Robb Waters

Designing a class of unique, stand-out antagonists for the world of Columbia was a long road, but in the end these characters are some of my favorite creations.

It's a bird... It's a plane...

Designing a monstrosity that was both Iconic yet different from Bioshock's Big Daddy was one tough bill. After many drafts and a little bit of hair-pulling, the Songbird as we know him finally emerged.

Fleshing out the world with it's own unique advertisements and products has always been a really, enjoyable part of the Bioshock series.

Over the years I've grown to love switching between frantically drafting monsters, to taking the more methodical approach that's required when you draft complex sentiments into a simple, iconic graphics.  

My favorite marketing piece is the old-timey Game Informer Magazine cover series that I painted. I loved the fact that we were allowed to go all-out with these illustrations, between the faux-aging and incorporation of a header with a Saturday Evening Post aesthetic. 

Returning to Rapture for the DLC was a welcome departure. Experiencing the fabled, underwater utopia in all its glory was truly amazing – but where I had the most fun was helping to flesh out the city's dark side.