Spillhistorie

Don't forget to mention its art director, Michael Haire, for all those memorable visuals. https://spillhistorie.no/2025/01/17/qas-with-michael-haire-former-art-… I'm just learning this myself: "My favorite version artistically is Pirates Gold where I was able to style the graphics after classic illustrators like N.C. Wyeth and Howard Pyle." Howard Pyle's Book of Pirates: https://www.gutenberg.org/files/26862/26862-h/26862-h.htm N.C. Wyeth's illustrations for Treasure Island: https://www.nocloo.com/n-c-wyeth-treasure-island-1911/

This great interview with Roger Dean about his career in games was recently posted: https://spillhistorie.no/2025/10/03/legends-of-the-games-industry-roge… Turns out that the Psygnosis developers in the 1980s used him as a kind of single-shot concept artist. They would commission the box art first, then use that as inspiration for designing the actual game to go inside the box.

> You didn't have to draw a pixel at a time. Back in the day I was fortunate to work with some of the best pixel artists in the industry like Jim Sachs (https://spillhistorie.no/2024/09/13/legends-of-the-games-industry-jim-… and they definitely did draw the vast majority of their pixels one at a time in the best paint programs available like Electronic Arts Deluxe Paint. In the linked article Sach's is quoted "I put dots on the screen. One at a time at first. Green dots for grass, blue dots for sky, gray dots for castle blocks. Hour after hour. I was happy if I got one square inch of the screen done in a day." To create top notch pixel art in those limited resolutions and palettes forces the artist into creating the illusion of colors and detail which aren't actually there in any one pixel. They do this by modifying the colors of individual adjacent pixels to imply shading and highlights. Jim would modify one pixel, zoom out to assess the overall effect on that area of the image, then zoom back in and modify the next pixel. I encourage you to zoom in and pixel peep some of Jim's images. Most of those pixel patterns aren't uniform enough to be from an 80s paint program and not randomly Bayer-ish enough to be a digitized image. Jim has discussed his workflow in detail in interviews. The value of Deluxe Paint to an artist like Jim wasn't laying down swathes of pixels, it was mostly fast zooming and panning as well as detailed palette control. Of course, those artists…