Jessica Ebner
© Jessica Ebner

As Art Director on Wild Things Animal Adventure, I led a multi disciplined art team of just over 20 people through a fast-paced production cycle for this stylized match-3 mobile title. I helped define the game’s visual direction and worked cross-functionally with design and production to maintain quality and consistency under tight deadlines. In addition to managing the team, I contributed hands-on as a key artist—creating 2D assets, texture art, and concept art to support chapter updates, LiveOps content, and marketing initiatives. This is a Match 3 game but also a complete and explorable 3D game environment with characters and narrative.

Here are examples of artwork I oversaw and directed during the game’s development, as well as art I created myself.

Official “Wild Things Animal Adventures” Netflix Trailer

Development Art


These concept images helped kick off early development of the world map—one of the game’s most critical foundational systems. Additional pieces include project-specific pre-visualization art created to support early planning and direction.

Early development artwork to establish the world map.

An illustration serving both as marketing material and as an early visual direction for the game’s world.

Totems created by one of the concept artists with my direction.

This is artwork I created to establish the stylized visual direction for the game’s structures.

Early dev art I made to start defining the trees for the Rainforest biome.

Splash Image


This splash page functions as both the game’s main entry screen and a core marketing asset. I led and executed the character painting, collaborating with an external studio whose illustrator produced the background environment.

Homes & Environments – Customization


This work defines the visual formula and modular design system for player-customizable homes. As Art Director, I played a key role in establishing clear rules, structure, and visual guidelines so that new content could be produced efficiently and consistently moving forward. This system ensured scalability for LiveOps updates while maintaining a cohesive look and strong player expression

Here’s the same structure shown in both ‘ruined’ and ‘fixed’ forms. The goal was to make the destroyed state instantly readable and the repaired version feel visually rewarding for the player. (This is artwork I created during dev.)

These images show the same hut after being modeled in 3D, with paint-overs by the concept artist illustrating three interchangeable states.

This is another character’s house. The concept art was created both for 3D implementation in-game and to help define the approach to house customization moving forward

The 3D model shows the final 3D version with completed textures.

Concept art of another animal home in the Rainforest biome. The concept art first shows the design of the home to be made in 3D, then 3 additional color options are designed to 'mix & match' customization. (concept art done by one of the concept artists on the team)

This is a screenshot of the final home in game.

Concepts of a customizable cart made by one of the concept artists on the team. Cart made final for game by 3D artist.

3D Environments | Environment Concept Art


In-game screenshots of the 3D environments. Balancing visual detail with performance requirements—maintaining low-poly models and optimized texture maps—was an important part of the process.

An in-game screenshot of the Rainforest biome.

An in-game screenshot of the Savannah biome with animal home.

Screenshot of the Savannah biome.

Commonly used texture art in game. Painted by one of the 3D artists.

Prop concepts I made for 3D production.

Characters – Concept & Customization


These are images of the character design process as well as concepts of wearables and customization.

Final 3D characters in game.

Turn around sketches of the character that I created for our 3D artist, to help save time.

I designed and rendered this baby pterodactyl character for 3D production.

Final low-poly 3D character model used in game.

Concept art of a disheveled lion character designed to illustrate the pet-cleaning mechanic. Players can wash and groom their pets at a cleaning station in-game.

Example of character wearables. Players can choose one full outfit for their character. We used a neutral base shirt that could be reskinned to save on modeling and rigging time. Each character has a few head attach-points for accessories like hats, glasses, or other fun additions.

Final character in 3D with wearables.

Outfit concepts that can be built and reskinned.

Final 3D of more outfits that can be reskinned.

Concepts of outfits by one of the concept artists on the team.

Game Board


Match 3 Game board art.

These are the main game pieces. Created by one of the 2D artists on the team.

Image of game board.

Game board featuring a background I illustrated.

The backgrounds that appear behind the game board were a unique challenge—they needed to function as detailed standalone illustrations while still complementing the board visually. (This game board background illustrated by me.)

Game board background illustrated by one of the concept artists.

Final 2D art I directed to show varying bundle pack amounts. Each pack was designed with a clear visual progression in scale to reflect increasing value and cost.

Final 2D trophy designs created to visually represent escalating levels of achievement.

I modeled and textured these leaves in Maya. They were used as a flat image element for an animated screen transition.

Logo design for game.

This is a logo designed by one of the concept artists for a mini-game.