Category: Röportaj

This September, we had the opportunity to talk with Per Stenbeck, Game & Level Designer from Stockholm and currently Design Lead at Hazelight Studios. Per has been part of the creative force behind co-op experiences like A Way Out and It Takes Two, and most recently as Lead Designer on Split Fiction. In our conversation, he kindly answered our questions about game design, collaboration, and advice for aspiring developers.

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First of all, thank you for accepting our request for an interview. For those of us who want to achieve success in the game industry in the future, it’s very important to learn about the paths taken by role models like you and to understand your way of thinking. Here are the questions we have prepared: 

How did you first enter the game industry? What got you started in game design?

Well, I used to be a sound designer. And then I started looking for jobs in fields other than music. Sound design for games came up as an option since I’ve always been a gamer and thought that it would be fun to work on games. Plus, I had just moved to Stockholm, which is a well known city for games. So I managed to arrange a meeting with a sound designer at Starbreeze in Stockholm (because I knew someone who worked there) and he told me that they would not take on a sound designer without experience in Unreal Engine. I had no clue what Unreal Engine was at the time (other than having played Unreal Tournament back in the day, awesome game by the way). Unreal Engine had just become free to use back then, which was great, cause I didn’t have much money 😀 So I downloaded it and started following tutorials by Zak Parrish to learn the basics, and BOOM, I was hooked. I quickly forgot about sound design because I fell completely in love with blueprints and making levels in Unreal Engine 4.

A few months later I had made my first little side scroller game and had signed up for a preparatory course at FutureGames. The course made it possible for me to get some assistance from the students at FutureGames as mentors but I also got some time to get to know the teachers and staff. So I got accepted and started studying at FutureGames in 2016. That first year, I spent practicing my skills in the engine. When it was time to look for an internship at a studio, I talked to people that were in the year above me that I had gotten to know during the preparatory course and my first year as a student and they recommended me for a position at Hazelight. They were looking for one designer and I got to do a work test to show my technical skills and design skills. At the time, I didn’t actually know what they were up to (since they were working on A Way Out which was not public yet) but I did know that Josef Fares (Hazelight founder) had done a game called “Brothers: A Tale Of Two Sons” previously, and I really loved playing that game (I cried, a lot). So I was asked to come for an interview. To my surprise, it was the full design team that met me and started asking questions. But the team made a great impression on me and I really enjoyed the conversation we had. Then, after about 30 minutes or so, Josef came in and said hello and we talked for a bit. He then turned to the designers and said something like “Well, he seems like a good guy, so let’s have him for an internship, right guys?”. So I got accepted on the spot and started my internship just a month or two later.

When designing a level, what do you prioritize the most?

Oh, that’s a tricky question. Depends so much on the scenario, the mechanics and where you came from previously in the game and if there is anything specific in the narrative that needs to be conveyed. So yeah, I guess the answer would be that it depends on all of the above. Or, a simple answer could be “I prioritize whatever the game needs for that specific level”.

What elements do you pay attention to in order to make levels fun (especially in a co-op game)?

Well, there are lots of factors of course. One thing is to balance the fun between players. Keeping them equally engaged and making them feel like they both make valuable decisions. So yea, there’s that. Then, you know, creating scenarios where you set the stage for them to either mess with each other for some fun banter, or setting up the scene so that they will help each other through tricky situations and feel like a team.

How did you collaborate with teammates from different disciplines?

Hazelight is all about collaboration. We all sit together in one big room. We tried, at one point, to split up a bit, but we ended up wanting to sit together again, it’s just so much more efficient (and fun). So yea, gameplay programmers help me out with mechanics and specific tools and actors for the gameplay I’m making. Animators make the characters and enemies come to life. Artists make it all look pretty and cool. Audio makes it sound good. Etc, etc. There are many departments that contribute to the final product. As a designer at Hazelight, we are responsible for reaching out to all these departments to make sure that our level becomes as good as it possibly can.

Did the feedback you received during playtesting have a big impact on your level designs? What do you think about the importance of playtests?

Not as big as one might think. We have a pretty good sense of what will work and what won’t. And our game director Josef has a really good eye for that also. But of course, play tests help me confirm suspicions like that, and sometimes tell me completely brand new information that I had no clue about and have to tweak to get it right.

What is the most important piece of advice you would give to young people who want to become game designers?

