Lions & Tigers & Cthulhu... Oh My!

An ultra cool cartoon by GPG animator Bobby Pontillas

Some of the artists at my new job decided to start a blog where they can have fun, showcase some art and generally goof around. They were nice enough to include me, even though I've contributed squat to the communal art pool. It's called Unleaded Artists. Check it out!

The blog issues periodic art challenges using a random word generator, though the crew can contribute whatever they like. It's a little portal into the twisted minds of some very talented, funny people.

CK

Vince Gets Under Man's Skin

Of all the things Vince fans have done, this has to take the cake. Stuart Howe didn't let the lack of toys and merchandise get him down. Far from it. He now has this awesome 7" Voodoo Vince tattoo on his left forearm. It shouldn't be surprising in this golden age of body art that somebody somewhere would want a Voodoo Vince tattoo. I'm surprised anyway.

The tattoo was done by Jeremy at CMB Tattoo in Huntsville, Alabama, and he did a fantastic job. It's appropriate that the image was created by poking Stuart countless times with a needle. He can now relate to Vince on a whole new level.

CK

My Cup Runneth Over... With Gas!

A lot of people have expressed curiosity as to where I ended up in the brave new post-Beep era. By "curiosity" I mean "apathy," and by "a lot" I mean "virtually none." "People" still means "people" but they're strange and different now. They smell funny.

Still, there is bound to be some concern that I might be sprawled in a gutter tilting back a jug of Everclear mixed with soy sauce (which, btw, I call a High Road to China. It's great!). Personal hobbies aside, I have remained in the game industry, firmly clutched to the sweaty bosom of Lady Interactivity. It's probably no surprise that I accepted an offer from Gas Powered Games and started as their Creative Director last March.

I'm really enjoying it. I'm back among some very familiar faces, including my old friend Chris Taylor. There is an interesting cross section of former Cavedog, Beep and Humongous folks here, plus loads of new acquaintances who I'm just starting to meet (there are over 100 employees at GPG). It's a strange, cool sort of time warp... A former cubicle mate from my very first job is down the hall (Kevin Pun). A couple programmers I worked with at Squaresoft are here as well. Most people look like their old selves, but with slightly more tattoos. The computers are much, much spiffier and way less beige.

I'll do some updates on my current projects if time and my NDA allow it. Meanwhile, I'll continue with the flashbacks already in progress.

CK

A Debt of Gratitude

Brad Kauzlaric in his studio some time during the 1980's.

My dad passed away a couple weeks ago. He was, among other things, an artist. This helped me understand at an early age that it was okay for grown ups to keep their imagination and sense of wonder. Dad never liked this Internet thing, but I figure a few words are in order. This is even vaguely game-related.

Dad loved science fiction. He usually devoured a novel in one sitting. There were always lots of books and magazines around the house, especially Analog during its glory years. I loved looking at those classic covers by Kelly Freas and John Schoenherr when I was a kid. Once I started reading them, I loved them even more. These publications fired my imagination and formed the foundation of my future as an artist and a designer of computer games. As a so-called grown up, I've had the pleasure of working with all sorts of artists, writers and engineers to create imaginary worlds, not unlike the ones depicted on those old covers.



I would be doing something completely different for a living if Dad hadn't left this wonderful stuff laying around the house. I'd probably be a mule skinner or something.

CK

A Worthy Enterprise

Well, it was a fine six or so years, but I decided to hang up the ol' Beep spurs a few months ago. Before the usual sympathy notes and garment rending, I wanted to say that this was a decision that actually felt pretty good. Beep, as I know it, actually ended several years ago with the completion of Voodoo Vince. My efforts since then amounted to a case of serious denial. I kept the hope of a Vince sequel or that next big thing alive, but many of you know what the climate is like out there for new IP's or anything with a hint of humor (For all you non-grizzled game industry vets, it's not good).

