Another JagCorner video to talk about. We have kind of been all over the place with the kind of YouTube videos we would like to do. We know we will continue to do the BitJag Development Journals, and we are pretty sure we are going to keep doing the JagVirgin episodes as well.
I guess the reason why we are jumping all over the place is because we are trying to counteract all the negative coverage of the Atari Jaguar. Lets just say, this console doesn’t get the highest score on most gamer’s Hi-Score lists, but it’s unfortunate that there is so much negative for a system that has so much positive. I guess one of my personal goals with doing these JagCorner videos is to promote the great things about the system.
Moving on, what I really wanted to talk about was the opening skit for this review video. I am taking these videos as an opportunity to build a portfolio and push my visual effects skills, and I was glad to see that this shows well in this video.
Jacob and Bryce helped me come up with and execute the concept and it came together almost flawlessly. Everything was done in Blender. Modeling, Texturing, Rigging, Animation, Camera Tracking, Compositing, Editing, and Rendering of the entire video included. I love the Blender tool set, and it never seems to fail me.
The hardest part about this video was the camera tracking. There were no purposely place tracking points in the shot, and the one section I had trouble with was when I stepped out of TV Specialists back door and then the camera swings to the left, revealing the Iron Soldier. I had to manually track 20 or so frames to get the camera swing, simply because all the information in the show was too blurred to track. Other than that, the track was fairly easy, with just a few minor slides and jitters in the final result, almost noticeable. At the end of the day, the entire production was 30 man hours. I wanted to spend more time, but we set a goal to have it released by Thanksgiving.
The end card is a bit special. To achieve a more nastalgic feel, I rendered it out at 320×180 (a 16:9 resolution) and then scaled it up to 1920×1080 with no filter. This maintains the jagged edges on the polygons making it still feel like a low resolution, up-scaled to a high resolution.
Overall, the result was almost exactly how we imagined it, and I love it when that happens.
Isn’t it amazing? A console that was so commercially unsuccessful, is still very much alive and kicking today. This console did much worse than the Sega Saturn commercially, and for a console that is under the great Atari name, this is surprising, and was quite surprising back then as well.
For those of you who aren’t familiar with the Atari Jaguar, click on the name to go to the wiki, or continue reading for a quick run-down of what this console generally is for many fans.
Without going into much detail, lets just say that the Jaguar’s history is rough. It was released in November 1993, with much anticipation. At first it did well, but unfortunate set backs began to determine it’s future, early on in it’s life. There are many reasons for it’s commercial failure, but I really only one focus on one for now.
The leading consoles of the time had something that the Jaguar couldn’t really get a handle on. A mascot, a title franchise, a symbol, to help sell the console. While Nintendo had Super Mario, and the Legend of Zelda, and Sega had Sonic the Hedgehog, Atari really didn’t have much in the way of recognizable characters or symbols or something that the player could relate to on a more personal level. Besides their logo and maybe Pacman, they didn’t have much. (Ironically there was never a Pacman game on the Jaguar.) The arcade generation was beginning to close around this time, and titles like Tempest, Centipede, Space Invaders, and Pacman didn’t appeal to a larger audience as a whole. Players wanted story, worlds, and most importantly, characters.
Sure, Atari tried to create mascots with Bubsy and Trevor McFur, but these characters lacked appeal, not to mention, the games they were in, weren’t that much fun to play. So, as consoles with more appealing franchises took the market, the Jaguar slowly sank into the background, and eventually disappeared with the advent of the Playstation and Nintendo 64. The third party developers moved on from the console, and, in 1996, Atari was sold off. Also, official support for the Jaguar ceased.
With all of it’s faults, the Atari Jaguar was still revolutionary for its time. It was one of the first consoles to push out games that were entirely 3D. Titles such as Iron Soldier, Hover Strike, Battle Morph, all showed that the Jaguar was leagues ahead of it’s competitor’s. And while Nintendo, Sega, and Sony didn’t really have any sort of online capabilities until 1999, the Jaguar had support for online and locally networked games. Which included the only console port of Doom that had multiplayer support. As for those who grew up in the arcades, this system had amazing reincarnations of arcade classics, such as Tempest and Defender. And for the people who grew up with Atari, those who played the games, or programmed for the systems, who went to the arcades, the Atari Jaguar represents a culmination of everything that made Atari what it was.