I think this question is very, very tricky. Especially considering the tough times in the games industry right now. From reading on LinkedIn I get a sense that it’s really hard to find a job within games right now. So, yeah, to be honest, I have no idea. If I were to start now, I would probably focus on making my own little indie games with a few friends. Having a REALLY small scope and just releasing as many games as possible depending on how much time and money I had to do so.

What should someone pay attention to when preparing a portfolio for game design?

Preferably, when I go to a portfolio page, I want to see a video the first thing I see, where you present yourself and then your work. With a webcam and all 🙂 But that’s just me, I’m sure that people who are in charge of recruiting in other studios have their own preferences of what a good portfolio looks like.

At the very beginning of your career, are there things you wish you had done that would have helped you more?

No, not really. Can’t think of anything. I’m happy with how it all turned out.

At what point did you call yourself a level designer?

I think when I started studying at FutureGames 😀

What advice would you give to someone new to the industry?

If you are a game design student, be nice to your classmates because they are the ones that will be in the industry and can recommend you for jobs if you don’t find an internship initially. So yeah, be friendly, helpful and work hard to become the best. Don’t rely on teachers. Rely on yourself and youtube tutorials, etc. I would recommend using the time in school to learn as much as possible. So whatever spare time you have apart from the school tasks, use that time to become better.

What is the biggest difference between designing mechanics for co-op and single-player games?

It’s a completely different thing in my opinion. I touched on this in a previous question but having to ensure that both players are engaged and feel valuable is a big thing to take into consideration. Also, you can’t cheat by teleporting enemies behind the players back and stuff like that, everything can be seen by the other player since there are two cameras (we make split screen games). So, that’s a big difference too.

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We sincerely thank Per Stenbeck for sharing his time and insights with us. It was a great pleasure to conduct this interview, and we hope our readers find it equally inspiring.

This April, Clair Obscur: Expedition 33 unexpectedly secured its place among the best games of 2025. With its story, innovative approach to turn-based action RPGs, and of course, its mesmerizing art and animations, it left a strong impression on us. To understand at least part of this success, we spoke with animator Sylvan Kim, who worked for a time with the creative team at Sandfall Interactive. We asked him a few questions about himself and the game. It was an exciting interview for us — and we hope it will be equally inspiring and eye-opening for you.

What led you into character animation? Can you tell us about your artistic journey?

Hi, I’m Sylvan Kim (SeungYun). To explain how I became an animator, I’d have to go back quite a bit. I’ve always had a strong desire to create, and even as a kid, I knew I wanted to work in a creative field. I studied design at university, where I was first introduced to 3D. I tried modeling and even made a simple ball-bounce animation — and I was instantly hooked. I just found 3D so much fun. That’s when I knew this was the path I wanted to follow. I thought seriously about which direction to take, and game animation really called to me. Part of me was drawn to the uniqueness of the field — doing something not everyone else was doing sounded more exciting. For me, animation felt like the most expressive form of art where I could explore and share my ideas freely.

What mistakes did you make when starting out, both in the craft and in the business? What advice would you give to younger animators?

When I joined my first studio, I made what I’d call a misunderstanding — maybe even a naive assumption. I just wanted to make something cool and impressive — but it was my idea of what was cool. The animation I created completely missed the point of the original direction, and I ended up wasting a whole week. I think this is worth mentioning to any artist entering the game industry — though it’s just my personal take. I believe game artists are designers first and foremost. A designer creates with the intent to serve a vision, and that applies to game animators as well. There’s always a concept and direction in place before we begin. As animators, our role is to understand that intention and deliver our best performance within those boundaries. Sometimes, that performance might even go beyond what was expected — but that only works if you stay aligned with the original intent. So my advice: communicate well, collaborate often, and learn to adapt your creative output to the bigger vision of the project.

Which character would you most like to animate from any franchise of your choice, if given the freedom?

Someday, I’d love to work on characters from subculture titles, like Zenless Zone Zero — something with a strong personality. Even if two characters perform the same action, their poses, timing, center of gravity, and weight can all differ depending on their personality and concept. That kind of clear character identity is what makes animation truly exciting for me.

Can you name three games that, in your opinion, have amazing animations?