Beep Industries was initially created to be an ideal first party developer for Microsoft. I wanted to build games for them from the first day I heard rumors about the Xbox, with the hopes of building a mascot... or at least the mascot's distant cousin once removed. After starting Beep, my partners and I learned everything we could about their process and bent over backwards to be a solid, reliable partner for them.

It worked. I'm told Beep was one of only two developers who never missed a milestone in the history of Microsoft Game Studios. I don't know if that's a fact, but it feels good to believe it. I am immensely proud of what we created. Content always outlives code, and there is some amazing art, stellar music and flat out cool stuff crammed into Voodoo Vince. For that matter, even our code was pretty damn cool. Xbox 360 developers using the Vince.api (and there are many) are still using technology we created during the production of VV.

Above: Company mascots Brenda, Chet and Arichitor. Arichitor got his name from a misspelling of the word "animator" on a magazine subscription my wife used to get at work.

But, future incarnations of Vince were not to be. The market was changing, as was the emphasis on the bottom line. Trapped between these two realities, I guess there was no longer room for a creature like Beep at the table. The fact that all our eggs were in the Xbox basket, and our only game was a wacky little closet hit didn't help when it came to finding a new publisher. The Vince team went their separate ways in 2003, and all but one of my former business partners left the game industry altogether. Two of them are now farmers. I enjoyed my foray into casual games, but I missed that experience of working on something substantial and that particular type of intense teamwork that comes with larger projects.

The good news is, there will be that next big thing, it will just happen under a different roof. I recently accepted a job with a great game studio here in the Seattle area. I'm really excited about it and am looking forward to working on awesome, original games again. I'll post what information I can once things gets rolling there.

I want to heartily thank all the former Beepsters, both pre and post Vince era for their incredible efforts, talent and friendship. I also want to thank the fans of Voodoo Vince who have created a small, but vibrant community around the game. Their enthusiasm and devotion has been a real highlight for me the last few years.

CK

ps: Don't worry -- Ton of Clay will continue to serve as my mental laundry service and dumping ground for pointless, long-winded memories.

TA-ncient History #9: A New Cave

Okay. Before I get into the whole E3 thing I had some other odds and ends to cover...

The months leading up to E3 in 1997 were what you'd expect. For the first year of work on Total Annihilation I averaged 65 hour work weeks, but this soon went to 75. 80 and 100 hour weeks were common. This isn't a big deal to anyone who has worked in games. This was universal with the whole team on Total Annihilation. It's fair to say that most of the game was created in one type of crunch mode or another.

A screen from June of 1997. This was the last iteration before the look of the UI was finalized.

Features were flying in and my old temporary art was replaced at a steady clip thanks to our ever-growing art team. Units were in decent shape. Clay Corbisier, Mike Fisher and Keven Pun had been making them for almost year at this point. But I was still doing all the background and interface art.

An early, cheesy pass at the mission briefing screen. My layout would remain about the same, though the color and texture was much better in the final version.

By the spring of 1997 we finally added a few background artists and things picked up there as well. Artists John Baron and Mark West started with Bryce template files I supplied, but added plenty of their own ideas along the way. John came up with a handy Photoshop action file which aligned the height map to the rendered images more or less automatically. I was using a crude system with registration marks and basic eyeballing before this came along. Steve Thompson and Casey Burpee rendered a lot of trees, rocks and other planetary decor items.

Help with the background art came along a bit too late. We were barely able to create the custom maps needed for the missions, leaving very little time for modular map sections. This is why there are so many oddball chunks of terrain in the original Total Annihilation map editor. We did a better job planning the map assets for Core Contingency and Kingdoms, but I always wish we'd done more modular, reusable map segments for the original TA. Then again, there are tons of great tilesets thanks to the 3rd party community.

