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February 10, 2012
 
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February 10, 2012
 
arrow Virtual Goods - An Excerpt from Social Game Design: Monetization Methods and Mechanics
 
arrow Principles of an Indie Game Bottom Feeder [20]
 
arrow Postmortem: CyberConnect 2's Solatorobo: Red the Hunter [1]
 
arrow Jerked Around by the Magic Circle - Clearing the Air Ten Years Later [40]
 
arrow Building the World of Reckoning [4]
 
arrow SPONSORED FEATURE: TwitchTV - How to Build Community Around Your Game in 2012 [13]
 
arrow Happy Action, Happy Developer: Tim Schafer on Reimagining Double Fine [9]
 
arrow Building an iOS Hit: Phase 1 [11]
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Features
 

Adam Schnitzer

Adam Schnitzer received a BA from UC Santa Barbara in 1979 and an MFA in Painting from Stanford University in 1984. From 1984-1994 he made a living as a landscape painter, showing his work nationally through galleries in Los Angeles, San Francisco and New York. Also during this period, Mr. Schnitzer was an Adjunct Professor of painting and drawing at the College of San Mateo and Cogswell College in Sunnyvale, CA. In 1994 he began his career in the computer game industry as a matte painter at Rocket Science Games. From 1995-1997 was employed at LucasArts Entertainment Company painting 2D sets and building 3D environments on The Dig, Outlaws, and Grim Fandango. In 1997 he went to work for Pixar Animation Studios as a Layout Artist and received screen credits for A Bug’s Life, Toy Story 2, and Monsters Inc. In 2001, Mr. Schnitzer returned to LucasArts and has since that time contributed to the soon to be released RTX Red Rock as both a Concept Artist and Cutscene Supervisor.


Features by Adam Schnitzer:
How to Build a Better Cutscene [03.06.03]
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