http://hiddenpalace.org/w/api.php?action=feedcontributions&user=Billscat-socks&feedformat=atomHidden Palace - User contributions [en]2024-03-29T08:20:10ZUser contributionsMediaWiki 1.39.6http://hiddenpalace.org/w/index.php?title=Cooly_Skunk_(Prototype)&diff=30657Cooly Skunk (Prototype)2020-01-20T03:28:37Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|Page name=Cooly Skunk (Prototype)<br />
|titlescreen=Cooly skunk title.png<br />
|status=Released<br />
|dumper=Billscat-socks<br />
|releasedby=Gaming Alexandria<br />
|filereleasedate=January 18, 2020<br />
|origin_type=BS-X Memory Pak<br />
|game=Cooly Skunk<br />
|system=SNES<br />
|genre=Action<br />
|unreleased=Yes<br />
}}<br />
{{Download<br />
|file=Cooly Skunk (Prototype).zip<br />
}}<br />
A prototype of the unreleased Cooly Skunk for the Nintendo SNES.<br />
==Notes==<br />
* Eventually being released on the PlayStation in late 1996, the game was originally in development for the SNES. After seeing the success of the PlayStation in the United States, the game was later revamped and released for that console instead.<br />
<br />
==See also==<br />
[https://www.gamingalexandria.com/wp/2020/01/19/cooly-skunk-snes-unreleased/ Article on Gaming Alexandria.] [http://archive.is/ODc5U (Archive)]<br />
<br />
{{Prototype Footer|{{Navbox prototype|Cooly Skunk}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Castlevania_Bloodlines_(Aug_4,_1993_prototype)&diff=30635Castlevania Bloodlines (Aug 4, 1993 prototype)2020-01-19T06:51:51Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=Cv.png<br />
|builddate=Aug 4, 1993<br />
|buildname=Ver. 0.1<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_labels=Cartridge labels: (118), (S/N: 07 Minhonpin No. 1), [F-85] ; EPROM Stickers: A004 930804 HI, A004 930804 LOW<br />
|origin_eproms=Two EPROMs<br />
|origin_ownership=K-Mart Buyer (1993-2013), Japanese bidder (2013-2015), billscat-socks (2015-2016), Niels (Present)<br />
|game=Castlevania Bloodlines<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|release_date={{RegionDate|JP|Mar 18, 1994}} {{RegionDate|US|Oct, 1994}} {{RegionDate|EU|1994}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Castlevania Bloodlines (Aug 4, 1993 prototype).zip<br />
}}<br />
An early build of Castlevania Bloodlines for the Sega Mega Drive.<br />
<br />
==Notes==<br />
* This prototype was originally given to an electronics buyer for the retail chain KMart to bring home for his children to test play. Companies would send samples of their games to retail chains in the past so representatives could check if they want the product in their store.<br />
* The build date of August 4, 1993 dates it at least 7 months before the first retail release date of March 1994 in Japan.<br />
* Only the first two levels are playable before the game resets to the first stage.<br />
* The Konami code presents a level select on the titlescreen that allows access to remnants of stage three, but most data besides the first two levels of the game have been deleted or were not being worked on yet.<br />
<br />
==Differences==<br />
* Your character walks slower than in the retail game.<br />
* Collected items float up to the item bar in the HUD, much like in earlier Castlevania games.<br />
* The mid-boss of the first stage is a more gruesome looking hound with eaten away flesh. <br />
* Areas of the first stage have empty black backgrounds due to art not being implemented yet.<br />
* The very early version of the second stage's mid boss shows up but no music plays. It can be skipped without fighting it.<br />
* The medusa heads look different.<br />
<br />
<br />
==Origin==<br />
<gallery mode=packed><br />
cart-front.jpeg|Cartridge front<br />
eprom1.jpeg|PCB front<br />
eprom2.jpeg|PCB back<br />
</gallery><br />
<br />
{{Prototype Footer|{{Navbox prototype|Castlevania Bloodlines}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Castlevania_Bloodlines_(Aug_4,_1993_prototype)&diff=30634Castlevania Bloodlines (Aug 4, 1993 prototype)2020-01-19T06:51:11Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=Cv.png<br />
|builddate=Aug 4, 1993<br />
|buildname=Ver. 0.1<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|releasedby=TheCount#5993<br />
|origin_type=EPROM cartridge<br />
|origin_labels=Cartridge labels: (118), (S/N: 07 Minhonpin No. 1), [F-85] ; EPROM Stickers: A004 930804 HI, A004 930804 LOW<br />
|origin_eproms=Two EPROMs<br />
|origin_ownership=K-Mart Buyer (1993-2013), Japanese bidder (2013-2015), billscat-socks (2015-2016), Niels (Present)<br />
|game=Castlevania Bloodlines<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|release_date={{RegionDate|JP|Mar 18, 1994}} {{RegionDate|US|Oct, 1994}} {{RegionDate|EU|1994}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Castlevania Bloodlines (Aug 4, 1993 prototype).zip<br />
}}<br />
An early build of Castlevania Bloodlines for the Sega Mega Drive.<br />
<br />
==Notes==<br />
* This prototype was originally given to an electronics buyer for the retail chain KMart to bring home for his children to test play. Companies would send samples of their games to retail chains in the past so representatives could check if they want the product in their store.<br />
* The build date of August 4, 1993 dates it at least 7 months before the first retail release date of March 1994 in Japan.<br />
* Only the first two levels are playable before the game resets to the first stage.<br />
* The Konami code presents a level select on the titlescreen that allows access to remnants of stage three, but most data besides the first two levels of the game have been deleted or were not being worked on yet.<br />
<br />
==Differences==<br />
* Your character walks slower than in the retail game.<br />
* Collected items float up to the item bar in the HUD, much like in earlier Castlevania games.<br />
* The mid-boss of the first stage is a more gruesome looking hound with eaten away flesh. <br />
* Areas of the first stage have empty black backgrounds due to art not being implemented yet.<br />
* The very early version of the second stage's mid boss shows up but no music plays. It can be skipped without fighting it.<br />
* The medusa heads look different.<br />
<br />
<br />
==Origin==<br />
<gallery mode=packed><br />
cart-front.jpeg|Cartridge front<br />
eprom1.jpeg|PCB front<br />
eprom2.jpeg|PCB back<br />
</gallery><br />
<br />
{{Prototype Footer|{{Navbox prototype|Castlevania Bloodlines}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=ToeJam_%26_Earl_in_Panic_on_Funkotron_(Aug_1993_prototype)&diff=30633ToeJam & Earl in Panic on Funkotron (Aug 1993 prototype)2020-01-19T06:50:37Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=Toejam&Earl.58BD000.png<br />
|builddate=Aug 1993<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=Gamefan Magazine (1993 - ??), DreamTR (?? - 2013), billscat-socks (2013-2015), anonymous<br />
|game=ToeJam & Earl in Panic on Funkotron<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|release_date=1993<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=ToeJam & Earl in Panic on Funkotron (Aug 1993).rar<br />
}}<br />
A preliminary build of ToeJam & Earl in Panic on Funkotron for the Sega Genesis.<br />
==Notes==<br />
* This cartridge originally came from the offices of Gamefan magazine.<br />
<br />
==Acknowledgments==<br />
Dump funded by the good people at Sonic Retro.<br />
{{Prototype Footer|{{Navbox prototype|ToeJam & Earl in Panic on Funkotron}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=30632Aladdin (Chicago C.E.S demo)2020-01-19T06:50:09Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Aladdin (June 29, 1993 prototype).zip<br />
}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
{{Tcrf link| Proto:Disney's Aladdin (Genesis)}}<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
* The ROM's internal header refers to it as The Jungle Book.<br />
<br />
===Differences===<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final. It's based on a track from Jungle Book.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Videos==<br />
<youtube width="320" height="240">IzISgIQAico</youtube><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery><br />
<br />
{{Prototype Footer|{{Navbox prototype|Aladdin}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Rocket_Knight_Adventures_(Store_Sample)&diff=30631Rocket Knight Adventures (Store Sample)2020-01-19T06:49:49Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|origin_type=Sample cartridge<br />
|origin_labels=MD ロケットナイトアドベンチャーズ 店頭用サンプル (EN: MD Rocket Knight Adventures Storefront Sample)<br />
|origin_ownership=YJ auction (2015), Billscat-socks (2015), anonymous<br />
|game=Rocket Knight Adventures<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Rocket Knight Adventures (USA) (Sample).zip<br />
}}<br />
A store demo of Rocket Knight Adventures for the Sega Mega Drive.<br />
==Notes==<br />
* The cartridge generally appears to play the same as the final JP retail release.<br />
<br />
==Origin==<br />
<gallery mode=packed><br />
DxmAcQ8.jpg|Cartridge case<br />
</gallery><br />
<br />
