Every day closer to this thing called Boom Company is another nerve-wracking, bellyful-of-butterflies, kind of deal. Like, when you wake up, there's some degree of excess excitement — like Saturday morning for kids.

Looking back, it's probably what drove this whole thing. Throughout my career, I may have been chasing that feeling this entire time.

I graduated from Vancouver film school and did kid's cartoons right after (Dragon Booster, Storm Hawks). I was able to climb the ranks from junior to supervising animator.

[  Dragon Booster  |  Copyright © 2021 All rights reserved.  ]

[  Storm Hawks |  Copyright © 2021 All rights reserved.  ]

At some point I was also a programmer, working on old school cell phones (I did some text prediction stuff for phones with only the keypad, which was "edgy" back then).

After learning Unity I got a job doing games as a programmer/animation tech artist at Nvizzio creations in Montreal.

I didn't think it would be a cinch to make the game but having these two crucial skill sets, it would be a shame to not get the ball rolling.

The funny part is that it actually triples my workload because there's a mystery component in game development that not a lot of people talk about: Tech art.

All the art in the game needs an integration pipeline from the art program to the game engine. Especially if you are doing things in 3D and want a very specific look.

So if you want a game to play well and look good (which in our case… YES PLEASE), you need somebody to help you write shaders and animation scripts. /B

*Cracks neck, rolls up sleeves*

(Continued… )