This brings me back to why the Jaguar is still going strong. The last system that Atari ever made, and the embodiment of everything that Atari was. For someone who grew up with Atari this means allot, and is one of the pinnacle reasons why my brother and I want to make games for the Jaguar. Not because we want to make games, but because we want to make games for a console that represents our childhoods. Proving that a console’s success isn’t based solely on sales. That a community of dedicated gamers and programmers can bring value to a system, and hopefully the bi-products of that dedication is good games.
In May of 1999, the hardware, and development code was released into the public domain. Allowing developers to make and release games without having to worry about licensing. This is the catalyst that allowed the community to grow. This along with that dedication to the Jaguar is what allowed for many titles that were initially canceled, to be restarted, and eventually release later on. That dedication, is what kept developers together, and has given us great titles like Downfall (produced by Reboot), and Elansar (produced by Orion), Games that were released 17 years after the console’s “death”. Very few consoles can tout that they have this strong of a community, many years after official support has ceased. It is a testament to the consoles quality, and the quality of people who support it.
I am not sure where the Atari Jaguar will be in another 20 years, but I am enjoying the great success it is seeing today. BitJag hopes to contribute to this success, and we hope to see many more people flock to this console, and many more games in the future. Here’s to 20 years of the Atari Jaguar.
The last week I have been working on some initial marketing stuff for Armored Empire, our next app project at Thor media. If you want to learn more about the game, and take a look at the wordpress site I put together for it, check out the official website.
This is another Blender and Gimp project, with audio done in Audacity. The one thing of any real note it the imitation of an old CRT monitor. This was the challenging part of this little project. I wanted to simulate a zoomed in shot, so using things like the scan-lines and dust on the glass seemed to pull off the effect well. The flickering of the text and the diagonal line that passes by make it feel old and worn a bit.
Overall I think that everything about this small teaser fits well with each other, thanks to some initial story boarding. The visuals and audio fit really well and help make the view curious. The doors closing are a good surprise, and just about everyone that has viewed the teaser liked the feeling that it makes.
My brothers and I really like video games, and we are trying to get to the point where we can bring our creative visions to life. The process of learning, building, and refining has been great for us, and it’s not as easy as some may think.
The project “Josh the Whale” started soon after trying to land another app project for another children’s story book and not getting it. We thought that kids books might be the way to get the attention of local children’s book illustrators and writers, and so we began the search for a story. We wanted a project that we could use, not only to attract clients, but to also use as a template for future projects. We also wanted it to be something that we really cared about in order to motivate ourselves to create a good finished product.
This is really the reason that we chose Josh the Whale. Originally a short illustrated story that our older brother, Aaron Thorup, wrote when he was in the third grade, we thought that it wasn’t just a good story about self-worth and perseverance, but it also had a good selling point. Whales and underwater stuff seem to go well with children, so, not only were we planning on entering the kids entertainment market, but we also had an attractive theme that should sell.
So we started. The first step was to get a solid script, based on the original story, written to base all the programming and visual aspects of the game on. The rewritten story, and the script, came together pretty fast, and with Aaron’s approval, I was able to begin on visual concept, and Bryce was able to start working with Shiva 3D (our 3D engine).
Mainly because of a lack of experience on my part, we planned to have a finished product by December. Basically, we did not take into account the learning curve Bryce would have with Shiva 3D. Bryce was picking up the new API, which was quite a bit different from what we were using for our live wallpapers. So, it turned into 6 months instead. We also had other video projects mixed into that schedule, but overall it was just the amount of learning needed that extended the schedule.
Concept work began, assets were being built, and Bryce began building code to use those assets with. Some specifics of that work can be viewed in previous posts HERE and HERE. Though progress was slow, it was steady, and from the beginning to the end of the project, there were no real stressful moments in the production. Just allot of trial and error in figuring out workflows in relation to the programming and asset creation.
Only minor changes were made to script and the original sequence of the game during production. In fact, only one scene was taken out of the game for programming reasons. Here is a really basic concept image of that scene. It had to do with the whales jumping out of the water at night, and the player helps Josh jump high enough to touch the moon.
Recording the narration was fun. Bryce and I decided that we wanted to have Aaron do the voice acting for the narration. This was a great choice because Aaron’s voice seemed to fit right inside Josh’s world, and complements the whole feeling of the book very well. This also made the project feel allot more personal to me, turning it into a family project. Jacob helped us out with the recording in a quite room over at my Grandma’s and Grandpa’s home. We used Audacity for the audio, and it all came out beautifully.
