With Playtopia, the annual destination of Indie Games & Immersive Arts festival and conference set to return in 2024, GIA has partnered with the event to share insights from the crop of supremely talented creators in attendance. Next up in a series of speaker interviews is game & level designer – Rodwin Malinga.

Would you kindly provide some background into who you are, your entry into the games industry and how you came into your current position?
Hey, I’m Rodwin Malinga, a Game & Level Designer at Nyamakop in Johannesburg. My love for games started early, around six or seven, when I got hooked on Need for Speed: Underground 2 on my uncle’s PlayStation 2. After that, I was lucky to grow up surrounded by games. I had a PlayStation 1, then a PS2, and later a PlayStation Portable, which was my main console for years. In high school, I got into PC gaming. A friend introduced me to titles like Borderlands 2 and Quake, and I discovered even more through magazines like NAG. One standout was Wasteland Kings (later known as Nuclear Throne), which I played endlessly with friends in the IT room. Meeting Rami Ismail, one of the game’s creators, during my second year of university at AMAZE Africa was a pivotal moment. It cemented the idea that creating games was a real, achievable path. That inspiration fueled my studies in game design at Wits University. In my third and final undergraduate year, I had the opportunity to intern at Nyamakop as a VFX designer, which gave me my first hands-on industry experience. After completing my honors and while in the final stages of my master’s degree, I saw a job opening at Nyamakop that aligned perfectly with my skills. I applied and was thrilled to join the team full-time. Networking and persistence were crucial to getting into the industry. I reached out to people like Ben Myers and kept following up, even offering to intern for free just to learn from experienced professionals. Beyond that, I constantly worked on building my portfolio. Uploading projects to my social media and my Itch page became a way to show what I could do and let people see my growth as a designer. Sharing my work was as much about improving my skills as it was about getting noticed by the right people. Throughout my journey, I’ve been lucky to have incredible mentors like Kieran Reid, who was a huge influence on my development. I also had peers like Erik Prinz, who constantly pushed me to do my best by being both inspirational and supportive, and providing healthy competition that kept me striving to improve. Now, I design gameplay features and craft immersive levels using Unreal Engine, all while drawing on those formative experiences and the encouragement of the people who shaped my path.

What is the role of a level designer in game development?
This is an interesting question because I’m in a unique position where I’m both a game designer and a level designer. In my current role at Nyamakop as a game and level designer, I get to wear both hats. In short, the roles are different but interconnected.
To explain this to someone who’s not familiar with game development, let me break it down.
Level design is a lot like architecture. You could say that a level designer is like an architect, but instead of designing physical spaces, you’re designing spaces for players to explore and interact with. The goal is to create an environment that’s both emotionally engaging and mechanically interesting, using the systems created by the game design team. These systems guide how players interact with the space, evoke emotions that align with the story, and help set the mood for the experience. It’s about crafting a specific experience within that space, whether it’s to build up tension, deliver a spectacle, or immerse players in a certain feeling at a given moment. Every level must support the overall experience and narrative, creating memorable, unique interactions that keep the player engaged.
Game design, on the other hand, is like creating the blueprint for the entire experience. As part of the design team at Nyamakop, we work alongside other departments—art, programming, and writing—to create a cohesive product. Game design is about making sure all the systems talk to each other and that the player has the ability to express themselves meaningfully. It ensures the player can interact with the world in ways that feel natural, have agency, and allow them to shape their experience. We design systems, mechanics, and rules that guide the player’s actions, allowing them to explore, solve puzzles, engage with the world, and ultimately enjoy the experience in their own unique way.