{{Prototype Footer|{{Navbox prototype|Rocket Knight Adventures}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Panorama_Cotton_(Nov_27,_1993_prototype)&diff=30630Panorama Cotton (Nov 27, 1993 prototype)2020-01-19T06:48:54Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=Flying000.png<br />
|builddate=Nov 27, 1993<br />
|status=Released<br />
|dumper=Billscat-socks <br />
|releasedby=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_labels=11/27<br />
|game=Panorama Cotton<br />
|system=Sega Mega Drive<br />
|genre=Shooter<br />
|release_date={{RegionDate|JP|Aug 12, 1994}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Panorama Cotton (Nov 27,1993).rar<br />
}}<br />
An early build of Panorama Cotton for the Sega Mega Drive. Its build date puts it 9 months before the retail release.<br />
==Cheat Codes==<br />
FF8CEB:00xx - Use to access levels past the third level.<br />
==Notes==<br />
* The game stops at the third level. <br />
* Lots of things including most bosses have different palettes from the final game.<br />
* This is an overdump. The game is only 2 megabytes.<br />
<br />
==Videos==<br />
<youtube width="320" height="240">-g-t5rE1Z3s</youtube><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Panorama-Cotton-Sega-Genesis-Mega-Drive-Prototype-Demo-Cart-.jpg|PCB front<br />
</gallery><br />
{{Prototype Footer|{{Navbox prototype|Panorama Cotton}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Castlevania_Bloodlines_(Aug_4,_1993_prototype)&diff=16745Castlevania Bloodlines (Aug 4, 1993 prototype)2017-07-29T22:53:30Z<p>Billscat-socks: Those are shots from the 0.5, this was never stated to be that proto. This is a completely different build.</p>
<hr />
<div>{{Prototype<br />
|titlescreen=Cv.png<br />
|builddate=Aug 4, 1993<br />
|buildname=Ver. 0.1<br />
|status=Undumped<br />
|origin_type=EPROM cartridge<br />
|origin_labels=Cartridge labels: (118), (S/N: 07 Minhonpin No. 1), [F-85] ; EPROM Stickers: A004 930804 HI, A004 930804 LOW<br />
|origin_eproms=Two EPROMs<br />
|origin_ownership=K-Mart Buyer (1993-2013), Japanese bidder (2013-2015), billscat-socks (2015-2016), Niels (Present)<br />
|game=Castlevania Bloodlines<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|release_date={{RegionDate|JP|Mar 18, 1994}} {{RegionDate|US|Oct, 1994}} {{RegionDate|EU|1994}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
An early build of Castlevania Bloodlines for the Sega Mega Drive.<br />
==Notes==<br />
* This prototype was originally given to an electronics buyer for the retail chain KMart to bring home for his children to test play. Companies would send samples of their games to retail chains in the past so representatives could check if they want the product in their store.<br />
* The build date of August 4, 1993 dates it at least 7 months before the first retail release date of March 1994 in Japan.<br />
* Only the first two levels are playable before the game resets to the first stage.<br />
* The Konami code presents a level select on the titlescreen that allows access to remnants of stage three, but most data besides the first two levels of the game have been deleted or were not being worked on yet.<br />
<br />
==Differences==<br />
* Your character walks slower than in the retail game.<br />
* Collected items float up to the item bar in the HUD, much like in earlier Castlevania games.<br />
* The mid-boss of the first stage is a more gruesome looking hound with eaten away flesh. <br />
* Areas of the first stage have empty black backgrounds due to art not being implemented yet.<br />
* The very early version of the second stage's mid boss shows up but no music plays. It can be skipped without fighting it.<br />
* The medusa heads look different.<br />
<br />
==Origin==<br />
<gallery mode=packed><br />
cart-front.jpeg|Cartridge front<br />
eprom1.jpeg|PCB front<br />
eprom2.jpeg|PCB back<br />
</gallery><br />
{{Prototype Footer|{{Navbox prototype|Castlevania Bloodlines}}}}</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Ken_Dirnberger_(interview)&diff=16738Ken Dirnberger (interview)2017-07-28T09:12:24Z<p>Billscat-socks: </p>
<hr />
<div>'''Ken Dirnberger''' is the former president of Konami of America. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2016.<br />
<br />
==Interview==<br />
<br />
'''1. Can you explain how you got your start in Konami?'''<br />
<br />
I got my start in Konami when I retired from the Air Force after 30 years of service. My Japanese wife is a Japanese-English conference interpreter. One of her regular clients was Mr. Kozuki, who started, owned, and managed the company in Japan. When I was stationed in Japan, I met and got to know Mr. Kozuki, who offered me the position of Konami, America President when I retired from the Air Force in January, 1995.<br />
<br />
<br />
'''2. What were your general duties throughout your time there?'''<br />
<br />
In the beginning, I was in charge of Konami marketing and sales in the U.S. and throughout the Americas, including Canada, Central America, and South America. At that time, all the games were developed in Japan and those that were marketable in the U.S. were then shipped and sold here. After a couple of years, I started another Konami company, called Konami Computer Entertainment Center (KCEC), which had the responsibility of developing games here in the U.S. The intent was to design games more specifically for the taste of American gamers.<br />
<br />
<br />
'''3. What was the company like when you got there, and what did you do once you were there to change things around?'''<br />
<br />
Morale in the company was very low when I arrived. Several managers had left and things were in a bit of a turmoil. There were two main issues: the arcade business was rapidly declining in the States -- arcades were closing everywhere -- and Konami's desktop consumer games, such as those for Nintendo's NES system, were also declining in popularity. "Teenage Mutant Ninja Turtles" was the last big Konami hit and games being produced in Japan no longer fit the taste of American gamers. Konami had been one of the top companies in the U.S. in the '80s and very early 90's with games that had a Japanese "anime" design; however, by the mid 90's competitors were producing games with a more "western" style that Americans liked better. The Konami warehouse was filled with games that had been purchased from Japan, but didn't sell. The first thing I did was hire an American to direct the consumer side of the business and reorganized the entire company into a structure more fitting for the environment that existed at that time. For example, there was a strong marketing department in the consumer side, but the Coin-op Director did almost all of the marketing himself for the arcade business. I made the marketing department responsible for supporting both sides of the business. That's just an example. In addition, I had both the Consumer and Coin-op Directors conduct off-site meetings to get their teams working together on goals and objectives and ideas to meet those goals and objectives. The other initiative was to have successful Konami game developers in Japan come to the U.S. to see the kinds of games, and the style of the games, that were becoming more successful so they could understand what we were asking them to produce for the U.S. market. Following this, I had both Consumer and Coin-op produce lists of ideas for games that they wanted the developers to produce for this market. This effort had a measure of success because Mr. Kozuki directed his staff in Japan to be more supportive of the U.S. market with the new team in place and the new effort underway. However, the company found it increasingly hard to develop both styles -- anime for the Japanese market and more Western-looking characters for the U.S. market. That eventually led to a decision to develop the 2nd company that I mentioned earlier, Konami Computer Entertainment Center (KCEC) in order to develop games here for the U.S. market.<br />
<br />
<br />
'''4. Can you name some specific projects you worked with? How did you oversee those projects? I noticed online that you have credits as the producer of some of Konami's games.'''<br />
<br />
Specific projects: Now you are getting into the area where my memory fails after 15-16 years of being totally away from the business. I'll be talking to someone tomorrow who worked for me in Konami, America and who will be able to recall some of the games better. If you want, I can send you a few titles later that we (he and I) might be able to come up with together. I can picture some of the games mentally, but just can't recall the exact titles. I'm pretty sure the games where I'm listed as "producer" were some of those that we created "in-house" after KCEC was formed, such as the "In the Zone" basketball game which was the only reasonably successful one. Yes, as president of KCEC, I did have more direct involvement in the development and production of the games produced here. In the Air Force, I commanded multiple teams of "techies" in the computer and communications business, so I basically did the same in KCEC. I'm not technical myself, but I held frequent meetings with team managers in KCEC to monitor progress, provide guidance, and help them out when needed. I also communicated daily with Japan and brought in expert assistance when needed.<br />