If I had to pick the best, I’d say Zenless Zone Zero. It’s phenomenal — the peak of cartoon-style art. Second would be Guilty Gear. It’s a fighting game, but every single pose speaks to the character’s identity. Third is Devil May Cry. That series had a big influence on my sense of action animation. Even when I was studying and after I entered the industry, its combat animations remained a core reference for me.

Are there any details in the animations you’re proud of but that players might miss?

Yes — one thing I care a lot about is the feeling of impact. If you pause any of my animations, you’ll see what I mean. I always try to emphasize key poses during attacks and exaggerate the anticipation pose right before the hit. That’s the key to delivering impact — a detail I really focus on.

Were there any specific references or inspirations (movies, games, etc.) that influenced the animation style?

As I mentioned earlier, Devil May Cry is like a textbook for me — it’s been one of my biggest inspirations. I’m sure a lot of animators would say the same! Also, King of Fighters. I’ve used many fighting games as references. In those games, animators have to communicate character, intention, and impact — all in just a few frames. I practiced a lot by studying those poses and using them as the base for animation exercises.

Which character or creature was the most enjoyable to animate, and why?

I’m most attached to Maelle. She’s beautiful and full of charm. While animating her, I kept thinking about how to highlight her personality and make her look as stylish and expressive as possible during gameplay. I also really loved animating Curator, one of the bosses. That character gave me lots of room to play with, animation-wise.

Were there animations you created that didn’t make it into the final version?

Honestly, pretty much everything made it in. There were a few skill animations for some characters that got reworked, but nothing major. Haha.

What was it like working with Sandfall Interactive? Were you working online or in-office?

One day I got an email — it was from Sandfall. They’d seen my animation reel and asked if I’d be interested in working with them. They introduced the game, and I was instantly hooked. The art style and the unique concept completely drew me in. I thought, “I have to work on this.” Even now, I’d make the same decision again in a heartbeat. At the time, I was already working full-time in Korea, so I could only take it on as a freelance job. We agreed to move forward remotely. Working with Sandfall was amazing — just as impressive as their art.

How would you describe the company’s culture, especially regarding creativity and artistic freedom?

Honestly, I’d never worked this way before. Usually, in outsourcing, you just get a spec and deliver the result by a deadline. But with Expedition 33, it was all about communication. We had real conversations and aligned our visions together. It felt great. That open dialogue really helped produce such unique and creative art. Even though I’ve been doing this for over 10 years, this project was truly a special and memorable experience. Everyone I worked with loved art and loved making games — and that shared passion brought us together, regardless of nationality or culture.

What are the benefits of freelancing compared to full-time studio work?

As a freelancer, the biggest advantage is the freedom — you’re responsible for your own part, and as long as you deliver solid results, you’re good. Of course, you might miss out on some of the team bonding or sense of ownership that comes from being part of a full-time team. But that freedom also lets you stay focused and flexible.

What trends do you see emerging in animation for games, especially for stylized or indie titles?

One thing I’ve noticed is how AI-assisted tools are starting to blend into animation workflows more and more. Especially in indie or stylized projects where teams are small, these tools help speed things up. Whether it’s mocap cleanup, generating in-betweens, or helping with style transfer, they take care of the repetitive stuff so we can focus more on creative decisions. I don’t think it replaces animators — it just helps us get to the fun parts faster. In a way, that freedom is probably why we’re seeing more expressive, stylized animation popping up lately. The tools make it easier to experiment without being crushed by the workload.

What are the main differences between creating animations for games and for cinema? What should aspiring animators focus on when creating animations specifically for games?

Honestly, the core of “good animation” is similar in both games and film. In the end, both are about bringing characters to life and expressing emotion in a way that fits the context and direction. But the biggest difference is interactivity. In games, the player is in control. That means game animation isn’t just about emotion or storytelling — it also needs to consider responsiveness, timing, transitions, and repetition in gameplay. If you’re aiming to get into game animation, focus on: making animations feel responsive to input — motions should react instantly and transitions should feel fluid; mastering loop animations — things like idles, walks, and runs need to loop seamlessly and stay interesting over time; and clarity in timing and silhouette — the animation needs to read clearly even from a distance, and key poses have to land fast and strong. In both fields, it’s still about how you bring a concept to life — but in games, you’re always thinking a bit more about who you’re animating for. And that “who” is the player.

We sincerely thank Sylvan Kim for taking the time to answer our questions and sharing his valuable insights with us.