A Retrospective on Classic Video Game Cover Art
Thirty to forty years ago, the cover art of video games faced several challenges. Often, it was crafted without strict style guides, created in isolation by individuals unfamiliar with the game’s actual appearance. With limited concept art, data, and technology, these covers tended to sell a fantasy that didn’t always reflect the real game inside. Despite these issues, this era provided thousands of remarkable illustrations. Many of these covers have etched themselves into players’ memories as deeply as the games themselves. Last year, Bitmap Books released The Art of the Box, a collection featuring over 350 pieces of cover art. This 564-page book highlights the work of 26 illustrators, many of whom became well-known through their contributions to early game box art.
Polygon is engaging in a series of email interviews with the creators behind game-related books and documentaries, including The Art of the Box. Below, Sam Dyer, the founder of Bitmap Books, shares his passion for classic game artwork and the journey of compiling this book, which involved tracking down the illustrators and their works.
Interview with Sam Dyer
Polygon: I appreciate how your book emphasizes both the illustrators and their creations. How did the idea for this book originate?
Sam Dyer: The concept for The Art of the Box dates back to the early days of Bitmap Books. I’ve always had a fondness for art, and some of my strongest childhood gaming memories are linked to the captivating cover art of those games. The experience of receiving Batman with its striking gold logo or browsing through numerous game covers at the local newsagent are moments I cherish. Considering the gaming industry’s shift towards digital, it seemed fitting to capture and preserve the process of creating game covers. The project gained momentum after the untimely death of artist Bob Wakelin. It felt crucial to immortalize this fading art form. Collaborating with Steve Jarratt, who handled the editorial aspects, allowed me to focus on the design and image curation, making the project less overwhelming.
Did you have specific criteria for selecting illustrators for the book?
Quality was our main criterion. The challenge was finding artists who were willing to participate and had high-resolution scans of their work. We wanted to showcase the art in its original state, free of logos and text, revealing its purity. This requirement made it difficult to gather a group of contributors. After extensive efforts, I’m proud that we’ve featured 26 artists, including Bob Wakelin, Steve Hendricks, Ken Macklin, and others.
How did the collector’s market affect your search for images for the book?
While I was aware of the collector’s market for video game art, some collectors were hesitant to share images for the book due to various reasons. This meant certain artists could not be featured as they hadn’t preserved high-resolution images before selling the originals. However, some collectors, like Nicola Ferrarese, were incredibly supportive and generous with their resources.
Were there images that were particularly challenging to acquire?
No single image posed more difficulties than others, but we encountered gaps when artists didn’t document their work before selling it. In such cases, we reached out to the community and conducted extensive online research. When needed, we worked with experts like Gary Arnott and Jefferson Taylor to respectfully restore and enhance lower-quality images with the original artist’s approval.
Do you have a personal favorite piece in the book?
Dermot Power’s Golden Axe (home computer ports) is a standout for me. I’ve always admired Dermot’s work in comics and video games, and seeing the full Golden Axe art in detail was astonishing. As a child, I only saw a cropped version on the game box, so witnessing the full piece’s intricate details was breathtaking. The fact that it was painted directly onto blackboard adds an incredible depth and mood that perfectly complements the game’s atmosphere.