<br />
<br />
'''5. What was the process like for picking games from Japan to bring overseas?'''<br />
<br />
As far as the process for picking games produced in Japan, I would send my managers and "techies" to Japan several times a year to visit the game developers and actually see the games as they were being developed. For those games that had potential for the U.S. market, we would then provide inputs to help make the games more U.S.-friendly and would review samples and provide feedback continuously until the games were completed. Sometimes our inputs were accepted, but very often they weren't because they still had to keep the games focused primarily on the Japan market. Once the games were completed in Japan, we would purchase the number we thought we could sell in this market. Of course, there was always a lot of pressure from headquarters to purchase more, which often led to disagreement and hard feelings. Again, this is what led to the creation of KCEC to "create games for America by Americans."<br />
<br />
<br />
'''6. One of my favorite titles that Konami brought over here from Japan was the Goemon series, localized under the title Mystical Ninja. The first Nintendo 64 game in the series was localized for the US market in 1998. Do you remember being involved with this one? It is a very Japanese series, which makes it interesting that it got a chance over here.'''<br />
<br />
The Goemon/Mystical Ninja series rings a bell, but I don't remember it very well. It was probably one of those titles that we simply brought over from Japan and marketed here without a lot of involvement in the development stage. Sometime we would give the Japanese anime games a try, especially if pushed by HQ in Japan.<br />
<br />
<br />
'''7. You might remember this better once speaking with your friend, but can you recall any specific titles for which input from the US side actually was accepted by the Japanese developers? Just off-hand, due to their more US characters and settings, I would imagine a couple of these games to be Silent Hill and Metal Gear Solid for the Playstation.'''<br />
<br />
You hit one of the titles that we definitely had a hand in developing -- the Metal Gear series -- which was early in my time at Konami. This is one where the developers actually came to the U.S. to visit our gamers and we also sent some of our staff to Japan to provide advice during the game development. Another was the dance genre, such as "Dance, Dance Revolution." I don't remember "Silent Hill" at all, but there was a "Silent Scope" arcade/coin-op game that was developed here in KCEC, not in Japan, but Japan purchased some of them from us and marketed them there. I sent an email to my friend to see if he remembers others. If he replies, I'll pass the information along.<br />
<br />
<br />
'''8. I'm interested in the localization and testing process of games during their development. You mentioned samples of Japanese games were often reviewed during a game's development. Once it was decided that a Japanese game would be localized for the US market, would the localization process ever begin while a game is still in the middle of development? I once heard that Nintendo for example would be regularly sent files of new builds for localization teams to look over.'''<br />
<br />
The answer to your question about the localization process is "yes." Headquarters would send us a list of titles that they were either considering or had begun developing in Japan, along with a synopsis of the type of game (genre) and their concept of game play. They would also indicate whether or not they thought it could work for the U.S. market. If we were interested in a title, we would ask them to send samples once the development was far enough along that we could do a better evaluation. We would then exchange frequent correspondence with the development team in an effort to get the team to include our ideas. As I mentioned earlier, if we felt that the game showed good promise for the U.S. market, we would then send some of our people there to provide more "hands-on" assistance, as long as the team was willing to listen to our ideas.<br />
<br />
<br />
'''9. Regarding KCEC, I have seen this abbreviation also referenced as Konami Computer Entertainment Chicago. Are these both the same? Also, did KCEC end up as a moderate success, or did games developed in Japan mostly dominate sales which lead to its demise?'''<br />
<br />
Yes, KCEC was Konami Computer Entertainment Chicago -- my mistake -- must have been moving too fast and didn't check what I was writing.<br />
<br />
'''10. I know Konami's main offices are not even in the Illinois area anymore. At the time of your departure, was the company on its way to its now Los Angeles offices? What sort of state was the company in when you left, was it undergoing a complete restructuring with the new generation of gaming consoles?'''<br />
<br />
I was involved in the move to the San Jose area of California. We decided to make the move because we couldn't find enough good game designers and programmers here in the Chicago area to develop quality games in KCEC. Once the kids graduated from school with their degrees, they headed to California where they knew the best jobs were. As a result, our efforts to develop games in KCEC did not achieve the level of success that we had hoped for. In addition, nearly all the video game companies were located in California, with the exception of those focused primarily in the arcade/coin-op business. Konami saw that the arcade business was dying and the industry was moving to new consoles, computer-based games, and internet. So there was no longer a strong justification for having the company in Chicago in order to be close to the console cabinet manufacturing centers. Once the move was completed, I retired from the company rather than move to California -- family, age, and salary cuts were the primary considerations. I haven't kept up with the company after the move to California, but I know it was down-sized considerably and I think it gave up on the idea of developing games in-house. Any other thoughts regarding the current state of the company would be pure speculation on my part, so I'd rather not venture into that area.<br />
<br />
<br />
'''11. Do you recall any participation in consumer trade shows, such as E3? If you have any memories about the whole process behind those things, any specific events during them etc., I'd love to hear it.'''<br />
<br />
Yes, we participated heavily in trade shows, including E3. I guess my clearest memory was that we constructed a very large and expensive showroom/booth that we took to each of the major trade shows. HQ was critical about the expense, but it gave Konami a good boost at the time and HQ also had it shipped to Japan for use in their trade shows. We also hired some fairly well-known personalities, like Luci Riccardo (Lucille's daughter) to participate in our booth. On another occasion in Los Angeles, Michael Jackson came by and played some of our games. We never found out if it was really Michael Jackson or one of his many doubles, but we do think it was him. When the trade shows were in LA, and even now in Vegas, there were always several famous personalities that you could see. Michael Andretti used to come to some of the arcade shows with his race cars, for example. <br />
<br />
<br />
'''12. Were samples sent from Japan often destroyed once they served their purpose? Or did the company hold onto previous development builds of games for an archive of any sort? This question also applies to what Konami did with any demonstration cartridges/CDs once an event such as E3 was over. I'm curious if the company put any historical value into past game builds by keeping records, or if they saw them as irrelevant once the final product was complete. I know companies like Sega used to keep huge archives of all of their game builds in a Quality Assurance archive for future reference. I wondered if Konami ever did the same.'''<br />
<br />
Regarding samples, those that were developed in Japan were strictly controlled by HQ. My recollection is that we used to have to ship them all back to Japan for safe-keeping and archiving. I'm pretty sure that if they were to be destroyed, HQ would tell us if they wanted them destroyed locally, with confirmation of destruction, or shipped back to Japan for destruction. That wasn't something I was really involved in. It was something that HQ worked out directly with Japanese managers in the company. Of course, in KCEC, we kept control of our locally developed samples, although there weren't that many by the time we moved everything to California.<br />
<br />
<br />
I did hear from my friend. He was on the arcade/coin-op side of the company. Here's his input regarding your #6:<br />
<br />
''Since that was a release for the Japan market, I only vaguely remember that it was a big deal because it had been a long time since the first Goemon game was released for the West. <br />
<br />
''Both X-Men and Lethal Enforcers were clearly developed for the US market. Very few other games targeted the US or European markets, such as Run N Gun and Lethal Enforcers 2: The Gunslingers.<br />
