Game Art 
We are a game art studio providing 2D animation services for mobile and casual games. Our animators rig and animate characters in Spine, build emotion sets for portrait avatars, and bring game zones to life with decor loops - on art drawn by your team or by ours.
With 10+ years in game art outsourcing, we handle 2D game animation end to end: from checking that your layered art is ready for a rig, through the skeleton and the motion itself, to files exported for your engine. Studios turn to 2D animation outsourcing when an in-house team is at capacity, or when a release needs a whole cast animated faster than hiring allows.
2D animation services for games: Spine rigging, character animation, emotion sets and animated decor - on your art or ours, delivered ready for the engine.
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Animation is hard to judge from stills, so here are the reels: character animation for Game Insight's Mystery Manor, fighters animated on client art for Ants Games' Rumble Blast, and a story character shown with its Spine skeleton visible.
If you want to see how we would handle your character, we usually start with a small free test clip on your art before scoping the full set.
Idles, walks, reactions and story beats for 2D game characters, animated in Spine on the art you already have. We keep each character recognisable from clip to clip - the same weight, rhythm and personality in an idle and in a hit reaction - and export the files to your engine's Spine runtime and naming rules.
Idles, walks, reactions and story beats for 2D game characters, animated in Spine on your art and delivered ready for the engine.
A good 2D animation starts with the skeleton. We build Spine rigs for characters drawn by your artists or ours: bones, meshes where the art needs to bend, and controls an animator can work with. You get the rig and its source files, so the next batch of clips can be made by us or by your own team.
Spine rigs for characters drawn by your artists or ours: bones, meshes and controls, handed over with source files.
Story-driven casual games tell their story through dialogue portraits. We animate emotion sets for them - smiles, winks, squints, frowns, a hand to the chin in thought - that switch between lines of dialogue and stay readable on a phone screen.
Emotion sets for portrait avatars - smiles, winks, frowns, thinking - readable at phone size.
Fountains, smoking chimneys, flickering candles, swaying tents and the odd small surprise - the loops that make a game zone feel alive. We animate decor for merge and casual games so it stays short, subtle and seamless and never pulls attention from the gameplay.
Short, seamless decor loops for merge and casual games.
Most 2D animation problems start before the first key: art that was never split into parts, a rig that cannot bend where the character needs to, or clips that look fine in Spine and wrong in the game. Our workflow settles those questions first, so the motion you approve is the motion that ships.
We start with your art files, engine, target frame rate and naming rules. If the drawings are not yet split into parts for animation, we say so before quoting and agree who prepares them. We also ask for a reference clip of the quality you expect, so 'good' is defined by an example rather than an adjective.
The skeleton gets its own stage and its own sign-off. We place the bones, add meshes where the art has to bend, and set up the controls the animators will use. The rig is built around the drawing, and anything the motion needs that the art does not have - an extra part, a second angle - is agreed before animation starts.
A lead animator sets how the characters move - how much anticipation, overshoot and weight - and blocks the key poses of a first clip. You approve blocking before polish, while changes are still cheap, and that clip becomes the reference for the whole set.
Idles, walks, reactions, emotions and decor loops are produced clip by clip against the approved reference, so a character keeps the same rhythm and personality across the set. Secondary motion - hair, cloth, tails, smoke - is added where the style calls for it.
Clips are exported with your naming and settings and checked in the Spine runtime, and in your engine whenever you share a test build. This is where blend problems, draw order issues and readability at real screen size get caught.
You review the clips, we polish against your notes and hand over the animations together with the Spine project and rig, so the next batch can be made by us or by your own team. For games with regular updates we move to a steady delivery rhythm tied to your content calendar.
Not every animation has a face. Hotel rooms coming alive for Greenpixel merge game ads, animated icons and rewards for the game itself, and decor loops for game zones.
In-game decor loops stay subtle and seamless so they never compete with the gameplay, while ad scenes are timed to hold attention through a short video.
The art director owns how the motion looks against the rest of your art. They approve the reference clip, judge whether the weight and exaggeration fit your game, and sign off the first character before the team scales up.
The animation lead sets the motion language for the project and blocks the reference clip everyone else works against. They keep timing and character consistent across the set and review every clip before it reaches you.
Your project manager owns scope, schedule and reporting. They keep the clip list, track approvals and route your feedback to the right animator - one point of contact instead of a team.
The rigging artist builds the Spine skeletons, meshes and controls, checks that the art bends where it needs to, and handles export settings for your engine.
Senior animators take the clips where timing carries the moment: story beats, emotions and anything the player watches up close. They work on the approved rig and flag its limits early rather than animating around them.
Production animators cover the volume - idles, walks, reactions, decor loops - against the approved reference, so the set stays consistent however many clips it grows to.
The art director owns how the motion looks against the rest of your art. They approve the reference clip, judge whether the weight and exaggeration fit your game, and sign off the first character before the team scales up.
The animation lead sets the motion language for the project and blocks the reference clip everyone else works against. They keep timing and character consistent across the set and review every clip before it reaches you.
Your project manager owns scope, schedule and reporting. They keep the clip list, track approvals and route your feedback to the right animator - one point of contact instead of a team.
The rigging artist builds the Spine skeletons, meshes and controls, checks that the art bends where it needs to, and handles export settings for your engine.
Senior animators take the clips where timing carries the moment: story beats, emotions and anything the player watches up close. They work on the approved rig and flag its limits early rather than animating around them.