The biggest big change in early 1997 was to our workspace itself. Until then, the Total Annihilation team was scattered throughout the building occupied by Humongous Entertainment. Humongous went through a number of dramatic growth spurts over the years, and the company filled a series of rambling, segmented spaces at the Woodinville West business park as they took over more and more of the building. Except for a few of the programmers, most team members were sprinkled in ones and twos throughout the premises.

The Total Annihilation team was working in nooks and crannies throughout building A.

All this changed when Humongous nabbed yet another suite in building B, across the parking lot. The Total Annihilation team was finally in one place. The air had a strange stank to it. The floors were always kind of springy, but at least we had a cave of our own. The previous tenant had left all their furniture months before and never returned, so most of us finally stopped working on the ubiquitous folding banquet tables that have supported countless computers in the game industry.

The TA team was eventually housed here in building B. A suite on the second floor (other side of the building) is where we finished TA and TA:CC.

A large space downstairs was occupied by an evangelical church whose weeknight activities often spilled into the lobby area. We would carefully tiptoe around groups of kids reciting bible lessons as we made our way back from dinner to continue work on a game about killer robots. The whole thing felt pretty surreal.

TA was no longer the only game in the works for Cavedog. Preproduction for Amen: The Awakening, was underway at yet another office park a few miles north in Canyon Park. Good & Evil was also in the works, only months after we started Total Annihilation. A flying shooter called Glider Wars had already been started and canceled before TA ever made its debut.

Before TA was out the door, Cavedog had all sorts of irons in the fire.

Humongous itself was doing great with its kid's titles and was outgrowing office space faster than it could be leased. The church was nice enough to lend Humongous it's space for its weekly company meeting since the company had grown to over 150 people by this point.

The new space had good and bad sides. It was great to have everybody in one place. I wasn't wearing out a pair of shoes every week just checking in with the art team, and it was easier to pull together for TA's last big push. This definitely helped to cement the team's identity. The down side was that we didn't feel as much a part of Humongous, or even the rest of Cavedog for that matter. I think the fact that Cavedog wasn't so much one company, as a collection of separate fiefdoms would prove harmful to its long term success.

I was no longer sharing a dank little room with Chris, but there was almost no time for the spontaneous brainstorming that characterized our first year on Total Annihilation. We were both managing more people and the game had to get out the door. Working on TA at this point was less about chemistry, and more about just surviving.

The project had plenty of momentum by the middle of 1997. Once we got through E3 it would be time for the final stretch.

Ok... Next up, I'll really talk about E3. Really.

CK

Fun With Sculpy Chapter 2: Tombstone Serenade

After dealing with RL fun for the last couple of months, it's nice to get back to something meaningful, like posting time wasting diversions on this blog.

Yes, I slowly made my way through the process of finishing the Vince statue I mentioned here 30 or 40 years ago (above). Below is how the statue looked with after the basic sculpting was done. I used some mineral oil to give some surfaces a smoother, more finished look, though the piece is still covered with finger marks and crude details that a better sculptor might have refined and improved. I shoved this in the oven and baked at 275 degrees per quarter inch of Sculpy. The polymer doesn't change much in appearance after it is baked, though it seems to lighten a bit.

Now that the Sculpy was hardened into a plastic-like substance, I broke out my aging liquid acrylic paints. I didn't really have a strong vision for a color scheme, so I went with some basic, unimaginative hues. I did a couple coats of the base colors, then did a couple more coats of dry brush work to give things like the tombstone a bit more texture.

I should have used the macro setting, but here is a fuzzy detail of the flipside of the tombstone.

And that's it. I finally got that sculpting bug out of my system. I did another piece while I was producing this one, but I want it to be a surprise for its recipient. I'll post pics of that one once I ship it and the deed is done.

CK

Team Voodoo!

I got an email from an American Flag Football club in the UK last year called Team Voodoo. Their team President asked if they could adopt Vince as sort of unofficial team mascot and maybe put him on some shirts for the team. I passed his request on to the powers that be at Microsoft (they own the Vince intellectual property) and they were nice enough to consent.