<br />
''Although they failed, Five A Side Soccer and Ultra Hockey, released as the first 2 games in the Ultra Sports console cabinet, did include many suggestions from the US office. We recommended that realism be sacrificed for faster game play, the inclusion of many oddly shaped game fields, and even the console cabinet style. We promised big sales if the development team followed our recommendations and I think the poor actual sales spelled the end of market-specific game development. From that point on, our input was limited to finding errors and editing the English voiceover and text. <br />
<br />
''The notable exception was Fisherman's Bait, for which we again made big forecasts. R&D took our suggestions for the types of fish to be caught and the design of the fishing reel joystick. When HQ couldn't make a reel that was robust enough for the US market, we had Happ Controls design one and submit it to the team for approval. <br />
<br />
''A few games included changes we suggested, such as removal of some "hidden" risque images in Silent Scope and extra lights and mirrored metal on Dance Dance Revolution but, as the output from Japan moved to driving and other simulators (Wave Shark, Hang Pilot, GTI Club) then to all the music-based simulators, it became clear that the R&D teams would focus on making games they understood and which appealed to Japanese players.''<br />
<br />
[[Category:Interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Ken_Dirnberger_(interview)&diff=16737Ken Dirnberger (interview)2017-07-28T09:00:46Z<p>Billscat-socks: Created page with "'''Ken Dirnberger''' is the former president of Konami of America. The interview was conducted by Billscat-socks in 2016. ==Interview== '''1. Can you..."</p>
<hr />
<div>'''Ken Dirnberger''' is the former president of Konami of America. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2016.<br />
<br />
==Interview==<br />
<br />
'''1. Can you explain how you got your start in Konami?'''<br />
<br />
I got my start in Konami when I retired from the Air Force after 30 years of service. My Japanese wife is a Japanese-English conference interpreter. One of her regular clients was Mr. Kozuki, who started, owned, and managed the company in Japan. When I was stationed in Japan, I met and got to know Mr. Kozuki, who offered me the position of Konami, America President when I retired from the Air Force in January, 1995.<br />
<br />
<br />
'''2. What were your general duties throughout your time there?'''<br />
<br />
In the beginning, I was in charge of Konami marketing and sales in the U.S. and throughout the Americas, including Canada, Central America, and South America. At that time, all the games were developed in Japan and those that were marketable in the U.S. were then shipped and sold here. After a couple of years, I started another Konami company, called Konami Computer Entertainment Center (KCEC), which had the responsibility of developing games here in the U.S. The intent was to design games more specifically for the taste of American gamers.<br />
<br />
<br />
'''3. What was the company like when you got there, and what did you do once you were there to change things around?'''<br />
<br />
Morale in the company was very low when I arrived. Several managers had left and things were in a bit of a turmoil. There were two main issues: the arcade business was rapidly declining in the States -- arcades were closing everywhere -- and Konami's desktop consumer games, such as those for Nintendo's NES system, were also declining in popularity. "Teenage Mutant Ninja Turtles" was the last big Konami hit and games being produced in Japan no longer fit the taste of American gamers. Konami had been one of the top companies in the U.S. in the '80s and very early 90's with games that had a Japanese "anime" design; however, by the mid 90's competitors were producing games with a more "western" style that Americans liked better. The Konami warehouse was filled with games that had been purchased from Japan, but didn't sell. The first thing I did was hire an American to direct the consumer side of the business and reorganized the entire company into a structure more fitting for the environment that existed at that time. For example, there was a strong marketing department in the consumer side, but the Coin-op Director did almost all of the marketing himself for the arcade business. I made the marketing department responsible for supporting both sides of the business. That's just an example. In addition, I had both the Consumer and Coin-op Directors conduct off-site meetings to get their teams working together on goals and objectives and ideas to meet those goals and objectives. The other initiative was to have successful Konami game developers in Japan come to the U.S. to see the kinds of games, and the style of the games, that were becoming more successful so they could understand what we were asking them to produce for the U.S. market. Following this, I had both Consumer and Coin-op produce lists of ideas for games that they wanted the developers to produce for this market. This effort had a measure of success because Mr. Kozuki directed his staff in Japan to be more supportive of the U.S. market with the new team in place and the new effort underway. However, the company found it increasingly hard to develop both styles -- anime for the Japanese market and more Western-looking characters for the U.S. market. That eventually led to a decision to develop the 2nd company that I mentioned earlier, Konami Computer Entertainment Center (KCEC) in order to develop games here for the U.S. market.<br />
<br />
<br />
'''4. Can you name some specific projects you worked with? How did you oversee those projects? I noticed online that you have credits as the producer of some of Konami's games.'''<br />
<br />
Specific projects: Now you are getting into the area where my memory fails after 15-16 years of being totally away from the business. I'll be talking to someone tomorrow who worked for me in Konami, America and who will be able to recall some of the games better. If you want, I can send you a few titles later that we (he and I) might be able to come up with together. I can picture some of the games mentally, but just can't recall the exact titles. I'm pretty sure the games where I'm listed as "producer" were some of those that we created "in-house" after KCEC was formed, such as the "In the Zone" basketball game which was the only reasonably successful one. Yes, as president of KCEC, I did have more direct involvement in the development and production of the games produced here. In the Air Force, I commanded multiple teams of "techies" in the computer and communications business, so I basically did the same in KCEC. I'm not technical myself, but I held frequent meetings with team managers in KCEC to monitor progress, provide guidance, and help them out when needed. I also communicated daily with Japan and brought in expert assistance when needed.<br />
<br />
<br />
'''5. What was the process like for picking games from Japan to bring overseas?'''<br />
<br />
As far as the process for picking games produced in Japan, I would send my managers and "techies" to Japan several times a year to visit the game developers and actually see the games as they were being developed. For those games that had potential for the U.S. market, we would then provide inputs to help make the games more U.S.-friendly and would review samples and provide feedback continuously until the games were completed. Sometimes our inputs were accepted, but very often they weren't because they still had to keep the games focused primarily on the Japan market. Once the games were completed in Japan, we would purchase the number we thought we could sell in this market. Of course, there was always a lot of pressure from headquarters to purchase more, which often led to disagreement and hard feelings. Again, this is what led to the creation of KCEC to "create games for America by Americans."<br />
<br />
<br />
'''6. One of my favorite titles that Konami brought over here from Japan was the Goemon series, localized under the title Mystical Ninja. The first Nintendo 64 game in the series was localized for the US market in 1998. Do you remember being involved with this one? It is a very Japanese series, which makes it interesting that it got a chance over here.'''<br />
<br />
The Goemon/Mystical Ninja series rings a bell, but I don't remember it very well. It was probably one of those titles that we simply brought over from Japan and marketed here without a lot of involvement in the development stage. Sometime we would give the Japanese anime games a try, especially if pushed by HQ in Japan.<br />
<br />
I did hear from my friend. He was on the arcade/coin-op side of the company. Here's his input regarding your #6:<br />
<br />
''Since that was a release for the Japan market, I only vaguely remember that it was a big deal because it had been a long time since the first Goemon game was released for the West. <br />
<br />
''Both X-Men and Lethal Enforcers were clearly developed for the US market. Very few other games targeted the US or European markets, such as Run N Gun and Lethal Enforcers 2: The Gunslingers.<br />