Production animators cover the volume - idles, walks, reactions, decor loops - against the approved reference, so the set stays consistent however many clips it grows to.
Most of our 2D animation work starts from art drawn by the client's team. We rig and animate your characters without redrawing them, so new motion matches the characters players already know. If a motion needs an extra part or angle, we agree on it before production.
A lead animator defines the character's movement style and approves a reference clip before the team scales up, so idles, walks and reactions all feel like the same character.
Full-figure characters, portrait emotions for dialogues and decor loops for game zones come from the same studio, in the same style, on one schedule.
You receive the Spine project and the rig with every delivery. If you later move the work in-house or to another studio, everything you need comes with you.
Producer at Lab Cave Games
We've been happy working with Sunstrike. What we appreciate most is how responsive Sunstrike's team is. Turnaround times have been solid, and they take on requests without friction, which makes our lives easier on this end.
They also iterate well. When we give feedback, Sunstrike applies it and the work improves, which is exactly what we need. We're looking forward to continuing the collaboration.
Team Lead at AZUR GAMES
We've been working with the studio for almost a year and are really pleased with the collaboration. The team quickly joined the process, stayed attentive to our quality standards and has always been responsive and flexible when priorities shift. We especially appreciate the seamless communication and strong execution: from artwork to animation and effects.
Special thanks to the motion design team lead, for his thoughtful approach and fresh ideas for our creatives.
Big thanks to the whole team for being reliable partners. Definitely recommend working with them.
Game Producer at Studio Nord
SunStrike is a crew of young and loving their work artists. We had been working on art for two mobile games (art direction, 2d, 3d, animations).
Together we built flexible and effective workflow. It helps us to have predictable quality, terms, and scope.
Producer at Lab Cave Games
We've been happy working with Sunstrike. What we appreciate most is how responsive Sunstrike's team is. Turnaround times have been solid, and they take on requests without friction, which makes our lives easier on this end.
They also iterate well. When we give feedback, Sunstrike applies it and the work improves, which is exactly what we need. We're looking forward to continuing the collaboration.
Team Lead at AZUR GAMES
We've been working with the studio for almost a year and are really pleased with the collaboration. The team quickly joined the process, stayed attentive to our quality standards and has always been responsive and flexible when priorities shift. We especially appreciate the seamless communication and strong execution: from artwork to animation and effects.
Big thanks to the whole team for being reliable partners. Definitely recommend working with them.
Game Producer at Studio Nord
SunStrike is a crew of young and loving their work artists. We had been working on art for two mobile games (art direction, 2d, 3d, animations).
Together we built flexible and effective workflow. It helps us to have predictable quality, terms, and scope.
We design 2D game characters from concept to production-ready illustration - heroes, NPCs, enemies, and creatures. Strong silhouettes, clear personality, and consistent style across the whole cast for mobile, PC, and console games.
We can prepare game assets for 2D projects as well as concept art for 3D assets. We also produce icons, illustrations, creative advertising and promotional artwork.
We produce eye-catching video and static creatives for user acquisition campaigns. Our team creates playable ads, banners, and social media assets.
We animate game characters and creatures from rig to engine-ready clips: locomotion, combat, abilities, reactions, and cinematic beats. We work on your rig or build one, and deliver motion cut and named to your engine conventions.
Introductory Call
Quick video call for game studios seeking art outsourcing. We deliver high-quality art for mobile & PC/console, single assets to full production. We can add AI to pipelines to speed iterations and keep quality consistent. Looking forward to chatting with you!
info@sunstrikestudios.comSpine rigging, 2D character animation (idles, walks, reactions, story beats), emotion sets for portrait avatars in dialogues, and decor loops that bring game zones to life. You can order a full set for a new character, or send a list of missing clips for one already in your game.
Yes, and most of our 2D animation work starts that way. We rig and animate the art your team drew, without redrawing it. If the drawings are not yet split into parts for animation, or a motion needs a part or angle the art does not have, we tell you before quoting and agree who prepares it.
Our main tool for game characters is Spine skeletal animation: it keeps files light, lets the engine blend clips and makes late changes cheap. Everything shown on this page is Spine animation. If your style needs frame-by-frame animation, send a reference and we will confirm at the brief whether and how we can take it on, since it changes the cost of every revision.
We export for the Spine runtime in your engine - Unity, Unreal or another engine Spine supports - and follow your clip naming, frame rate and file conventions. Before handover we check the clips in the Spine runtime, and in your engine whenever you share a test build.
Yes. For story-driven games we animate emotion sets for portrait avatars - smiles, winks, squints, frowns, thinking - that play between lines of dialogue and stay readable at phone size. Each emotion can be called separately by your dialogue system.
An animation lead sets the motion language and a reference clip first, then the team works against it, so timing and weight stay consistent across the cast. For games with regular updates we work on a steady delivery rhythm tied to your content calendar.
Per clip or per set when the scope is defined, and monthly for a dedicated animator or team when the work is ongoing. The price depends on how complex the rig is, how long the clips are and how much polish the target quality needs. We quote after reading the brief.
Send the art files, any existing Spine project, a list of characters and the clips each one needs, a reference of the quality you want and your target date. Add your engine and Spine runtime version if you know them. We come back with a scope, a schedule and an estimate, and usually propose a small free test clip on your art before the full set.
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INSPIRING TOGETHER
Every project is an opportunity for innovation. By blending our R&D-driven approach with creative synergy, we craft distinctive visual identities that redefine standards in gaming and digital art.
info@sunstrikestudios.com
