to the 3D team. The 3D team uses the character designs created by the 2D team to then model, rig, and texture, and adds onto that by creating that character’s animations. This also allows them to breathe life into that character (for example, what does “celebration” look like for Lily vs Holly vs Luke). They also create the outfits that players can dress the main characters in. Sometimes, they also help create pets that the player can adopt in the meta layer of the game.
Area Art & Implementation
At the same time, the Area team prepares all the new area art, which includes drawing all the areas for the new location the story chapter is set in. They create everything layer by layer, object by object – and there’s many!
Our Area Implementation Specialist will then grip all the layers and move them to Unity. Their role is a little bit like the Story Director role in that it is not just one set step, but they come in at various stages of the pipeline, collaborating with different teams. When all the assets are moved, our Implementation Specialist will set up everything in Unity so that different makeover options are grouped together as a task, and set the layering of every individual item in an area so that characters may walk in front of or behind it. They are also responsible for lighting and prop effects (like how the flowers bounce after you choose them, for example). Finally, they also collaborate a lot with the Cinematic Artists – if they need a character to appear in the middle of a nearby forest, they might ask the Implementation Specialist to remove some trees so they have space, or if a character is cleaning a tower, they may ask to add a ladder. This role truly is the jack of all trades.
Cinematic Art
Bringing the story day production pipeline to an end are the Cinematic Artists (CAs). Based on Saran’s flowcharts, they make the cut scenes come to life. They take all of the 2D and 3D art, animations and dialogue, and bring those together in the scene. You can kind of think of them like puppet masters or stage directors. They have a library of animations made by the 3D team for all of our characters, but the CAs are deciding where the characters are standing, where, when, how fast, and how they move from place to place, what animations they use at which dialogue line (both for speaking and reacting characters), where and how the camera is moving, and more. ‘They come up with things that surprise even me,’ says Saran, ‘For instance, recently there was a scene where a character was embarrassed over something and they used her sneaking animation to quietly exit the conversation. It cracked me up! In chapter 12, when Luke sings, they used his shouting animations with a shaking camera, which is also hilarious. So they leave their own stamp on the story in ways like these!’
Once the CAs are done with their work, the quality assurance (QA) Game Testers come in and test everything on both the story and gameplay side of the game.
In this day-to-day flow, the team is working on 4 story days in parallel, as well as preparing for new chapters. On top of the main storyline, the team also supports all the additional features, such as the makeover events, Lily’s Memories (an in-game item collection event) and the indoor story within Lily’s Garden.
We were not joking when we said it takes an army to build new story content for Lily’s Garden – and our amazing team has been releasing a new story day every week for the past 5 years! The Story Director role is crucial in ensuring we can keep to this production timeline. Chris elaborates: “In our work, we create value when the players play our game – and in order to get new content out to players, we must stay lean as a team. Our focus is on not overproducing content. We produce less and get it out to players fast, so that we can get their feedback, reflect on it, learn and grow.” Releasing one story day per week might seem like a lot for such a small team to produce, but it’s doing the reps and keeping sharp that makes the process better and more optimised over time.
Releasing new content is also made easier with a great story foundation like Lily’s. It gives an opportunity to show how the characters change, grow and evolve over time, and how they handle new situations. The Story Director’s role is to always find new things to do in the world of Lily’s Garden, how to bring in new characters, but also develop old relationships (Holly and Lily, Luke and Regina 👀) and re-use older characters.
Breaking silos
Whilst Saran inherited a very well set-up system on Lily’s Garden, there’s always room for improvement.
These days, when she’s getting ready for the new story chapter, Saran will bring together all the individual area leads (for 2D art, 3D art, narrative, Area art & cinematics), present the rough plan for the story and ask for the team’s input. This is an extremely important part of the team’s creative process. Here’s the top reasons why:
👉 It enables them to catch things up front, which would be too difficult to implement in the game. For example, the area specialist is helpful on the technical side, as they will flag ideas that will be too difficult to set-up.
👉 For the creative process itself, it’s great to have more hands-on feedback, as well as more feedback from different people. Someone might also have more insight into the locations where the story is going, so involving them in developing the chapter’s narrative is crucial.
👉 It helps to prevent the team working in silos and contributes to getting everyone onboard! The Story Director and individual area leads will still be the main decision makers, but it’s important to have more opinions and fresh ideas on the table. It also builds trust and communication skills.
👉 Engaging more people into the creative process means that everyone has a real impact on the development of the game’s storyline. That is the first step to getting the story to live in everyone’s heads and to get people to talk and think about it. For Chris, it’s one of the most rewarding things when someone from his team, who is not a writer, comes up with a narrative suggestion because they have been following the story.
👉 Sharing ideas and tech between different teams enables innovation. For example in an upcoming project, players will be able to control characters and move them around the space, which would not have been possible without great cross-team collaboration.
About the co-authors
Saran Walker is our Lily’s Garden Story Director. She started her career in gaming in sunny California, working as a Writer at Pixelberry Studios. From there, she went on to manage their editorial team, which ultimately led her to her current role in story direction. In her free time she loves to sew, paint and go to the movies.
Chris Lovick is a veteran Game Director in the industry, coming all the way from Canada. Since he joined the company 3 years ago (at the time of writing), he supported in directing many of our projects, most notably Lily’s Garden sister game Peny & Flo, and more recently a brand new project (currently in development 🤫).