<br />
''Although they failed, Five A Side Soccer and Ultra Hockey, released as the first 2 games in the Ultra Sports console cabinet, did include many suggestions from the US office. We recommended that realism be sacrificed for faster game play, the inclusion of many oddly shaped game fields, and even the console cabinet style. We promised big sales if the development team followed our recommendations and I think the poor actual sales spelled the end of market-specific game development. From that point on, our input was limited to finding errors and editing the English voiceover and text. <br />
<br />
''The notable exception was Fisherman's Bait, for which we again made big forecasts. R&D took our suggestions for the types of fish to be caught and the design of the fishing reel joystick. When HQ couldn't make a reel that was robust enough for the US market, we had Happ Controls design one and submit it to the team for approval. <br />
<br />
''A few games included changes we suggested, such as removal of some "hidden" risque images in Silent Scope and extra lights and mirrored metal on Dance Dance Revolution but, as the output from Japan moved to driving and other simulators (Wave Shark, Hang Pilot, GTI Club) then to all the music-based simulators, it became clear that the R&D teams would focus on making games they understood and which appealed to Japanese players.''<br />
<br />
<br />
'''7. You might remember this better once speaking with your friend, but can you recall any specific titles for which input from the US side actually was accepted by the Japanese developers? Just off-hand, due to their more US characters and settings, I would imagine a couple of these games to be Silent Hill and Metal Gear Solid for the Playstation.'''<br />
<br />
You hit one of the titles that we definitely had a hand in developing -- the Metal Gear series -- which was early in my time at Konami. This is one where the developers actually came to the U.S. to visit our gamers and we also sent some of our staff to Japan to provide advice during the game development. Another was the dance genre, such as "Dance, Dance Revolution." I don't remember "Silent Hill" at all, but there was a "Silent Scope" arcade/coin-op game that was developed here in KCEC, not in Japan, but Japan purchased some of them from us and marketed them there. I sent an email to my friend to see if he remembers others. If he replies, I'll pass the information along.<br />
<br />
<br />
'''8. I'm interested in the localization and testing process of games during their development. You mentioned samples of Japanese games were often reviewed during a game's development. Once it was decided that a Japanese game would be localized for the US market, would the localization process ever begin while a game is still in the middle of development? I once heard that Nintendo for example would be regularly sent files of new builds for localization teams to look over.'''<br />
<br />
The answer to your question about the localization process is "yes." Headquarters would send us a list of titles that they were either considering or had begun developing in Japan, along with a synopsis of the type of game (genre) and their concept of game play. They would also indicate whether or not they thought it could work for the U.S. market. If we were interested in a title, we would ask them to send samples once the development was far enough along that we could do a better evaluation. We would then exchange frequent correspondence with the development team in an effort to get the team to include our ideas. As I mentioned earlier, if we felt that the game showed good promise for the U.S. market, we would then send some of our people there to provide more "hands-on" assistance, as long as the team was willing to listen to our ideas.<br />
<br />
<br />
'''9. Regarding KCEC, I have seen this abbreviation also referenced as Konami Computer Entertainment Chicago. Are these both the same? Also, did KCEC end up as a moderate success, or did games developed in Japan mostly dominate sales which lead to its demise?'''<br />
<br />
Yes, KCEC was Konami Computer Entertainment Chicago -- my mistake -- must have been moving too fast and didn't check what I was writing.<br />
<br />
'''10. I know Konami's main offices are not even in the Illinois area anymore. At the time of your departure, was the company on its way to its now Los Angeles offices? What sort of state was the company in when you left, was it undergoing a complete restructuring with the new generation of gaming consoles?'''<br />
<br />
I was involved in the move to the San Jose area of California. We decided to make the move because we couldn't find enough good game designers and programmers here in the Chicago area to develop quality games in KCEC. Once the kids graduated from school with their degrees, they headed to California where they knew the best jobs were. As a result, our efforts to develop games in KCEC did not achieve the level of success that we had hoped for. In addition, nearly all the video game companies were located in California, with the exception of those focused primarily in the arcade/coin-op business. Konami saw that the arcade business was dying and the industry was moving to new consoles, computer-based games, and internet. So there was no longer a strong justification for having the company in Chicago in order to be close to the console cabinet manufacturing centers. Once the move was completed, I retired from the company rather than move to California -- family, age, and salary cuts were the primary considerations. I haven't kept up with the company after the move to California, but I know it was down-sized considerably and I think it gave up on the idea of developing games in-house. Any other thoughts regarding the current state of the company would be pure speculation on my part, so I'd rather not venture into that area.<br />
<br />
<br />
'''11. Do you recall any participation in consumer trade shows, such as E3? If you have any memories about the whole process behind those things, any specific events during them etc., I'd love to hear it.'''<br />
<br />
Yes, we participated heavily in trade shows, including E3. I guess my clearest memory was that we constructed a very large and expensive showroom/booth that we took to each of the major trade shows. HQ was critical about the expense, but it gave Konami a good boost at the time and HQ also had it shipped to Japan for use in their trade shows. We also hired some fairly well-known personalities, like Luci Riccardo (Lucille's daughter) to participate in our booth. On another occasion in Los Angeles, Michael Jackson came by and played some of our games. We never found out if it was really Michael Jackson or one of his many doubles, but we do think it was him. When the trade shows were in LA, and even now in Vegas, there were always several famous personalities that you could see. Michael Andretti used to come to some of the arcade shows with his race cars, for example. <br />
<br />
<br />
'''12. Were samples sent from Japan often destroyed once they served their purpose? Or did the company hold onto previous development builds of games for an archive of any sort? This question also applies to what Konami did with any demonstration cartridges/CDs once an event such as E3 was over. I'm curious if the company put any historical value into past game builds by keeping records, or if they saw them as irrelevant once the final product was complete. I know companies like Sega used to keep huge archives of all of their game builds in a Quality Assurance archive for future reference. I wondered if Konami ever did the same.'''<br />
<br />
Regarding samples, those that were developed in Japan were strictly controlled by HQ. My recollection is that we used to have to ship them all back to Japan for safe-keeping and archiving. I'm pretty sure that if they were to be destroyed, HQ would tell us if they wanted them destroyed locally, with confirmation of destruction, or shipped back to Japan for destruction. That wasn't something I was really involved in. It was something that HQ worked out directly with Japanese managers in the company. Of course, in KCEC, we kept control of our locally developed samples, although there weren't that many by the time we moved everything to California.<br />
<br />
[[Category:Interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Kenshi_Naruse_(interview)&diff=16650Kenshi Naruse (interview)2017-07-19T05:57:15Z<p>Billscat-socks: /* English Translation */</p>
<hr />
<div>'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei.<br />
<br />
In 2012, [[User:Billscat-socks|Billscat-socks]] spoke to him over email about the original Super Famicom version of the Playstation game Punky Skunk. Below is a transcript that has been translated from Japanese as well as the original Japanese text.<br />
<br />
==English Translation==<br />
<br />
This is Naruse from Ukiyotei.<br />
<br />
Thank you for playing one of our games.<br />
If you played it in America, then you must know it under the title of Punky Skunk.<br />
<br />
