After leaving Sony in 2011, I had made up my mind that I wanted to try something new. I put some feelers out there and had two offers that I was seriously considering:
2. Turtle Rock
To make a long story short it all came down to the same thing that has driven me for the past 10 years. I don’t want to work at the biggest best and most bad-ass place. I want to work at the place that I can help BECOME the biggest best and most bad-ass place. Sure I’d love to work at Blizzard…if it was 1994. Or Pixar, if it was on Toy Story 1. Working at those places now feels like the “safe” option and I’m not ready for safe.
So I took a chance and signed on at Turtle Rock. During the interview I was pitched the entire idea for Evolve. I was shown all of the art and even saw the game in action (almost 3 years ago!) I knew this was it, the scope of the game: insane and the work that needed to be done: impossible, but I couldn’t wait to start. And now after almost 3 years one thing is for sure: games are hard. Way harder then film. Games are our generation’s film and its a young industry with so many surprises up its sleeves.
I urge anyone that’s stuck in a rut at a VFX house or Animation studio to seriously look into up and coming game studios. There’s so much to learn and so much challenging work to be done. No animator should feel that they need to uproot their lives, their families, to move across the world whenever their employer smells better tax subsidies. Screw them and go make a fun video game.
Game Informer Cover
So the first time the world ever saw anything about Evolve was our Game Informer cover. What an honor this was and the entire studio was so pumped by this opportunity. GI came to the studio and spent several days with us in early December 2013. They played Evolve, asked a bunch of questions, and then asked if they could play more. 🙂 We had a great time and right now on their site for the entire month of January they have exclusive news and images from their visit.
I can’t talk too much about anything just yet for various reasons, but I’d be curious to know if people realize that the cover was created in engine using entirely in-game assets. Now we wouldn’t go make a magazine cover without a little touch up, but except for the red planets, bright white lights, and some tongue touch up, these images are 100% in-game.
I’ll prove this to you at a later date when I can show screen shots of these poses in cryengine. My point is that games are where its at.
In the future I plan to go into crazy nerdy detail about creating Goliath, the Hunters, and other things I can’t talk about yet!
Now I need to get back to work…even though its 9:30pm on a Sunday I have monsters to animate!