EMPLOYEE INTERVIEWS

Artist

A Background Artist who designs spaces that draw in players and brings game worlds to life

Joined in 2024

Artist Z.J.

＼ Career Path ／

Studied concept art and background modeling at a vocational school, and researched how to use visual media to communicate worldbuilding and storytelling.
Joined SEGA, making background props.
Designed complex props and assembled buildings from modules.
Currently creates stages for console titles in development, from concept art through implementation.
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02STEP 2
03STEP 3

Q1
What I Studied

I went to a vocational school in Japan for game design, and studied concept art and background modeling. My assignments focused on coming up with game worlds and stories, then trying to communicate that information as best I could in a single visual. I put a lot of energy into environmental narrative, which is about tying the game story into backgrounds and environments. I made use of culture and art from many different countries in my concepts and designs.

Q2
Why I Joined SEGA

I was drawn to SEGA by their willingness to flexibly adopt new techniques and approaches, and to take on the challenge of creating new games. I felt that I could build the kind of career that I'd envisioned for myself, applying the environmental narrative skills I'd learned in school and getting hands on with production methods that linked concept art to modeling. They also have good benefits and a system that makes it easy to take time off, so I knew I would be able to feel at ease and focus on my work.

Q3
My First Assignments at SEGA

I started out as a background modeler, making relatively simple props like bottles and chairs. Then I was asked to create buildings as well, assembled from existing modular assets—walls, pillars, doors, things like that. I learned how to create different shapes and silhouettes using the same assets, balance efficiency with visual differentiation, and fundamental approaches to creating backgrounds.

Q4
Biggest Surprise After Joining SEGA

Contrary to the image I had of Japanese companies before joining SEGA, everyone was surprisingly approachable, regardless of seniority or position. Since I'm from overseas, I was particularly worried about having to use formal Japanese and phrasing things correctly. Thankfully, it ended up not being a big deal, and my mentor and boss are always happy to listen to what I have to say. It's a really welcoming environment where I feel free to share my ideas and workstyle without hesitation. I've even had fun chats with some of the managers about my hobbies.

Image from Crazy Taxi: World Tour. Since joining, C.S. has created backgrounds and characters for the project.

Q5
Current Duties

I create stages for titles in development. First I confirm the planning and specs for the game, then I use the playstyle and in-game look as a basis for proposing a visual direction, using concept art to illustrate. It's crucial to have a design that directly communicates in-game information—that a wall can be destroyed, for example. Then I make the necessary props and modules, and create the stage layout and lighting. In cutscenes, I also pay attention to composition and characters' appearance to enhance the overall quality.

Q6
Motivation and Successes

During my second year at SEGA, I was asked to create some difficult props for a particularly demanding project. Even experienced artists would struggle with that kind of assignment, but I managed to successfully model and implement the props by using concept art as my guide, gathering advice and relevant info, and then iterating through multiple prototypes and tests. It ended up giving me a big confidence boost. I got high marks from the team, they continued using the approach I took for my background designs, and I learned how to work my way through thorny assignments like this one.

Q7
Future Goals

I'd like to become an art director capable of paving the way for next-generation expression in games. I believe it's important not to focus solely on gameplay. We should be creating player experiences in which the worldbuilding, story, environments, music, and other elements are all interconnected. Toward that end, I plan to continue studying art, music, architecture, the humanities, the natural sciences, and more so I can share my own visions in easily understood ways through language and art. But first I have to continue achieving results and strengthen the credibility of my ideas through proven achievements.

Q8
SEGA's Appeal

SEGA transcends departments and roles—it's a workplace that breeds innovation and human connections. It's easy to ask mentors and bosses for advice, and even have more personal chats about hobbies and things. There are also cross-department technical sharing sessions, and we sometimes incorporate tools and assets developed by other divisions into our own projects. We also have opportunities to share knowledge between SEGA and its group companies, and I love that we can solve problems and grow together beyond organizational boundaries.

Q9
Message to Applicants

I love working with people who aren't afraid to admit when they don't know something. I used to resist asking questions even though I was unsure. But I've learned that everyone has strengths and weaknesses, and that the point of a team is to utilize each other's strengths and shore up each other's weaknesses. By openly asking for help instead of struggling alone with uncertainty, both the quality and speed of work improve, and it also leads to personal growth. For new employees in particular, my hope is that they'll feel comfortable relying on those around them, and that they'll be proactive about learning.

Q10
A Recent Highlight

I saw a life-changing movie at 109 Cinemas Premium. Ryuichi Sakamoto, a musician I have great respect for, supervises the sound design of the theater, and he had me so immersed, I may as well have been at a live performance. The movie’s music was also outstanding, and it reminded that music has the power to elevate worldbuilding and storytelling, and resonate with audiences.

A Typical Day

10：30 AM　
Arrive at the office
10：40 AM　
Check the schedule and prepare for the day's tasks
11：00 AM　
Review what I finished up to the previous day, gather references and deepen my design knowledge to hone my creativity
11：30 AM　
Work on concept art and props for my current stage
Depending on my schedule, I might have a meeting to share progress on my work and discuss current challenges
12：30 PM　
Lunch break
4：30 PM　
Break
5：00 PM　
Start wrapping up work for the day, update tracking documents
7：30 PM　
Leave the office
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