What advice did you have to students at the University of the Witwatersrand and how it shaped your work at Nyamakop?
As a former tutor at the University of the Witwatersrand, I had the opportunity to mentor students through the challenges of game design, and I always emphasized the importance of progress over perfection. One of the key pieces of advice I shared was that while striving for perfection is admirable, it’s often more important to be present and actively working on something. It’s better to have something to show, even if it’s not perfect, than to hold onto a project you’ve spent too much time trying to perfect without sharing it or learning from it.
This philosophy really shaped my approach to my work at Nyamakop. In game development, the focus is on iteration and constantly evolving the project. You can get stuck in an endless loop of refinement, but you have to take risks, release your work, and learn from the feedback you receive. It’s the same with students—learning is about experimentation and growth, and there’s always something valuable to gain, even from failures.
At Nyamakop, I bring this mindset into my work by constantly testing and refining gameplay ideas and mechanics. It helps me stay focused on the big picture of creating something fun and engaging for players, rather than getting bogged down in perfectionism. This practical, iterative approach has allowed me to adapt quickly and make meaningful contributions to the projects I’ve worked on.
So, the advice I gave my students about balancing perfection with progress has directly impacted how I work, encouraging me to produce work that’s in motion and evolving, instead of waiting for the “perfect” version to emerge.

Who are the creators across the continent you view as being on the verge of making the step up internationally?
When thinking about creators across the continent who are on the verge of making a mark internationally, one person that stands out is Dagmawi Tsegaye, a talented environment and texture artist I work with. Dagmawi’s work is incredibly impressive, and he has a unique eye for creating highly detailed and atmospheric environments. His ability to balance technical skill with artistic vision makes him stand out, and I have no doubt that he will soon be recognized on a larger, international stage.Dagmawi’s journey is particularly inspiring because, in Ethiopia, digital art—especially 3D—is still in its early stages, and there is huge potential for growth. He’s currently mentoring passionate creatives, sharing his expertise to help them explore new mediums and push boundaries. As traditional art remains prominent in Ethiopia, he’s focused on keeping it relevant by integrating digital art forms, ensuring that both can coexist and evolve together.He’s an artist who truly understands how environments can tell a story and enhance player experience, and I think his skillset is exactly the kind of talent that the international industry is starting to notice more and more from African creators. There’s a growing recognition of talent from across the continent, and creators like Dagmawi are definitely helping to put African game development on the map in a way that’s only going to keep expanding.

What are your expectations for Playtopia?
This will be my first time attending Playtopia, and I’m really looking forward to it! My game was selected for Launchpad, which is a fantastic opportunity to showcase a work-in-progress and get feedback from the community. I’ll also be doing a talk called Juice It or Lose Juice it or Lose it: The Art of Game Feel—focusing on how small tweaks can make a big impact on player engagement.
Johannesburg’s game scene has had a pretty steady flow of networking events, like the monthly meetups at the Goethe-Institute and the successful Joburg Games Fest in October 2024, which have been great for connecting with other devs. But before this year, there was a gap in that festival vibe that Amaze Africa used to provide. Playtopia is really stepping in to fill that void. I’m excited to meet new like-minded developers, play awesome games, and reconnect with the community in a festival atmosphere that’s been missing for a while. It’ll be a great chance to branch out, expand my network, and dive into fresh, exciting ideas from the local scene.

What’s next for you and advice for anyone looking to break into the industry?
What’s next for me? I’m excited to keep growing in the industry and taking on more senior roles, where I can not only expand my skill set but also guide others, especially those just starting out. I’ve loved working at Nyamakop, and I’m incredibly grateful for the opportunities there. But now I’m looking to branch out and work on more diverse projects that allow me to experiment with fresh ideas and move faster with feedback. I’m also open to exploring new opportunities in different areas of the industry, where I can keep learning and push the boundaries of what I can do. As for advice for anyone looking to break into the industry: Take it one step at a time, and don’t compare your journey to anyone else’s. Focus on building a strong portfolio, but remember it doesn’t have to be perfect—just show your growth. Be present, share your work, get feedback, and connect with others. The industry is full of like-minded people who are more than happy to offer support, so don’t hesitate to put yourself out there. Most importantly, enjoy the process and keep learning. I also want to be part of making the video game industry, especially in Africa, a better place for people who might not have had the same opportunities that I did. That means not only making it easier for people of color to get into the industry but also creating more accessible pathways for people from all backgrounds and all walks of life—especially those who aren’t as privileged. I believe the industry should be diverse, inclusive, and welcoming to everyone, and I want to help build that. By making space for all kinds of creators, we can ensure a more vibrant and innovative future for the entire community.

Check out the full program and consider joining Playtopia, which will run from December 6th to 7th December 2024 in Cape Town.