EONEvolve

Context

I co-founded EONEvolve, a mobile game studio in Istanbul, and helped run it from first prototype to live, commercially published titles. My main discipline there is technical art - the engine-side work that turns art into something that actually runs on a mid-tier phone - but in a studio this size that work sits close to design, production and the business, and I was involved in all of them.

That closeness is the point of this page. Every decision here was made with the release date, the device floor and the revenue in the same room.

Shipped Titles

Bicycle Extreme Rider 3D is the studio's flagship: a physics-driven stunt cycling game with a growing bike roster and multiple environments. It is also where the technical-art work went deepest, leading into a dedicated optimization pass across shaders, content and build size.

Read the BER3D technical art & optimization case →

Technical Art

Technical art was my seat across both titles. On mobile the constraint is never "can we make this look good" - it is "can we make this look good inside a budget the target device can hold", so most of the work is choosing which part of the look to pay for.

• Shader and material work - done with node-based shader tooling in Amplify Shader Editor, kept deliberately cheap so the look scales down to the lower end of the device range instead of only working on flagships.
• Lighting - environment and vehicle lighting set up to read clearly at phone screen size and under the game's fast camera, rather than being tuned in a static editor view.
• VFX - Unity Particle System work for the ride feel and for impact moments, budgeted alongside everything else on screen.
• Asset preparation - meshes and textures cleaned and prepped in Blender and Photoshop so content imports and renders predictably in-engine, which is where most avoidable production time goes.

On Bicycle Extreme Rider 3D this accumulated into a dedicated optimization pass across shaders, content and build size - covered in detail on its own page.

UI Implementation

I designed and implemented the in-game UI and UX: menus, garage and upgrade screens, in-run HUD, and the flows around purchases and progression.

The hard part on mobile is not the layout in the editor - it is the same layout surviving a device range that spans wildly different aspect ratios, safe areas and notches. I built the screens on Unity's anchor and stretch system rather than fixed pixel positions, so the UI adapts instead of breaking, and verified against real devices rather than only the Game view.

Production Tooling

A small team loses most of its time to recurring content work, not to the interesting problems. Adding a new bike to the roster was the clearest example: a long manual sequence of setup steps, each easy to get subtly wrong, and each mistake surfacing late.

I built tooling and wrote the accompanying documentation to turn that into a defined, repeatable process - the setup steps handled by the tool where possible, the remaining manual steps written down in order so anyone on the team could run them the same way. The result was less about raw speed and more about consistency: the same job produced the same outcome regardless of who did it, and content could ship without me being the bottleneck.

The same idea carried across titles: if the studio was going to do something more than twice, it got a tool or a written procedure.

Game Design & Art Direction

In a studio this size I also carried design and art direction. That meant setting the visual language and holding it as the games grew - where the style was allowed to bend for performance and where it was not - and making the calls on progression, upgrades and content pacing alongside it. At this scale keeping those decisions next to the engine work was simply cheaper than splitting them across a handoff.

Production & Monetization

Production and monetization sat with me as well: scoping and sequencing the work, and keeping releases moving. On monetization I worked on sellable in-game assets and on the timing and context of in-game pop-ups, treating placement as a design problem rather than a volume problem.

Organic Marketing & Content

For a long stretch I also produced the studio's marketing videos end to end. That meant adapting the in-game assets for the shot first - staging, camera and whatever the scene needed to film well - then filming and editing the final piece myself.

It is an unusual range for a technical artist, and it paid off in consistency: the marketing looked like the game because it came out of the same project. The channels grew through the team's combined effort, but I personally produced a large share of the best-performing videos.

Why It Matters

EONEvolve is where I proved the full loop under real constraints: shader, material, lighting and VFX work, building the tooling that keeps a small team shipping, implementing the UI, holding the art direction, and then actually releasing and running live titles that people downloaded and kept playing.