Unfortunately there’s no data left over from those days. Since you went to the trouble of emailing me I tried looking for something to show you, but any data prior to the year 2000 has long since been discarded. The publisher Visit also is no longer around, so nothing of theirs remains.<br />
<br />
I worked as the director on Cooly, so I’ll tell you about my experience working on it. <br />
<br />
The game went through various circumstances before it finally made it to the market. Development started at the request of BPS who were famous for Tetris and wanted an action game for kids. The title and character at that time were something completely different from Cooly. We worked on the concept and came up with the idea of making something like Skyblazer which was released by Epic/Sony, but aimed at the younger market.<br />
<br />
Production proceeded with the intent to make a mascot character for BPS, who weren’t all that popular with the younger crowd. The game ended up being halted due to a change in direction for BPS. It was pretty unfortunate since the game was mostly finished.<br />
<br />
From there we entered into negotiations with Visit and they proposed that we use the game’s engine to make a different game. The Playstation had been released in Japan, but the SFC was still going strong in the North American market, so the project shifted to the SFC for that market. The design and fart attack of the main character Cooly were both at the order of Visit. They told us this incorporated the opinions of North American buyers. We were just near finishing the SFC version of Cooly when the Playstation also broke into North America and the SFC market rapidly vanished. Buyers from the US also requested that we cancel it. This resulted in yet another suspension of development.<br />
<br />
Afterward we went with making a completely different 2D game on the Playstation. Since the libraries on the Playstation at the time weren’t that well suited for making a 2D game, the programmers used the Cooly Skunk character to research things they were able to do on the SFC, such as animation and background scrolling. Most parts of the SFC version of Cooly Skunk ended up getting ported to the Playstation during this process.<br />
<br />
That’s when we contacted Visit and asked if they would be OK with us making it on the Playstation again. They were fine with us using the Cooly character again, but only on the condition that stuff such as the background matched what the Playstation was capable of. So now the project was starting back up again for a third time on the Playstation. Map layouts and the general volume of the game were largely done over and it finally got released. It was also released in Northern America by Jaleco under the name Punky Skunk, and people finally got to play as Cooly.<br />
<br />
It was nice being able to reminisce about those times. It’s sad that none of those companies are around anymore. I’m sorry I wrote so much in Japanese. I tried to make it as easy to understand as possible.<br />
I hope you can understand it.<br />
<br />
It makes me extremely happy as a producer to know that you had fun playing the game.<br />
<br />
Thank you.<br />
<br />
==Original Japanese==<br />
<br />
浮世亭の成瀬と申します。<br />
<br />
<br />
弊社のゲームで遊んでいただいて、感謝いたします。<br />
アメリカで遊ばれたのならば、PankySkunkというタイトルですね。<br />
<br />
残念ですが、昔のデータは残っておりません。<br />
せっかくメール頂いたので、何か喜んでいただけるものをと探してみましたが<br />
2000年以前のデータは既に廃棄しておりました。<br />
発売元のVISITも今は無くなっていますので、データは残っていません。<br />
<br />
クーリーは、私がディレクターをしておりました。<br />
ですので、当時のお話だけお伝えします。<br />
<br />
クーリースカンクは、色々な事情を経てやっと市場に出たゲームです。<br />
<br />
まず最初に、テトリスで有名だったBPSから子供向けのアクションゲームを<br />
というリクエストで制作が開始されました。<br />
<br />
タイトルもキャラクターもクーリーとは全く違うものです。<br />
<br />
コンセプトは私たちが制作し、EPIC/SONYから発売されたSKYBLAZERというソフトを<br />
低年齢向けにするというものでした。<br />
<br />
低年齢層に弱かったBPSの、マスコットキャラクターにするために制作が進められましたが<br />
BPSの方向転換で、発売が中止になってしまいました。<br />
<br />
殆ど完成していた状態でしたので非常に残念でした。<br />
<br />
それから、しばらくしてVISITと、話をしていた時に、<br />
ゲームのエンジン部分を使って別のゲームを作れないだろうか?と言うお話になりました。<br />
<br />
<br />
日本ではPlayStationが発売されていましたが、北米市場はまだSFCが強く、<br />
北米市場向けSFCとしてプロジェクトは動き出しました。<br />
<br />
主人公のクーリーのデザインとおならでの攻撃はVISITからのオーダーです。<br />
北米のバイヤーからの意見を取り入れたとのことです。<br />
<br />
ところが、SFC版クーリースカンクも完成間際になった頃に、<br />
北米でもPlayStationがブレイクしてしまい、SFCの市場は急激に無くなりました。<br />
北米のバイヤーからも中止の申請がありました。<br />
またもや開発は中止になってしまったのです。<br />
<br />
その後、全く別の2DゲームをPlayStationで制作することになりました。<br />
当時のPlayStationは、2Dゲームを作るライブラリー等が弱かったので、<br />
クーリースカンクのキャラクターを使ってアニメーションや背景のスクロール等<br />
SFCで出来ることをプログラマーが研究していました。<br />
<br />
この研究の過程で、SFCのクーリースカンクの多くの部分がPlayStationに移植されました。<br />
<br />
<br />
そこで、VISITに再度PlayStation版を制作してみないかと、連絡を取りました。<br />
VISITからは、キャラクターはSFC版を使用しても良いが、背景等はPlayStationのレベルに合わせる<br />
という条件でPlayStation版として3度目のスタートとなりました。<br />
<br />
マップ構成やボリューム等、大幅にリニューアルして、ついに発売されたのです。<br />
JalecoからPankySkunkとして北米版も発売され、クーリーは遊んでもらえるようになりました。<br />
<br />
懐かしいお話をさせてもらいました。<br />
関わった会社も、今は無く寂しいです。<br />
<br />
日本語で長い文章になりましたが、出来るだけ分かり易く書いたつもりです。<br />
理解していただければ幸いです。<br />
<br />
楽しく遊んでもらって、制作者としては非常にうれしく思います。<br />
<br />
ありがとうございました。</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Kenshi_Naruse_(interview)&diff=16649Kenshi Naruse (interview)2017-07-19T05:55:29Z<p>Billscat-socks: </p>
<hr />
<div>'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei.<br />
<br />
In 2012, [[User:Billscat-socks|Billscat-socks]] spoke to him over email about the original Super Famicom version of the Playstation game Punky Skunk. Below is a transcript that has been translated from Japanese as well as the original Japanese text.<br />
<br />
==English Translation==<br />
<br />
This is Naruse from Ukiyotei.<br />
<br />
Thank you for playing one of our games.<br />
If you played it in America, then you must know it under the title of Punky Skunk.<br />
<br />
Unfortunately there’s no data left over from those days. Since you went to the trouble of emailing me I tried looking for something to show you, but any data prior to the year 2000 has long since been discarded. The publisher Visit also is no longer around, so nothing of theirs remains.<br />
<br />
I worked as the director on Cooly, so I’ll tell you about my experience working on it. <br />
<br />
The game went through various circumstances before it finally made it to the market. Development started at the request of BPS who were famous for Tetris and wanted an action game for kids. The title and character at that time were something completely different from Cooly. We worked on the concept and came up with the idea of making something like Skyblazer which was released by Epic/Sony, but aimed at the younger market.<br />
<br />
Production proceeded with the intent to make a mascot character for BPS, who weren’t all that popular with the younger crowd. The game ended up being halted due to a change in direction for BPS. It was pretty unfortunate since the game was mostly finished.<br />
<br />
From there we entered into negotiations with Visit and they proposed that we use the game’s engine to make a different game. The Playstation had been released in Japan, but the SFC was still going strong in the North American market, so the project shifted to the SFC for that market. The design and fart attack of the main character Cooly were both at the order of Visit. They told us this incorporated the opinions of North American buyers. We were just near finishing the SFC version of Cooly when the Playstation also broke into North America and the SFC market suddenly vanished. Buyers from the US also requested that we cancel it. This resulted in yet another suspension of development.<br />
<br />
Afterward we went with making a completely different 2D game on the Playstation. Since the libraries on the Playstation at the time weren’t that well suited for making a 2D game, the programmers used the Cooly Skunk character to research things they were able to do on the SFC, such as animation and background scrolling. Most parts of the SFC version of Cooly Skunk ended up getting ported to the Playstation during this process.<br />
<br />
That’s when we contacted Visit and asked if they would be OK with us making it on the Playstation again. They were fine with us using the Cooly character again, but only on the condition that stuff such as the background matched what the Playstation was capable of. So now the project was starting back up again for a third time on the Playstation. Map layouts and the general volume of the game were largely done over and it finally got released. It was also released in Northern America by Jaleco under the name Punky Skunk, and people finally got to play as Cooly.<br />
<br />
It was nice being able to reminisce about those times. It’s sad that none of those companies are around anymore. I’m sorry I wrote so much in Japanese. I tried to make it as easy to understand as possible.<br />
I hope you can understand it.<br />
<br />
It makes me extremely happy as a producer to know that you had fun playing the game.<br />
<br />
Thank you.<br />
<br />
==Original Japanese==<br />
<br />
浮世亭の成瀬と申します。<br />
<br />
<br />
弊社のゲームで遊んでいただいて、感謝いたします。<br />
アメリカで遊ばれたのならば、PankySkunkというタイトルですね。<br />
<br />
残念ですが、昔のデータは残っておりません。<br />
せっかくメール頂いたので、何か喜んでいただけるものをと探してみましたが<br />
2000年以前のデータは既に廃棄しておりました。<br />
発売元のVISITも今は無くなっていますので、データは残っていません。<br />
<br />
クーリーは、私がディレクターをしておりました。<br />
