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Articoli/n°40
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DEAR DIARY by Larry Ahern
Dear Diary,
Things seemed
calm this morning, but I think we were just in the eye of the hurricane.
We're attempting to make an animated graphic adventure with the level of
interactivity of classic Monkey Island games, but with production
values of an animated film. Lots of animated monkeys also. It's huge! Are
we mad?! (Note: find someone else to blame if problems arise. Co-project
leader Jonathan Ackley a likely candidate).
10:00 a.m.: Three
surly-looking animators were outside my office with pegged paper, coffee,
and questions. They were plowing through the character animation and doing
higher quality work than I'd imagined. I was having trouble keeping up. I
realized I hadn't done the character design for the Jamaican smuggler king.
Gave Yoko Ballard my bad sketch on a cocktail napkin to keep things moving.
(and maybe, I thought, there's a minor Star Wars character I could have
Graham Annable add an eyepatch and pegleg to and round out our, lovable
pirate cast. It would be an homage.).
10:05 a.m.: More
animators lined up in the hall. Answered Derek Sakai's question about
multiple animations for interactive Guybrush (well, O.K., I actually sent
him to ask Chris Purvis in programming). Pretended not to know Marc
Overney and Anson Jew, but they weren't buying it. Didn't the art
department usually bring donuts in on Tuesdays? Considered sending forged
donut announcement over e-mail as a destraction.
10:07 a.m. (pressure
building): Soon, I feared, they would discover my terrible secret: I didn't
really know if the fire from LeChuck's demonic flaming beard burned
upwards or radially. But, let's face it, there really wasn't a rule book
on undead pirates. Sure, The Secret of Monkey Island and Monkey
Island 2: LeChuck's Revenge set the tone, but those were only ghost
and zombie pirates—this was the Demon Pirate LeChuck, formed from the
flames of a cursed voodoo cannonball! I figured our only hope was to
assemble a crack team of artists and trust our instincts. (Note: tell
Jonathan to have Chuck Jordan or Chris write funny line of dialogue in
case I'm wrong on this one).
11:30 a.m.: Dealt
with gameplay issues. Puzzle logic stuff, room connectivity. Hoped
programmers didn't hate me for mentioning palette changes to the shipwreck
scene. Tried to blame it on Bill Tiller, our lead background artist. I'm
sure when he saw it, I argued, he'd make them change it. Yep, In the
programmers spacious office. Comfy couch…sinking in…so comfy…(Note:
programmers' office is great nap spot, and the art team hasn't learned yet
to look for me there)..
2:30 p.m.: After
lunch, discussed wackiness factor with animator Kevin Micallef and how it
relates to large cartoon dog character. Should tongue hang out and flop
around, or stay in character's mouth? Found myself dancing in the hallway
and doing a dumb cartoon dog voice (I mean, "directing") while a guy
standing by the copier gave me a suspicious look.
Left the question
of "dog slobber" unanswered. Gotta trust Kevin on that one; he's the
trained professional (Note: check with Human Resources department and find
out if guy at copier was new Director of Technology or just the copier
repairman).
4:00 p.m.: Hung
out with Dan Colon, 3d animator for the project, trying to decide how much
lava for LeChuck's underworld fortress. Dan needed the background, and a
final frame count. Thought about writing all this on Post-it notes. I
figured if I stuck the notes all over my shirt, I might remember what I
was doing after I was accosted by an animator en route back to my office.
4:10 p.m.:
Accosted by Kim Balestreri, Lead Ink & Paint person. We discussed the
palette for an undead skeleton pirate; she already finished painting the
scene, since I was unavailable for input earlier. Then she added another
Post-it to the front of my shirt (Note: Shot looks great! Don't let Kim
know about nap spot in programmers' office, or she might let me goof
something up, instead of just painting it on her own).
4:30 p.m.: Clint
Bajakian's office; also very comfy (and downstairs!). He's our sound
designer. Forced to hear demon effects for LeChuck's voice. Jonathan and I
argued about the difference between "otherworldly" and "netherworldly,"
and how much echo was needed. Meanwhile, Clint did some fantastic
pitch-shifting effect that "is" LeChuck.
5:45 p.m.:
Returned to office where Maria Bowen and Kathy Hsieh, our background
artists, and several animators were laying in wait. A couple of shots from
our dramatic opening battle puzzle were concerning them. How stormy should
the sky be? How many skeletons? And, how much debris should be left when
they explode? No more stalling—I had to answer these burning questions.
Let's take their ideas and wire them into the scene, I suggested. I'll
know when I see it.
6:00 p.m.: Spent
the last 15 minutes shooting cannons at zombie pirates in a rough-wired
version of the opening battle scene. Everybody loved the way the bones
rained down on the water. All questions answered. Our plan seems to be
working: get talented people on the project and leave them alone to do
great work.
6:20 p.m.: For
many here, the work day is over. I, however, must stay late, making up all
kinds of exaggerated stories for magazine diaries into the wee hours of
the evening.
Larry Ahern
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