|Contribution Rating:||8 (tied for 6040th; 0 in last year)|
|Member Since||Nov 14, 2000|
|# Messages Posted:||none|
|Location:||Newport Beach, United States|
|About myself:||I started in the video game industry in November of 1995 when I was hired by Activision to work on Interstate '76. On my first day I was immediately hijacked to work on MechWarrior 2 NetMech because I had taken some networking classes and done a mod to the Doom network connect code that turned it into a chat program. After a few months, we shipped NetMech and I moved on to the original Interstate '76.|
On I'76 I did a lot of weapons, user interface, special effects, and simulation code for the automatic transmission of the car.
After completing I'76 I was made the lead programmer on the I'76 expansion packs (Gold Edition and Nitro Pack). Here I created systems for new types of network play like capture the flag, and a vehicle decal system for user customization of cars. I was the only in-house programmer on the expansion pack, so I have a lot pride about this product since it's quite literally mostly me. I had one other external programmer who I was working with, he did the modifications to the software renderer to allow the game to use these new products on the market called 3D Video Cards.
On a weird note, I was the one who created the odd blur effect that you see in I'76 when your car collides at high speed.
For a brief period of time after I'76 I worked on Heavy Gear 2 doing special effects for weapons, weapon explosions, and exploding buildings. They never really gave me credit in the game for the work I did there, but the producer Jack Mamais does give me credit in my linked-in profile.
After I'76 I moved back to the SF Bay Area to work for Accolade on Slave Zero. I got the job through my now old friend Sean Vesce who was the Director on I'76. As we were nearing the release of Slave Zero, the French company Infogrames (now they call themselves Atari) came along and bought out Accolade. We all made a whopping few hundred dollars in the deal, how generous.
After Slave Zero I was contemplating where to go and what to do next when my friends Sean Vesce and Lars Batista were just starting to try to revive the old defunct game company called Cinemaware. Cinemaware originally did some very popular super classic titles on the Amiga and other platforms. In Feb 2000, I left Infogrames and contracted with them to begin work on a prototype of the game Defender of the Crown for the PC. Once the PC based prototype was completed we obtained funding and decided to create a PS2 title.
I worked with Cinemaware until the end of Nov 2002 when they ran out of money and layed off nearly all the employees. I think they pretty much only kept the people that were still working on systems that needed to be completed. Somehow after this, they still managed to get a publisher and complete conversions to the XBox and PC and passed the Sony PS2 Submission process on July 30, 2003.
Jan 1, 2003 I started working for Tsunami Visual Technologies in Fremont, CA. There I worked on converting PC titles to run on motion-based arcade platform. Basically it was just an arcade box with a PC in it attached to a giant ball with a chair in it that sits on top of six huge motors that can move the chair around. Playing with the hardware side was fun. but mostly the conversion process was pretty mindless work. So I started to look around for another job.
Some day in June 2005 just before lunch, The Collective sent me an offer letter that I quickly accepted. I was planning to work out the week and put in 2 weeks notice just in time to finish out the month. After lunch, at about 2pm, fate rolled in, and Tsunami Visual laid me off because of financial troubles they were having. I never told them that two hours earlier I accepted another job, I just laughed it off and smiled as they told me to pack up. The timing could not have been more perfect, and later I heard that Chuck McMakin was so shocked at how easily I took it. Still makes me laugh to this day.
July 2005 I started at The Collective in Newport Beach, CA. Here I worked on Marc Ecko's Getting Up: Contents Under Pressure, and an upcoming unannounced XBox 360 and PS3 title.