Maybe I felt a special affinity, having broken a wrist playing flag football in junior high. I offered some of my nonexistent free time to make the art and the end result is at the top of this post. I'm reasonably happy with it. I can't wait to see and wear the final product.

CK

ps: Hey! I noticed a YouTube clip of Team Voodoo in action.

I'll Just Have The Salabog

I didn't expect to post much about Secret of Evermore but it seems to be enjoying a small rebirth as a cult classic. Don't ask me why. I'm as surprised as anyone. I hear the new issue of Game Informer lists Evermore as their third most anticipated pick on their "top 10 retro game we can't wait to download on our Wii" list. That, plus the fact that folks keep posting clips of it on YouTube make for a quick easy post on a lazy Sunday. So, yay.

This clip is of the third boss battle in SOE, the big swamp snake thing, Salabog. I did the background art and Salabog himself (based on a concept painting by our art director, Daniel Dociu). The big critter himself contains very little animation, at least by an artist. The movement of the head and the body were all done with programming (I keep thinking it was Jeff Petkau). The neck is just made of a small overlapping sprites. The sections of the monster seen in the background got their motion from good old fashioned color cycling.

Below is another craptacular doodle from the notepad I had on my desk at the time.


As I said in earlier posts, lots of people who went on to Cavedog (and Beep, and later ArenaNet) worked at Square's Redmond office. The main character and dog were animated by Rebecca Coffman. TA fans might be interested to hear the score by Jeremy Soule, who accomplished some amazing things with the limited audio palette available on the SNES.

CK

Slighted Over Germany

A friend of a friend snapped this picture. The elusive Voodoo Vince plush has been unceremoniously strapped to a rope and incorporated into a display on the suspended lighting at a Saturn store in Frankfurt, Germany. It doesn't look very comfortable, but it probably offers Vince a fine view of the tops of German shopper's heads. I can only approve of his proximity to that giant bag of coffee, even if it is just robusta.

CK

Fun With Sculpey - Chapter 1

Here's Vince in a whole 'nother kind of 3D.

Sometimes I like to break out sticks, sporks and other things that poke and prod so I can make feeble sculptures. My medium of choice is Super Sculpey, a polymer clay which can be purchased in alluring fleshy bricks at your local craft store. I did a few pieces with regular Sculpey, but prefer the flexibility of the Super kind.

I promised Vince sculptures to a couple friends some time in the late precambrian period, so I figured it was about time to break out the tools and get something done. I'm posting about the first half of the project here on TOC mostly so I'll be more motivated to finish this up. The first sculpture I'm attempting is of Vince sitting astride a tombstone, happily playing a ukulele (or tiny guitar).

As I said, my sculpting skills aren't much to shout about. The process I describe here was taught to me by Tom Collie, who was the resident sculptor back at Humongous. Tom made great, polished pieces of the characters in the kid's games at HE. These were handy reference for animators, and dang cool to look at. Here is my bastardized, sloppy version of what I learned from him.


First, I start off with a wooden base. I drill some holes for the primary armature pieces, which I fashion from quarter inch copper wire. The base can be a simple post cap for fencing from any home improvement store. Craft stores have more polished (and expensive) wooden bases. I went with the slightly swankier craft store kind here. I use a narrower gauge of regular metal wire as an armature for the smaller protrusions. I'm the worlds worst engineer so I do a lot of needless twisting and bending so I feel like I'm making it stronger. I'm probably not.

No, that's not an energy being from Star Trek.
Just flash photography gone awry.

Next, I jam aluminum foil into any major gaps within the wire armature. This should be packed as tightly as possible to avoid any sizable air pockets.


Once this is done, I slather a base layer of Sculpey onto the armature. If I don't like the way things are shaping up, I can still nudge the wire and foil pretty easily. I try to work the material into the many, many nooks and crannies I have created in my sloppiness.


