A Mad Career Level-Up: From 0 XP to AAA

FIRST STEPS

HOW IT ALL STARTED

» How does one even get into Mad Head Games?

I studied Animation in Engineering, a faculty program that leaned heavily toward architectural visualization. When I was finishing my bachelor studies, I needed an internship to graduate, and that’s when I first applied to Mad Head Games. They took a little while to reply, so I started another internship in the meantime and later picked up some freelance work (mostly 3D modeling and rendering for architectural projects).

When Mad Head Games’ response finally got to me, they said there weren’t any internship spots open – but even better – they wanted to know if I’d be up for a full-time role instead. I did a Tech Art test for one of their HOPA projects, and everyone I talked to about MHG kept saying the same thing: “The people there are amazing.” When I came in for interviews, I could feel it myself. Everything just clicked.

Unfortunately, due to some internal reshuffling, in the end they couldn’t hire anyone at that moment. Bit of a bummer, but it was still such a great experience that I walked away hoping our paths would cross again.

Fast forward a year – the pandemic hit. At the time I was basically living off DJ-ing (which, as you can imagine, wasn’t the best career during COVID), finishing my master studies in Digital Design, and still doing some freelance architectural work on the side. Then out of the blue, I got an email from Mad Head Games. They wanted to restart the interview process. My reaction? An instant YES. And just a few days later, everything fell into place.

» What was it like jumping in as a Tech Artist with zero XP?

Back then, everyone was still figuring out remote work. We didn’t have many teammates outside Serbia yet, cameras were almost never on, so for the first couple of months I wasn’t sure what half the Mad Heads even looked like. 🙂

When I first interviewed, Mad Head Games was juggling HOPA projects and early Scars Above prototypes at the same time. About six months in, the studio fully shifted from HOPA to core projects – and that’s when things got a lot bigger, fast. A full HOPA team had six or seven people; in core, that’s just one sub-team. We weren’t just relying on Blender and Photoshop anymore – we were transferring everything to Unreal Engine, which was a game changer.

THE SWITCH

FROM HOPA TO CORE

» How big was the switch from hidden objects to hardcore engines?

To make the transition smoother for us, Mad Head Games really stepped up. They opened up a list of new roles across the studio, so we could choose where we wanted to go next, and gave us three months of training to get ready. That’s when I made the switch to Level Design. I didn’t want to stick to just modeling anymore – Level Design felt like the perfect blend of art and game design. We built directly in-engine, added a bit of level art and dressing, worked closely with modelers… basically a bit of everything. That’s when I knew I’d found my sweet spot. Every scene we built felt like a win.

» What has shaped you most – sci-fi dreams or horror nightmares?

Scars Above really shaped me as a game developer. When I joined, it was a love at first sight: narrative-driven, sci-fi, third-person RPG… exactly the kind of game I love to play. I’ve always been a huge sci-fi fan, so working on it felt natural.

Later, when the studio started working on Clive Barker’s Hellraiser: Revival, our HR department checked in with everyone to make sure we were comfortable joining the project: it’s horror and gore-heavy, after all. Moving from Scars Above to Hellraiser was challenging. I spent some time helping out on it, but honestly, horror just isn’t my jam.

So when the chance came to move to our current project that is under NDA, I jumped on it. Working on AAA development isn’t easy. Every tiny detail matters, and the standards are sky-high. It’s demanding, but I absolutely love it.

» How did you choose environment art over design?

Back on Scars Above, Level Design was kind of a hybrid role. But on our current project, things got really interesting. I can’t share too many details, but while working with our Saber colleagues, I realized it was time to choose which direction I wanted to grow in. Level Design on this project was more tied to game design, while my heart (as well as most of my experience) leaned toward art.

Huge shoutout to our producer Dunja Milić Hladni (Producer), who convinced our always-supporting Nikola Avramović (Art Director) to let me try out an environment task with Dunja Salaj Pegan (3D Environment Artist) and Dušica Ćalić (Texture Artist). We teamed up: I handled blockouts and modeling, while they took care of sculpting and texturing. In the end, we delivered exactly what was expected, and both Nikola and Ilya Polyakov (Art Lead, DreamVR) were really happy with the results.

