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© 2020 ReferencePoint Press, Inc.

Printed in the United States

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San Diego, CA 92198

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ALL RIGHTS RESERVED.

No part of this work covered by the copyright hereon may be reproduced or used in any form or by any

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or information storage retrieval systems—without the written permission of the publisher. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA

Name: Kitts, W.L., author.

Title: Careers in Animation and Comics/by W.L. Kitts. Description: San Diego, CA: ReferencePoint Press, Inc., 2020. | Series: Careers for Creative People | Includes bibliographical references and index. | Audience: Grades 9 to 12. | Identiers: LCCN 2018058353 (print) | LCCN 2018060581 (ebook) | ISBN

9781682826768 (eBook) | ISBN 9781682826751 (hardback)

Subjects: LCSH: Animated lms - Vocational guidance - Juvenile literature. | Animators - Juvenile literature. | Computer animation - Vocational guidance - Juvenile literature. | Comic books, strips, etc. - Vocational guidance - Juvenile literature. Classication: LCC NC1765 (ebook) | LCC NC1765 .K58 2020 (print) | DDC

741.5023 - dc23

LC record available at https://lccn.loc.gov/2018058353

Introduction: Growth Faster than a

Speeding Bullet 4

Video Game Animator 8

Web Animator 17

Producer of Animated Videos 26

Storyboard Artist 33

Visual Effects Animator 41

Comic Book Writer 49

Comic Book Artist 56

Graphic Novelist 64

Interview with a Comic Book

Writer and Artist 71

Other Jobs in Animation and Comics 74

Index 75

Picture Credits 80

About the Author 80

Contents

8

Video Game Animator

What Does a Video Game Animator Do?

The life cycle of a video game, from creation to launch, can be any- where from three months for a simple mobile game to three years for a full-featured one—and it all starts with an idea. Game design- ers and developers take that idea and plan the storyline, characters, and the interactive elements. Program- mers and artists create the game's code, and concept artists design the game's look along with the characters and backgrounds. And then the ani- mators take over.

Tony Ravo is a video game char-

acter animator who has been creating characters for games such as

Assas-

sin's Creed and

Marvel Super Hero

Squad since 1996. He spoke about his career on the Game Industry Career

Guide website:

Being an animator is a cross

between Dr. Frankenstein and an actor. We basically have to animate—which literally means

“give life" to—static drawings

or [three-dimensional] charac- ter models. That's the Dr. Fran- kenstein part. The actor part is not just moving them around,

At a Glance

Video Game Animator

Minimum Educational

Requirements

Bachelor's degree preferred

Personal Qualities

Advanced drawing, digital,

and storytelling skills; attention to detail; communication, time- management, organizational, and problem-solving skills

Working Conditions

In an of? ce or from home,

dealing with tight deadlines and high pressure

Salary Range

About $40,000 to more than

$123,000*

Number of Jobs

Almost 74,000 as of 2016*

Future Job Outlook

Growth of 8 percent through

2026*
*Includes multimedia artists and animators 9 but giving them personality and purpose so the player cares about the character no matter how large they are on the screen. Animators collaborate with other artists, including modelers, texture artists, and motion-capture artists. First, the modelers build three-dimensional (3-D) digital frameworks, or skeletons, for the characters, objects, and scenes. This is called rigging. Then, along with texture artists, they do skinning—digitally wrapping the skeletons with two-dimensional textures like skin, fur, and other simulated textures. Finally, using specialized software, the anima- tors bring the skeletons to life through movement, attitude, and behavior. By manipulating light, texture, and color, they also pro- duce depth, which enhances the sense of realism. Sometimes animators are helped by motion-capture artists, who record the movements of real people or animals. Viewing these recordings can help an animator understand how muscles move, for exam- ple, and create more authentic-looking characters. This part of the animation process can be time-consuming, so animators often create a library of animations that can be reused for each charac- ter or object to save time. According to Steve Bowler, the lead designer at Phosphor Games and an animator since the mid-1990s, one of the biggest misconceptions about creating video games is that “it's all fun and games." In an interview on the

Lifehacker

blog, he says, “I really enjoy the challenges of making games. It's one of the most mentally stimulating and rewarding ? elds I've ever worked in. It's also caused me the most anxiety and stress. We work very, very hard. . . . We iterate on something 100 times before it's right. Even if we've done it before." Bowler says working in this ? eld takes dedication:quotesdbs_dbs7.pdfusesText_5