After the basic Sculpey is in place, I add another layer or two. Something of where I'm going has started to emerge at this point.

Next on Procrastination Theater: the detail work which will include a big pile of bones around the tombstone, Vince's other arm and other untold wonders.

CK

TA-ncient History #8: Destroy With Care

The intro movie for Total Annihilation was a pretty important piece of work. This was the first impression we made when players launched the game and it was the only piece of snazzy video we would display at the humble little Cavedog corner of GT Interactive's booth at E3 that year.

The cut scenes were headed up by Kevin Pun. He started with a rough framework centered on a long, continuous pullback I tossed together, but added an amazing amount of drama and wonderfully orchestrated motion to the final sequence. Kevin created a huge chunk of the assets used in the introduction. He also incorporated models and animations from the unit artists, and a small team we added specifically to help out with the cut scenes. The movies came together so quickly the intro was extended by about one third at the last minute, incorporating new shots largely created by Rebecca Coffman. Cavedog was the third job I'd been at with Kevin and Rebecca, and it was a pleasure to see them kicking so much ass.

Page one of Kevin's storyboard for the final intro movie.

It's amazing how well most of this sequence holds up today. The movie was made by a handful of folks using relatively simple, inexpensive tools, but it delivers a great sense of action and anticipation.

Two excerpts from the original storyboard.

Once the final animation was rendered, a few dissolves were added using Adobe Premiere. The sound effects were added by Frank Bry, using an early pass of the theme music for Total Annihilation (by Jeremy Soule, of course) as a backdrop.

The question at this point was about what sort of media to use for E3. This was before DVD's came along. Plenty of video displays at E3 were still played off various formats of magnetic video tape, which necessitated rewinding your cool eye-catching movie every so often. To avoid that I asked if we could burn the intro sequence to a laser videodisc. I figured this would avoid the risk of jamming or wearing out and the movie could just be set to repeat all day.

I owned quite a few laserdiscs, but had no idea how to go about getting a single one-off disk made. It wasn't hard, but there were lots of little steps. First, I had all the individual frames for the movie rendered and numbered sequentially. We didn't have a CD burner in the office (we were that low budget) so I had to transport the frames on a stack of Zip disks. I took these, along with a stereo .AIFF file of the soundtrack to video post facility in Seattle, called Pinnacle Post. They combined the frames with the soundtrack and recorded the assembled movie to a betacam tape. This was FedExed to a facility in New England where they burned a single laser disc, containing the intro movie.

Make that two disks. I found out that unlike regular laser discs, a one-off was burned onto glass. Instead of the typical aluminum and polycarbonate plastic used for CD's, DVD's and regular laser discs, we would receive a disk made of perfectly flat, brittle glass. I had a bad feeling about that. Between getting shipped back and forth across the country, sent to E3 and the chaotic process of setting up the booth in Atlanta, I just knew something would happen to that lovely circular mirror containing our movie.

The shockingly reflective intro movie disk.

I was right. A teamster sat on one of the disks while the booth was under construction.

The version of the movie shown at E3 was slightly different than the one that shipped with the game. We hadn't done the full orchestral recording of the soundtrack yet, so the music was an earlier synthesizer-based version. It sounded pretty convincing to any casual listener, but lacked the punch of a real orchestra. We also hadn't recorded the narration, so the introductory voice over was accomplished with on-screen text.

Back to the story... The surviving disk played perfectly and we didn't have to worry about looking up to see if a tape needed rewinding. Next to booth babes, the most common way to lure dazed attendees into your booth at E3 is a mind-numbing display of sound and video. We had a fairly small screen, and the audio was almost impossible to hear, but the little TA intro movie did it's job. I couldn't believe how many businessmen would walk up to the big screen and dutifully record the intro movie on their camcorders -- and never once turn around to actually play the game itself.

That was fine, since lots of people wanted to play Total Annihilation anyway.

CK