Inside the Studio at thatgamecompany: An In-Depth Interview with Studio Art Director, Cecil Kim

Few studios approach game development with the same clarity of purpose as thatgamecompany. Known for titles like Journey and Sky: Children of the Light, the team has built a reputation for crafting emotionally resonant experiences that prioritize atmosphere, connection, and meaning.

In this interview, we speak with Studio Art Director Cecil Kim, whose career spans decades of game development, from Final Fantasy and Parasite Eve at Square to over a decade shaping the visual identity of God of War at Sony Santa Monica. Now at thatgamecompany, Cecil discusses how his perspective on art, technology, and collaboration has evolved, and why defining a game’s message matters more than ever.

Read an edited version of highlights from the interview below, or watch the entire 42-minute conversation in the video above.

Before we start, can you do a little introduction and tell us about yourself? What is your role and what do you do here?

Cecil Kim, Studio Art Director at thatgamecompany: My name is Cecil Kim, and I'm a studio art director at thatgamecompany. I've been working in the video game industry since the late 1990s. On PlayStation One, the first games I worked on were Final Fantasy and Parasite Eve at Square. Then I joined Sony Santa Monica Studio, where we developed the God of War franchise. I spent about 12 years there, mainly as a visual development concept artist focusing on world-building and environment concepts.

After Sony, I had the opportunity to start my own company with Justin Yoon and Jimmy Yoon. We started Section Studios in downtown Los Angeles, focusing on art outsourcing for many game studios and publishing art books. That eventually led us to develop our own games and collaborate with different indie studios.

At thatgamecompany, I manage and art direct our announced projects. It’s been five years since I joined. A lot of my work involves shaping the creative direction of new titles and figuring out how to support Sky as a live service game, including finding the right talent.

When you talk about the projects you’ve worked on, it feels like a dream for many artists and developers. You worked on Parasite Eve, Final Fantasy, and God of War. I want to start with your early days at Square. What was it like entering the industry in the 90s? What did you learn, and what challenges did you face?

Cecil Kim: Working at a video game company after graduating from college was very different. I had traditional art skills, but didn’t know how to use digital software. Everything was new. I was strong at drawing and sketching, which helped in figuring out gameplay and cinematics.

I learned from others on the team, including Japanese staff from Square’s headquarters. We all relocated to Hawaii to finish Final Fantasy, which created a unique cultural mix and a kind of “art boot camp.” I learned digital painting and some 3D tools. It felt like an extension of school, but with real production pressure.

At Square, I focused on my craft without fully understanding the big picture. At Sony Santa Monica, it was different. We were building a new IP, so I became more aware of progress, direction, and collaboration across disciplines.

How has technology impacted your work over time?

Cecil Kim: Technology has advanced significantly. For example, God of War III introduced major graphical improvements. However, at thatgamecompany, we focus less on tools and more on experience and message. Technology supports that vision, but it doesn’t define it.

What was it like joining thatgamecompany and working on Sky?

Cecil Kim: I wanted to explore my full potential beyond AAA development. At thatgamecompany, I found a strong philosophy centered on meaningful experiences. Sky’s live service model required us to adapt quickly, especially as the player base grew.

We shifted toward story-driven seasonal content, adding new characters and narratives regularly. We also introduced features like concerts and shared viewing experiences. Planning these features can take years.

For the rest of the interview, check out this video, which is also embedded at the top of the article!

Cecil Kim, Studio Art Director at thatgamecompany

Interview conducted by Kirill Tokarev

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