A little side note about the audio recording, most of the interactive moments of the game were conceptualized when I was preparing a script for lines that needed to be rerecorded or new lines, our second recording session. I felt that the game wasn’t quite balanced enough between the strictly narrative moments and the interactive moments of the game.
The music was done by April Thorup. She is not a professional composer, but she did a wonderful job on the music. Her playful styling fit into Josh’s world so well, and keeps the app interesting for kids. When we first started to drop the music into the app itself, the feeling of Josh’s world completely changed. Suddenly this small lonely whale had a story to tell, not only by the narrator, but by the music as well.
When it came to testing the app during the project, we usually just had one of our nieces or nephews take a peek at what we had, and payed attention to their reactions. Because of this “bug testing” we knew from the start that children responded well to the visual style and game play. And, towards the end of the project, we had an official bug testing session, that also brought back good results from children, and assured that we had a solid app structurally.
The app icon and other graphics were interesting to put together. The original thought was to stick to the same icon template and banner styles that we had used for our previous live wallpapers. As you can see from the images below, they weren’t the most impressive images to look at. But, after sifting through Google’s and Apple’s quality guide lines, we decided to redo all of the graphics for the app, creating a simpler style for the icon and banners.
For the final steps of the project, like marketing, I was put in charge. Gathering information on review websites that tailor to the audience we wanted to reach was important, and putting together a trailer and other material to show the app in action was done as well. This moment was probably the most educational for us as a company, mainly because I had never really done any marketing before, and because we have learned that hiring someone to handle the marketing is probably the best way to make sure that it is executed effectively.
One of the huge pluses to this whole project though, was the cost. I believe that the cost for a Shiva 3D license was $200, which covered porting the game to bother Android and iOS. Marketing was about $1000, but besides that there was no additional cost to the project besides our time. We used open source software for all asset creation and editing. This includes Blender, Gimp, Audacity, and Inkscape. Software that we have allot of experience with, and are all great programs.
We have only just released this app, and we have had a really good responses from reviewers, family, friends, and strangers, so far. We are proud of Josh the Whale, and so thankful for everyone that helped make it a reality. It represents our commitment to making products that we can be proud off and that others can enjoy. It represents our first step into the game development realm. And most of all, it shows that even a small whale can do great things, our goal for the future.
My brother Bryce and I are putting together a game for the Atari Jaguar, and I have been working on character design, game assets, and getting a story together for the project.
This piece was spontaneous, coming out a sketch session. It was also very fun to work on. I want to thank my a few of my friends, Ethan, Micheal, and April for the critique. Your help is needed and always appreciated.
One part a really enjoyed was additional programs, on top of the Gimp, to get to the final piece. You will notice that in the video, I just out to Krita and Blender. I used Krita’s mirror functions to come up with a concept for the weapons spinning around the character, and I used Blender to model, place, and light the weapon. I have used similar processes in the past, although this time felt like it was really good decision making on my part. It sped up the overall process of the painting, and I think I achieved a better result than if I had done it all in the Gimp.
There will definitely be more of about this game in the future. I have already put together some turn based battle mock-ups with sprites, and Bryce has been putting some of these assets to use with actual programs on the Jaguar. It’s awesome to see this stuff actually turn into a playable form.
This has been a long one in the making. I guess I shouldn’t put it that way, though. It took only a week or so to actually finish the work. I have just been waiting for the release of the actual short film, to get permission to post about it.
Over the last year and a half, I have had allot of opportunity to work with the Blendercompositor, and it has given me the chance to learn, in detail some of the things needed, to pull off some simple effects. One of these projects was “Spaceman“. A short film by producer Holly Tuckett and writer/director Jaron Kent Hermansen. Their short film required some visual effects work, and they asked Thor Media to step in and do the job. Here is a short breakdown video of a few of the shots that I worked with.
Here are some of the compositing trees. It looks allot more complicated than it actually is. And to put in new backgrounds only takes a few steps.
First thing is to track the footage, whether the camera is moving or not. The camera is always moving, whether its the wind blowing, or the heartbeat of the camera man, the image will always move. Next is keying the green screen, and creating any masks that are needed to maintain what you want out of the original footage. And attaching those masks to the camera tracking data.
After which you build your background and attach it to your camera tracking data, and adjust to make the movement look good. Then comes any color correction, adding other effects like glows or motion blur, adding film grain, and then the final composite.
