Interested in being part of the Mojo team? Find out below if you're a good fit for us – if you are, let us know here.
The Environment Artist is in charge of taking pieces of environmental concept art and turning them into 3D models for the in-game world. For example, an Environment Artist might be asked to make a tree from concept art provided for that specific tree. From there, they will be expected to complete all steps of modeling the object from high-poly, low-poly, UV unwrap, and normal mapping. Environment Artists cover architecture, props, flora (but not fauna), rocks, and anything inanimate creating the world around you as you progress through the game. They will report to the Lead Environment Artist, Art Director, and Art Team Manager throughout their process to ensure that they are getting things done properly. The Art Director will critique, artistically, whether they are meeting the conveyed vision for the animations of the game as set out by the concept art. The Art Team Manager will help to ensure that the Environment Artists move forward on track with all pipelines and agreed deadlines.
Character Artists are responsible for the creation of characters, starting from the concept art, to the 3D, in-game model. A character artist will be given a piece of concept art or the art for a character that we want done in game, and they will be expected to do high-poly, low-poly, modeling, UV unwrapping, normal mapping, texturing, and any other effects to fully complete that character. Along these lines, they will report to the Lead Character Artist, Art Director, and Art Team Manager throughout the process, to ensure that they are getting things done properly. The Art Director will critique, artistically, whether they are meeting the vision conveyed through the concept art. The Art Team Manager will ensure that they’re moving on track through the pipeline and making all deadlines. The Lead Character Artist will ensure that they are, technically, meeting all requirements for animation and in-game purposes.
The Texture Artist is responsible for creating the diffuse, spec, bump maps, height maps, etc. for any character or environment piece that they’ve been assigned. This includes decals and other overlays to be developed for in-game materials. We separate Texture Artists from Modelers to enhance workflow and efficiency by placing people where their talents are best used.
The Particle Artist is in charge of creating any and all dynamic particles or effects that occur within the game. The goal of this role is to produce the things that bring the environment to life; essentially, any animate object (i.e. flames, spray) or creature (i.e. fireflies) whose sole function is to provide motion to an otherwise static background. Anything that is a visual effect in the game that is not covered by animation (or is, but is not a character or “anything like that”) will be expressed in particles by the Particle Artist. Examples of assignments for Particle Artists include, but are not limited to: falling leaves, dirt particles, ambient insects, fog, or waterfall splashes. As with other roles in the Art Team, they report to the Art Director to ensure the integrity of Cradle’s artistic vision throughout production. They also report to the Art Team Manager for all scheduling and deadlines. The Lead Particle Artist will be a go-to for all Particle Artists seeking technical support, whether guidance or troubleshooting.
The technical artist is in charge of taking all of the animations created by the Animation Artist, and putting it in engine to bring the level to life. They are the bridge between the technical (i.e. coding) and artistic sides of animation. They implement scripting, triggers, in-game systems, and anything in Flowgraph or Mannequin. Anything technically related to the engine is also handled by them. They need to be a wizard with the [Cry]engine, and need to know how to make things go from a flat, static level to something dynamic and exciting. Currently, our Tech Artists do things like implement our combat systems, ensure the animations move smoothly through them, and resolve any non-coding technical problems within the engine.
An Animation Artist at Mojo is in charge of creating the animations and events that happen in the game. An animation is defined by any sort of free motion and motions that need to occur on any object in the game; things and their movement. Animation Artists are also responsible for rigging and skinning these assets. Right now, Animation Artists are working on a variety of tasks. These include Titanwood trees falling, combat animations (like sword and staff swings), runs, walks and jumps for the player’s avatar. In each of those different things, the Animation Artists are in charge of giving the game motion, and bringing the game to life through that means. The Animation Artist creates something through Maya or Max, and then passes it on to the Tech Artist, who will carry it forward from there. They will report to the Lead Animation Artist, Art Director, and Art Team Manager throughout their process to ensure that they are getting things done properly. The Art Director will critique, artistically, whether they are meeting the conveyed vision for the animations of the game as set out by the Lead Designer and/or other Designers. The Art Team Manager will help to ensure that the Animation Artists move forward on track with all pipelines and agreed deadlines.
Sound Designer (in-game)
Sound designers are individuals who are responsible for the creation and implementation of audio for all the assets and environments within Cradle. Our sound designers must be able to guide the player through the story of Cradle, drawing the player’s attention with subtle aural cues. Their sensitivity to the characters, and the complex wildlife and ecosystems for which they reside, will bring life to the world of Cradle, blurring the barrier between game and reality. To summarize their role in one word: immersion.
Sound designers are expected to have strong communication skills, collaborating closely with Technical, Design and Sound teams, but also have the drive, charisma and problem solving skills to work independently and bring their own sonic pallet. Due to the unique global distribution of the Mojo Game Studios' team, sound designers must also have access to their own hardware and software tools to complete the job. Sound designers are expected to be able to create cinematic but believable audio through strong recording, mixing, designing, Foley, and implementation skills. Pluses include previous audio for game experience, previous work with Wwise and FMOD, building block DSP experience (Max, Kyma, Reaktor, etc.), and understanding objective oriented programming languages.
Note: This is a sound design job and not a composing opportunity. All applicants are expected to provide a resume and demo reel of their best sound work, free of all music. Only applicants with such a reel will be considered.