ですので、当時のお話だけお伝えします。<br />
<br />
クーリースカンクは、色々な事情を経てやっと市場に出たゲームです。<br />
<br />
まず最初に、テトリスで有名だったBPSから子供向けのアクションゲームを<br />
というリクエストで制作が開始されました。<br />
<br />
タイトルもキャラクターもクーリーとは全く違うものです。<br />
<br />
コンセプトは私たちが制作し、EPIC/SONYから発売されたSKYBLAZERというソフトを<br />
低年齢向けにするというものでした。<br />
<br />
低年齢層に弱かったBPSの、マスコットキャラクターにするために制作が進められましたが<br />
BPSの方向転換で、発売が中止になってしまいました。<br />
<br />
殆ど完成していた状態でしたので非常に残念でした。<br />
<br />
それから、しばらくしてVISITと、話をしていた時に、<br />
ゲームのエンジン部分を使って別のゲームを作れないだろうか?と言うお話になりました。<br />
<br />
<br />
日本ではPlayStationが発売されていましたが、北米市場はまだSFCが強く、<br />
北米市場向けSFCとしてプロジェクトは動き出しました。<br />
<br />
主人公のクーリーのデザインとおならでの攻撃はVISITからのオーダーです。<br />
北米のバイヤーからの意見を取り入れたとのことです。<br />
<br />
ところが、SFC版クーリースカンクも完成間際になった頃に、<br />
北米でもPlayStationがブレイクしてしまい、SFCの市場は急激に無くなりました。<br />
北米のバイヤーからも中止の申請がありました。<br />
またもや開発は中止になってしまったのです。<br />
<br />
その後、全く別の2DゲームをPlayStationで制作することになりました。<br />
当時のPlayStationは、2Dゲームを作るライブラリー等が弱かったので、<br />
クーリースカンクのキャラクターを使ってアニメーションや背景のスクロール等<br />
SFCで出来ることをプログラマーが研究していました。<br />
<br />
この研究の過程で、SFCのクーリースカンクの多くの部分がPlayStationに移植されました。<br />
<br />
<br />
そこで、VISITに再度PlayStation版を制作してみないかと、連絡を取りました。<br />
VISITからは、キャラクターはSFC版を使用しても良いが、背景等はPlayStationのレベルに合わせる<br />
という条件でPlayStation版として3度目のスタートとなりました。<br />
<br />
マップ構成やボリューム等、大幅にリニューアルして、ついに発売されたのです。<br />
JalecoからPankySkunkとして北米版も発売され、クーリーは遊んでもらえるようになりました。<br />
<br />
懐かしいお話をさせてもらいました。<br />
関わった会社も、今は無く寂しいです。<br />
<br />
日本語で長い文章になりましたが、出来るだけ分かり易く書いたつもりです。<br />
理解していただければ幸いです。<br />
<br />
楽しく遊んでもらって、制作者としては非常にうれしく思います。<br />
<br />
ありがとうございました。</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Kenshi_Naruse_(interview)&diff=16648Kenshi Naruse (interview)2017-07-19T05:29:08Z<p>Billscat-socks: /* English Translation */</p>
<hr />
<div>'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei.<br />
<br />
In 2012, [[User:Billscat-socks|Billscat-socks]] spoke to him over email about the original Super Famicom version of the Playstation game Punky Skunk. Below is a transcript that has been translated from Japanese as well as the original Japanese text.<br />
<br />
==English Translation==<br />
<br />
This is Naruse from Ukiyotei.<br />
<br />
Thank you for playing one of our games.<br />
If you played it in America, then you must know it under the title of Punky Skunk.<br />
<br />
Unfortunately there’s no data left over from those days. Since you went to the trouble of emailing me I tried looking for something to show you, but any data prior to the year 2000 has long since been discarded. The publisher Visit also is no longer around, so nothing of theirs remains.<br />
<br />
I worked as the director on Cooly, so I’ll tell you about my experience working on it.<br />
<br />
The game went through various circumstances before it finally made it to the market. <br />
<br />
Development started at the request of BPS who were famous for Tetris and wanted an action game for kids. <br />
<br />
The title and character at that time were something completely different from Cooly.<br />
<br />
We worked on the concept and came up with the idea of making something like Skyblazer which was released by Epic/Sony, but aimed at the younger market.<br />
<br />
<br />
Production proceeded with the intent to make a mascot character for BPS, who weren’t all that popular with the younger crowd. The game ended up being halted due to a change in direction for BPS.<br />
<br />
It was pretty unfortunate since the game was mostly finished. <br />
<br />
From there we entered into negotiations with Visit and they proposed that we use the game’s engine to make a different game.<br />
<br />
The Playstation had been released in Japan, but the SFC was still going strong in the North American market, so the project shifted to the SFC for that market.<br />
<br />
The design and fart attack of the main character Cooly were both at the order of Visit. They told us this incorporated the opinions of North American buyers. <br />
<br />
We were just near finishing the SFC version of Cooly when the Playstation also broke into North America and the SFC market suddenly vanished. Buyers from the US also requested that we cancel it. This resulted in yet another suspension of development.<br />
<br />
Afterward we went with making a completely different 2D game on the Playstation. Since the libraries on the Playstation at the time weren’t that well suited for making a 2D game, the programmers used the Cooly Skunk character to research things they were able to do on the SFC, such as animation and background scrolling.<br />
<br />
Most parts of the SFC version of Cooly Skunk ended up getting ported to the Playstation during this process. <br />
<br />
<br />
That’s when we contacted Visit and asked if they would be OK with us making it on the Playstation again. They were fine with us using the Cooly character again, but only on the condition that stuff such as the background matched what the Playstation was capable of. So now the project was starting back up again for a third time on the Playstation.<br />
<br />
Map layouts and the general volume of the game were largely done over and it finally got released. It was also released in Northern America by Jaleco under the name Punky Skunk, and people finally got to play as Cooly.<br />
<br />
It was nice being able to reminisce about those times. It’s sad that none of those companies are around anymore.<br />
<br />
I’m sorry I wrote so much in Japanese. I tried to make it as easy to understand as possible.<br />
I hope you can understand it.<br />
<br />
It makes me extremely happy as a producer to know that you had fun playing the game.<br />
<br />
Thank you.<br />
<br />
==Original Japanese==<br />
<br />
浮世亭の成瀬と申します。<br />
<br />
<br />
弊社のゲームで遊んでいただいて、感謝いたします。<br />
アメリカで遊ばれたのならば、PankySkunkというタイトルですね。<br />
<br />
残念ですが、昔のデータは残っておりません。<br />
せっかくメール頂いたので、何か喜んでいただけるものをと探してみましたが<br />
2000年以前のデータは既に廃棄しておりました。<br />
発売元のVISITも今は無くなっていますので、データは残っていません。<br />
<br />
クーリーは、私がディレクターをしておりました。<br />
ですので、当時のお話だけお伝えします。<br />
<br />
クーリースカンクは、色々な事情を経てやっと市場に出たゲームです。<br />
<br />
まず最初に、テトリスで有名だったBPSから子供向けのアクションゲームを<br />
というリクエストで制作が開始されました。<br />
<br />
タイトルもキャラクターもクーリーとは全く違うものです。<br />
<br />
コンセプトは私たちが制作し、EPIC/SONYから発売されたSKYBLAZERというソフトを<br />
低年齢向けにするというものでした。<br />
<br />
低年齢層に弱かったBPSの、マスコットキャラクターにするために制作が進められましたが<br />
BPSの方向転換で、発売が中止になってしまいました。<br />
<br />
殆ど完成していた状態でしたので非常に残念でした。<br />
<br />
それから、しばらくしてVISITと、話をしていた時に、<br />
ゲームのエンジン部分を使って別のゲームを作れないだろうか?と言うお話になりました。<br />
<br />
<br />
日本ではPlayStationが発売されていましたが、北米市場はまだSFCが強く、<br />
北米市場向けSFCとしてプロジェクトは動き出しました。<br />
<br />
主人公のクーリーのデザインとおならでの攻撃はVISITからのオーダーです。<br />
北米のバイヤーからの意見を取り入れたとのことです。<br />
<br />
ところが、SFC版クーリースカンクも完成間際になった頃に、<br />
北米でもPlayStationがブレイクしてしまい、SFCの市場は急激に無くなりました。<br />
北米のバイヤーからも中止の申請がありました。<br />
またもや開発は中止になってしまったのです。<br />
<br />
その後、全く別の2DゲームをPlayStationで制作することになりました。<br />
当時のPlayStationは、2Dゲームを作るライブラリー等が弱かったので、<br />
クーリースカンクのキャラクターを使ってアニメーションや背景のスクロール等<br />
SFCで出来ることをプログラマーが研究していました。<br />
<br />
この研究の過程で、SFCのクーリースカンクの多くの部分がPlayStationに移植されました。<br />
<br />
<br />
そこで、VISITに再度PlayStation版を制作してみないかと、連絡を取りました。<br />
VISITからは、キャラクターはSFC版を使用しても良いが、背景等はPlayStationのレベルに合わせる<br />
という条件でPlayStation版として3度目のスタートとなりました。<br />
<br />
マップ構成やボリューム等、大幅にリニューアルして、ついに発売されたのです。<br />
JalecoからPankySkunkとして北米版も発売され、クーリーは遊んでもらえるようになりました。<br />
<br />
懐かしいお話をさせてもらいました。<br />
関わった会社も、今は無く寂しいです。<br />
<br />
日本語で長い文章になりましたが、出来るだけ分かり易く書いたつもりです。<br />
理解していただければ幸いです。<br />
<br />
楽しく遊んでもらって、制作者としては非常にうれしく思います。<br />
<br />
ありがとうございました。</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Kenshi_Naruse_(interview)&diff=16647Kenshi Naruse (interview)2017-07-19T05:27:04Z<p>Billscat-socks: /* English Translation */</p>
<hr />
<div>'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei.<br />
<br />
In 2012, [[User:Billscat-socks|Billscat-socks]] spoke to him over email about the original Super Famicom version of the Playstation game Punky Skunk. Below is a transcript that has been translated from Japanese as well as the original Japanese text.<br />
<br />
==English Translation==<br />
<br />
This is Naruse from Ukiyotei.<br />
<br />
Thank you for playing one of our games.<br />
If you played it in America, then you must know it under the title of Punky Skunk.<br />
<br />
Unfortunately there’s no data left over from those days. Since you went to the trouble of emailing me I tried looking for something to show you, but any data prior to the year 2000 has long since been discarded. The publisher Visit also is no longer around, so nothing of theirs remains.<br />
<br />
I worked as the director on Cooly, so I’ll tell you about my experience working on it.<br />
<br />
The game went through various situations before it finally made it to the market. <br />
<br />
Development started at the request of BPS who were famous for Tetris and wanted an action game for kids. <br />
<br />
The title and character at that time were something completely different from Cooly.<br />
<br />
We worked on the concept and came up with the idea of making something like Skyblazer which was released by Epic/Sony, but aimed at the younger market.<br />
<br />
<br />
Production proceeded with the intent to make a mascot character for BPS, who weren’t all that popular with the younger crowd. The game ended up being halted due to a change in direction for BPS.<br />
