I had to train a little bit with a couple of Disney artists and get the style down. I worked on a Goofy game where I learned a lot because the quality standard for working on a Disney product is just really high.
So I did a lot of cartoon games, things like Swamp Thing, Bart Simpson, Ren & Stimpy, and Rocky And Bullwinkle and a lot of the other big cartoons that were around at the time. We did a lot of the work for Acclaim – they were a powerhouse in the ’90s. "There was a small company in New Jersey, I think I was like the 12th or 13th person hired at a place called Absolute Entertainment. (Image credit: Imagineering Publisher Hi Tech Expressions ) But I'll tell them if it's a little off." As an artist, Schofield has always recognised the importance of fine details as he reflects on his career to date, it's clear that's what got him where he is today. I won’t tell them exactly what to do if I don't like something. "I don’t want to be too prescriptive, because I've got some great people on the team. And despite the demands of his role as a studio head, he's still unable to resist getting involved in art and design – hopefully without becoming too much of a backseat art director. With its brilliant diegetic interface and grisly 'strategic dismemberment', it earned Schofield some of the best reviews he'd ever had.įollowing a stint at Sledgehammer developing three Call Of Duty games, it's no surprise that he's returning to science-fiction horror with The Callisto Protocol. "My elevator pitch was: I want to make Resident Evil in space," he grins. Schofield directed six games there, running the studio for a while before another move to EA, where he assumed production roles on several big-name licences, from James Bond to Lord Of The Rings.īut it was with a new idea that Schofield made arguably the defining game of his career: 2008 chiller Dead Space. But it taught me a lot about setting up a studio, which I used in my later years."Īfter joining Crystal Dynamics, Schofield led his first project, directing Gex 3D: Enter The Gecko, where he worked with Evan Wells and Bruce Straley, latterly of Naughty Dog fame. And guess who had to do all the work! I was painting the walls, buying equipment, and all sorts of things.
They hired the president, the vice president, and then me, the art director. For more like it, subscribe to Edge and get the magazine delivered straight to your door or pick it up for a digital device.Ī move to California to become art director at Capcom America in 1994 proved transformative, even though he only worked on one game there, contributing art to Street Fighter: The Movie.
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