From there he moved to Rockstar’s US offices to work on the following titles, Vice City, San Andreas and IV. Actually, his very first task, on his very first day in the office was to design the now iconic cover. Creating a referential language full of dark humour and irreverence, it was through his t-shirt brand Steroids that he ended up at Rockstar.īeing developed by Rockstar North in Scotland, Grand Theft Auto 3 - the first three-dimensional entry in the series - was Bliss’ first task. Initially working in Japan with clothing brand Hysteric Glamour, he moved onto London after four years in the East to work on comic books and commercial illustration for a plethora of brands. Being with the company from 2001 to 2016, he has played a crucial role in how GTA has transcended video game culture and become a cornerstone of contemporary culture at large, with the game being heavily referenced and influential for subsequent games, films, music and art.īliss has drawn influences from a storied career in illustration. Thanks to the style of Bliss, this has consistently been the case across all of the Rockstar IP’s he has worked on. Essentially, what you see is what you get - always with a twist.
Each of them create a sort of ‘cult’ around the protagonists, who become instantly recognisable archetypes of a very particular set of physical and personal traits. This goes for their other games like Bully, Red Dead Redemption and The Warriors.
To populate such a world, you must have big characters. The game is highly stylised, in the sense that it merges the gritty gangster realism of Scarface with Tarantino’s off-the-wall graphic content and scripts. Encapsulating all of the series’ defining characteristics, the artist’s portrait style sits somewhere between Warhol’s pop-art and 80s cult movie poster.
One of the most iconic aspects of the GTA franchise is the accompanying art - from covers to loading screens.
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