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