The hard part is getting the new, digitally created elements to look good with the real stuff, speaking of style and lighting. This takes allot of patience, critique from other people, and just playing around with the options that are at your disposal.
This was especially hard with this project, because most of the visual effects take place in the boy’s dream, and are meant to be exaggerated a bit. But at the same time, I had to get a look that fit with the mood and style of the story, without making it feel like the visual effects were making light of the situation.
Overall it was a very fun project to work on. Jaron and Holly at Flying Hat Productions, are great people to work with, and gave me good feedback and direction on the project. And, also, my brothers Jacob and Bryce gave great feedback and critique. I hope there are similar job like this in the future for Thor Media. Free, fun and creative.
The short film hasn’t had an official release yet, but they have trailers and all sorts of content on the film’s blog. Click on this link, http://spacemanthemovie.blogspot.com/, to learn more about the short film and it’s creators. They did a great job putting it together, and would love to see your support.
Thor Media is coming up on the release of there latest project Josh the Whale. And during the last few days, I have been working on the official trailer for the app. Here it is.
It has been fun getting the last touches together for this app. One thing that has been especially interesting for me is the music. We have my sister in law putting together the music for the app, and even though she doesn’t compose professionally, she has done a fantastic job so far. Her music fits the moods that we are trying to get across in the app very well. The trailer itself came together really easy.
Most of the assets were already prepared. All the underwater scenery was practically done, because we used it in the initial concepts for the game. I had to do another animation for Josh, and do some simple compositing in the Blender video sequence editor. The only part that I had to put allot of time into was the beginning. I struggled with compositing distant water, before discovering how easy it is to add it in by using the z-buffer to create a fade between the distant water and the foreground water. Everything else was a cinch.
If you want to check out some beta screen shots of the app in action, head over to the official page HERE. We should be releasing the app in a few weeks or so, on both Android and iOS.
Josh the Whale is still moving along, and while we have been journeying down this path, we are picking up on a few things.
One of these things is how to handle assets between Blender and Shiva 3D, our current game engine. And one particular asset of interest is animation.
When you import animation into Shiva 3D it automatically interpolates the IPO curves as linear. This is a problem because you lose all of your ease-ins and ease-outs. Making any animation you do feel very robotic.
One way you can avoid this is by key framing the nice curves (bezier curves), in Blender, to every frame of your animation. This would obviously be close to impossible to do manually for every frame, but Blender has a very nice option for this. It is an option called “Sample Key frames” under the “Key” menu in the IPO curve editor.
This short video will demonstrate my current method, using this option, to preserve beautiful motion, between Blender and Shiva 3D.
Josh the Whale is moving along nicely. Bryce is figuring out the new engine and we have already put together some proof of concept work. While he’s figuring out how to get this all put together in an application, I am trudging forward, getting other areas of the game designed and finished.
This is a time lapse video of the cave entrance where a few pages if the book will take place. This video is especially long because all the interface movement would be too distracting if I compressed it down to 4 minutes. So, if you don’t want to spend 20 minutes watching this video, watch for about 1 minute and then skip ahead 5 minutes, this will give you a good feel for the whole process.
As you can see, the difference between the concept art and the finished result is dramatic. And I predict that there will be more changes in the future, as we test on different platforms. This is partly because of my lack of planning, but also because plans change as you continue to consider your market and what ideas you wish to express visually within the story.
And there are also limits with polygon count amount other things. I try to avoid thinking that way when doing this kind of work, because even with restrictions you can usually get what you want out of it, if not stubble upon a few good things you wouldn’t have seen without the restrictions.
The processes that I go through to hash out these designs are simple:
Brainstorm and Sketches (What colors, what environments, visual style)
Concept art (Hardest part, because you are trying to develop a visual style and language that best fits the idea)
3D’ize the Ideas (Modeling, Texturing, Rigging, Animating, and other asset creation)
Troubleshooting (testing to make sure that the colors are sending the right visually messages, the main character sticks out enough, etc. Often the longest part of the job)
It’s allot of work, and can be very daunting when you first approach it. But as the artwork comes, the assets get animated, and those assets are placed into an interactive state, it can be very exciting and encouraging.
I will continue posting about this app, since it looks like we are still a good month away from a final product. But I do have other things lined up.
I am currently putting together a personal project video series, that should carry on for a few months. I got a few ideas in mind on things I might be able to contribute from my limited experience. And placing some of that experience into a fun video series will help keep me motivated in my work, and hopefully motivate some of you as well.
