Spotlight On: Alec Chalmers (Course Leader, Games Art and Technology)
By MetStudios
18 October 2024
We recently had the pleasure of interviewing Alec Chalmers, Course Leader for the BA (Hons) Games Art and Technology programme at MetStudios Brighton. With an impressive career spanning multiple roles and projects within the gaming industry, including notable titles like the Sniper Elite franchise and Ice Age: Scrat’s Nutty Adventure, Alec brings a wealth of experience to his teaching. His contributions also extend to developing unique educational programs, such as the world’s first MA Worldbuilding course.
In this interview, Alec shares insights into his professional journey, his approach to integrating creativity and technical skills in education, and his thoughts on the future of game design.
Can you share some key highlights of your career that have significantly shaped your approach to teaching and game art?
Throughout my career, I’ve had the privilege of working on a wide variety of intellectual properties (IPs), including on the Sniper Elite franchise, collaborations with studios outside the traditional gaming industry, such as Blue Sky Studios while developing an Ice Age game. This experience helped broaden my perspective, allowing me to bring a cross-industry insight into my teaching.
Additionally, developing the first-ever Masters course in Worldbuilding was a milestone in my career. It allowed me to shape a curriculum around a personal passion, encouraging students to immerse themselves in building cohesive and immersive worlds. My time teaching in South Korea also significantly impacted me, as it showed me the profound influence we can have on students’ lives and development, far beyond the technical skills we teach.
As Course Leader for BA (Hons) Games Art & Technology, how do you incorporate both artistic creativity and technical skills into the curriculum?
Your work incorporates concept art and environment design. How do you balance the creative freedom of concept art with the constraints of game development?
Balancing creative freedom with the constraints of game development requires a deep awareness of the medium’s limitations. Having worked in both concept and environment design roles, I understand what an artist is looking for in a concept—what works well and what doesn’t.
Concept art is not just about creative expression but about problem-solving and setting the visual tone within the game’s technical and design constraints.
My experience helps me teach students how to craft concepts that inspire the people they are working with while being grounded in the realities of game production.
How do you see emerging technology, such as VR, AR, and AI reshaping the landscape for both game art and design education?
The industry is constantly evolving, and technology like VR, AR, and AI will continue to reshape the landscape, just as past innovations have done. AI, in particular, is still in its early stages, but it’s already optimising workflows. However, it’s crucial to have open discussions with students about the ethical implications of these technologies. While they will inevitably be used, students must understand how to engage with these tools responsibly.
I encourage them to see these advancements not as threats but as opportunities to adapt and evolve their creative processes. Having worked on a VR game, Sniper Elite VR, there are some differences that artists and designers need to be aware of when working with these technologies that affect things like performance and navigation. The core goals of making something fun that looks good never changes though.
Collaboration is a key element of working in the games industry. How do you teach students to work effectively in teams, particularly in cross-disciplinary projects?
Collaboration is at the core of game development, and I emphasise the importance of teamwork throughout the course and in my teaching ethos. From the beginning, I integrate cross-disciplinary projects and exercises that mimic real-world scenarios. I ensure students understand and appreciate the different roles within a team, signposting best practices and showing them how good collaboration is built.
By recognising and reinforcing positive teamwork behaviours early on, students develop the communication and project management skills necessary for successful collaboration in the industry.
You’ve mentioned your involvement in world-building projects. What do you think makes for successful world-building, and how do you teach students to develop immersive environments?
Successful worldbuilding is about creating a cohesive and believable environment, regardless of the scale. It’s not about designing every detail but about knowing what to focus on and understanding what elements will communicate the most to your audience. I teach students to consider how even small details can imply larger worlds, encouraging them to think deeply about the lore, culture, and history of their environments.
It’s about subtle storytelling through design and making every decision intentional to enhance immersion, but it’s also important to not get bogged down or held hostage to this kind of stuff. It’s just as important that you actually make something at the end of the day!
What are some challenges you’ve faced when working on large-scale projects, and how do you help students prepare for similar challenges in the industry?
One of the biggest challenges in large-scale projects is working with a wide range of people, some of whom you may not choose to work with. I stress the importance of communication and adaptability. You can’t control the personalities you encounter, but you can control how you respond to them. Developing interpersonal skills is critical for navigating challenging relationships, and I help students build this resilience. By fostering strong communication skills and teaching them how to collaborate effectively, they are better prepared to navigate the complexities of large teams.
You have a strong background in both freelance and studio work. How do you teach students the key differences between working independently and within a larger team in the gaming industry?
Independence is the key distinction. In freelance or smaller studio settings, you’re expected to take initiative and manage your workload without much hand-holding. This requires a higher level of self-discipline and confidence. When I was working remotely on a game, ‘Spirit of The North 2’ being developed in the states, the team were more often than not asleep due to the time difference.
On the other hand, larger studios often provide more guidance, making them a good starting point for those just entering the industry. I work to build students’ confidence and independence throughout the course so they feel prepared to thrive in both environments, whether they join a large team or strike out on their own or with a few friends.
What is your advice to aspiring game artists, designers, and developers?
Get out there and connect with others in the industry. It’s a small world, and building relationships can open up opportunities you might not expect. The people you meet at university, conferences, or even in online forums could be the key to your next job. Network, stay engaged with the community, and remember that being helpful and approachable goes a long way.
Alec Chalmers’ passion for the gaming industry and his dedication to education are evident through his diverse experiences and innovative teaching methods. By bridging the gap between concept art and production, and adapting to emerging technologies like VR and AI, he prepares students for a dynamic and evolving field. His emphasis on collaboration, world-building, and professional adaptability provides invaluable lessons for aspiring game artists and developers.
We’re excited to see how Alec continues to shape the next generation of talent in the gaming industry.