That experience was a turning point for me. I reoriented fully toward environment art: modeling, set dressing, decals, textures… You could literally see our team’s progress through the documentation and commits.

It was challenging, for sure, but also incredibly rewarding. It felt like I was doing exactly what I wanted, and genuinely growing as an artist.

» What’s the tale of your leadership beginnings?

I think my leads (Nikola and Ilyia) recognized a bit of leadership potential in me early on – the proactiveness, taking initiative, and always following through on what I started. Our team kept growing, and by last year, I officially stepped into the role of team lead.

Now I lead a colorful team of six: we’ve got level designers, environment artists, and texture artists all working together.

I still feel there’s a lot for me to learn, both as an artist and as a lead. Thankfully, we’ve got solid support and L&D resources. Leadership isn’t one-size-fits-all, people are different, and learning how to guide each of them takes time. But that’s the goal: help everyone become confident, independent, and fully in sync inside the engine. This industry is incredibly competitive, and consistent feedback is key.

THE FUTURE IS BLAZING

BURNING AAAMBITION

» What’s the hardest part of making an AAA title?

Our biggest challenge is time.

When it comes to environment art, in other studios, you might see roles split into very specific areas: prop artist, weapon artist, vehicle artist, vegetation artist, and so on. We nurture a bit more generalist approach, our environment artists take on almost everything from that list. One of the best things about MHG is the range of expertise you get exposed to. You learn a lot, and you can apply that knowledge across different projects and disciplines.

Our artists get the chance to model pretty much everything – which makes it an incredible opportunity for anyone who wants to grow fast and build real, hands-on experience. Every detail really matters – this is AAA, after all. Even something as small as a trash can that a player just runs past has to look perfect. Every object adds to the world’s believability.

We’re still a system in the making – this is our first AAA project – but from the very start, we’ve been setting the bar high. It’s not about learning something and chasing the next career move somewhere else; it’s about genuine motivation. When you believe in the project and see it succeed, you don’t really want to go anywhere – you just want to keep making awesome games with an awesome team.

Oh, and we’re expanding our Level Art team – perfect for mid-level or even junior artists who love Unreal, have a curious mind, and enjoy polishing worlds till they shine.

» What’s the high score of your career so far?

I’m especially proud of everything I learned on Scars Above and of what I managed to accomplish there. One of the most meaningful parts for me was working with Nikola and really diving into the artistic side of things. That sci-fi/space environment in Scars Above really grew on me, and I’m really happiest with how I handled it.

At the time, I was a bit caught up in perfectionism, but looking back, that environment work stands out as my favorite. And even now, on our current project, the best feeling is the same: finishing a scene, firing up the game, and actually playing what you’ve created.

It’s the moment you realize: our team made that happen. Seeing how far we’ve come, and knowing the importance of good collaboration, makes that journey even more meaningful. Watching gray blockouts and rough shapes turn into fully alive scenes with lighting, effects, and characters… there’s nothing like it. That moment is pure magic.

» What’s the next epic quest?

I’m genuinely optimistic about what’s coming next. I think everything we’re building is coming together amazingly, and our team will keep getting stronger. We’ve already brought in some experienced folks who are raising the bar in a big way. Seeing what our team is producing honestly blows me away. We’re working on really interesting, diverse stuff – and that’s what keeps everyone motivated. It’s unique, with beautiful shots and striking scenes. I genuinely think we’re going to create some jaw-dropping stuff.

When I compare what’s out there now in terms of quality of video game environments, I’m confident that what we’ll release is going to set a new standard. It’s exciting, inspiring, and I can’t wait for people to see it.

LEVEL COMPLETE

Five years, countless polygons, and one hell of a level-up. Filip’s journey is proof that the best stories happen when you grow alongside your team!

Want to know more about MHG, environment art, or what it’s like building AAA worlds? Drop us a message on Instagram, LinkedIn, Facebook – or just send us an email. Let’s talk.