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DET: Just about all of the games on your CV have at one point been promoted as ‘concept art in realtime’ – even Stranglehold. Film has the same feel, the same drive to me, but being mainly a concept artist I’m less involved and entrenched.When I work on a game as an art director and concept artist, I really have that opportunity to go more in-depth.When I do a book cover it’s really about storytelling, and about selling an entire context with one image; it’s also about trying to convey emotion so I can draw the viewer into that image and incidentally have him buy the book, which is what these images are for.I also have the choice between being literal or figurative when I have to execute that image, and it makes the process very creative.But, with due thanks to my therapist, I’m over that now, able to sit back and appreciate one of the more remarkable game art endeavours of *arbitrary number of recent years*. What both games have in common is that their art was notably harmed by the cruelties of game production: the promises of engines and consoles; the odds and the bets; the inevitable betrayals.Indeed, in being drawn to projects that explicitly set out to close the gap between concept art and realtime, Martiniere’s work isn’t just beautiful, but one of the most vital fixtures of that struggle.

These details, these objects, they also have to be very functional because they have to work in order to be built and played. To me it’s all about the creative process, and having the opportunity to create a vision that’s really going to make the game a tremendous experience.DET: Book covers also tend to deal in grand concepts while games are consumed with details.Does your imagination have to shrink somewhat when moving from one to the other?I could be an art director or a concept artist, or I could be both.Every time I art direct I also drive the visual by doing key concepts.

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