<br />
It was pretty unfortunate since the game was mostly finished. <br />
<br />
From there we entered into negotiations with Visit and they proposed that we use the game’s engine to make a different game.<br />
<br />
The Playstation had been released in Japan, but the SFC was still going strong in the North American market, so the project shifted to the SFC for that market.<br />
<br />
The design and fart attack of the main character Cooly were both at the order of Visit. They told us this incorporated the opinions of North American buyers. <br />
<br />
We were just near finishing the SFC version of Cooly when the Playstation also broke into North America and the SFC market suddenly vanished. Buyers from the US also requested that we cancel it. This resulted in yet another suspension of development.<br />
<br />
Afterward we went with making a completely different 2D game on the Playstation. Since the libraries on the Playstation at the time weren’t that well suited for making a 2D game, the programmers used the Cooly Skunk character to research things they were able to do on the SFC, such as animation and background scrolling.<br />
<br />
Most parts of the SFC version of Cooly Skunk ended up getting ported to the Playstation during this process. <br />
<br />
<br />
That’s when we contacted Visit and asked if they would be OK with us making it on the Playstation again. They were fine with us using the Cooly character again, but only on the condition that stuff such as the background matched what the Playstation was capable of. So now the project was starting back up again for a third time on the Playstation.<br />
<br />
Map layouts and the general volume of the game were largely done over and it finally got released. It was also released in Northern America by Jaleco under the name Punky Skunk, and people finally got to play as Cooly.<br />
<br />
It was nice being able to reminisce about those times. It’s sad that none of those companies are around anymore.<br />
<br />
I’m sorry I wrote so much in Japanese. I tried to make it as easy to understand as possible.<br />
I hope you can understand it.<br />
<br />
It makes me extremely happy as a producer to know that you had fun playing the game.<br />
<br />
Thank you.<br />
<br />
==Original Japanese==<br />
<br />
浮世亭の成瀬と申します。<br />
<br />
<br />
弊社のゲームで遊んでいただいて、感謝いたします。<br />
アメリカで遊ばれたのならば、PankySkunkというタイトルですね。<br />
<br />
残念ですが、昔のデータは残っておりません。<br />
せっかくメール頂いたので、何か喜んでいただけるものをと探してみましたが<br />
2000年以前のデータは既に廃棄しておりました。<br />
発売元のVISITも今は無くなっていますので、データは残っていません。<br />
<br />
クーリーは、私がディレクターをしておりました。<br />
ですので、当時のお話だけお伝えします。<br />
<br />
クーリースカンクは、色々な事情を経てやっと市場に出たゲームです。<br />
<br />
まず最初に、テトリスで有名だったBPSから子供向けのアクションゲームを<br />
というリクエストで制作が開始されました。<br />
<br />
タイトルもキャラクターもクーリーとは全く違うものです。<br />
<br />
コンセプトは私たちが制作し、EPIC/SONYから発売されたSKYBLAZERというソフトを<br />
低年齢向けにするというものでした。<br />
<br />
低年齢層に弱かったBPSの、マスコットキャラクターにするために制作が進められましたが<br />
BPSの方向転換で、発売が中止になってしまいました。<br />
<br />
殆ど完成していた状態でしたので非常に残念でした。<br />
<br />
それから、しばらくしてVISITと、話をしていた時に、<br />
ゲームのエンジン部分を使って別のゲームを作れないだろうか?と言うお話になりました。<br />
<br />
<br />
日本ではPlayStationが発売されていましたが、北米市場はまだSFCが強く、<br />
北米市場向けSFCとしてプロジェクトは動き出しました。<br />
<br />
主人公のクーリーのデザインとおならでの攻撃はVISITからのオーダーです。<br />
北米のバイヤーからの意見を取り入れたとのことです。<br />
<br />
ところが、SFC版クーリースカンクも完成間際になった頃に、<br />
北米でもPlayStationがブレイクしてしまい、SFCの市場は急激に無くなりました。<br />
北米のバイヤーからも中止の申請がありました。<br />
またもや開発は中止になってしまったのです。<br />
<br />
その後、全く別の2DゲームをPlayStationで制作することになりました。<br />
当時のPlayStationは、2Dゲームを作るライブラリー等が弱かったので、<br />
クーリースカンクのキャラクターを使ってアニメーションや背景のスクロール等<br />
SFCで出来ることをプログラマーが研究していました。<br />
<br />
この研究の過程で、SFCのクーリースカンクの多くの部分がPlayStationに移植されました。<br />
<br />
<br />
そこで、VISITに再度PlayStation版を制作してみないかと、連絡を取りました。<br />
VISITからは、キャラクターはSFC版を使用しても良いが、背景等はPlayStationのレベルに合わせる<br />
という条件でPlayStation版として3度目のスタートとなりました。<br />
<br />
マップ構成やボリューム等、大幅にリニューアルして、ついに発売されたのです。<br />
JalecoからPankySkunkとして北米版も発売され、クーリーは遊んでもらえるようになりました。<br />
<br />
懐かしいお話をさせてもらいました。<br />
関わった会社も、今は無く寂しいです。<br />
<br />
日本語で長い文章になりましたが、出来るだけ分かり易く書いたつもりです。<br />
理解していただければ幸いです。<br />
<br />
楽しく遊んでもらって、制作者としては非常にうれしく思います。<br />
<br />
ありがとうございました。</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Kenshi_Naruse_(interview)&diff=16646Kenshi Naruse (interview)2017-07-19T05:26:30Z<p>Billscat-socks: Created page with "'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei. In 2012, User:Billscat-socks|Billscat-..."</p>
<hr />
<div>'''Kenshi Naruse''' is a video game director who formerly worked for Capcom and founded the Japanese game-developing studio Ukiyotei.<br />
<br />
In 2012, [[User:Billscat-socks|Billscat-socks]] spoke to him over email about the original Super Famicom version of the Playstation game Punky Skunk. Below is a transcript that has been translated from Japanese as well as the original Japanese text.<br />
<br />
==English Translation==<br />
<br />
This is Naruse from Ukiyotei.<br />
<br />
Thank you for playing one of our games.<br />
If you played it in America, then you must know it under the title of Punky Skunk.<br />
<br />
Unfortunately there’s no data left over from those days. Since you went to the trouble of emailing me I tried looking for something to show you, but any data prior to the year 2000 has long since been discarded. The publisher Visit also is no longer around, so nothing of theirs remains.<br />
<br />
I worked as the director on Cooly, so I’ll tell you about my experience working on it.<br />
<br />
The game went through various situations before it finally made it to the market. <br />
<br />
Development started at the request of BPS who were famous for Tetris and wanted an action game for kids. <br />
<br />
The title and character at that time were something completely different from Cooly.<br />
<br />
We worked on the concept and came up with the idea of making something like Skyblazer which was released by Epic/Sony, but aimed at the younger market.<br />
<br />
<br />
Production proceeded with the intent to make a mascot character for BPS, who weren’t all that popular with the younger crowd. The game ended up being halted due to a change in direction for BPS.<br />
<br />
It was pretty unfortunate since the game was mostly finished. <br />
<br />
From there we entered into negotiations with Visit and they proposed that we use the game’s engine to make a different game.<br />
<br />
The Playstation had been released in Japan, but the SFC was still going strong in the North American market, so the project shifted to the SFC for that market.<br />
<br />
The design and fart attack of the main character Cooly were both at the order of Visit. They told us this incorporated the opinions of North American buyers. <br />
<br />
We were just near finishing the SFC version of Cooly when the Playstation also broke into North America and the SFC market suddenly vanished. Buyers from the US also requested that we cancel it. This resulted in yet another suspension of development.<br />
<br />
Afterward we went with making a completely different 2D game on the Playstation. Since the libraries on the Playstation at the time weren’t that well suited for making a 2D game, the programmers used the Cooly Skunk character to research things they were able to do on the SFC, such as animation and background scrolling.<br />
<br />
Most parts of the SFC version of Cooly Skunk ended up getting ported to the Playstation during this process. <br />
<br />
That’s when we contacted Visit and asked if they would be OK with us making it on the Playstation again. They were fine with us using the Cooly character again, but only on the condition that stuff such as the background matched what the Playstation was capable of. So now the project was starting back up again for a third time on the Playstation.<br />
<br />
Map layouts and the general volume of the game were largely done over and it finally got released. It was also released in Northern America by Jaleco under the name Punky Skunk, and people finally got to play as Cooly.<br />
<br />
It was nice being able to reminisce about those times. It’s sad that none of those companies are around anymore.<br />
<br />
I’m sorry I wrote so much in Japanese. I tried to make it as easy to understand as possible.<br />
I hope you can understand it.<br />
<br />
It makes me extremely happy as a producer to know that you had fun playing the game.<br />
<br />
Thank you.<br />
<br />
<br />
==Original Japanese==<br />
<br />
浮世亭の成瀬と申します。<br />
<br />
<br />
弊社のゲームで遊んでいただいて、感謝いたします。<br />
アメリカで遊ばれたのならば、PankySkunkというタイトルですね。<br />
<br />
残念ですが、昔のデータは残っておりません。<br />
せっかくメール頂いたので、何か喜んでいただけるものをと探してみましたが<br />
2000年以前のデータは既に廃棄しておりました。<br />
発売元のVISITも今は無くなっていますので、データは残っていません。<br />
<br />
クーリーは、私がディレクターをしておりました。<br />
ですので、当時のお話だけお伝えします。<br />
<br />
クーリースカンクは、色々な事情を経てやっと市場に出たゲームです。<br />
<br />
まず最初に、テトリスで有名だったBPSから子供向けのアクションゲームを<br />
というリクエストで制作が開始されました。<br />
<br />
タイトルもキャラクターもクーリーとは全く違うものです。<br />
<br />
コンセプトは私たちが制作し、EPIC/SONYから発売されたSKYBLAZERというソフトを<br />
低年齢向けにするというものでした。<br />
<br />
低年齢層に弱かったBPSの、マスコットキャラクターにするために制作が進められましたが<br />
BPSの方向転換で、発売が中止になってしまいました。<br />
<br />
殆ど完成していた状態でしたので非常に残念でした。<br />
<br />
それから、しばらくしてVISITと、話をしていた時に、<br />
ゲームのエンジン部分を使って別のゲームを作れないだろうか?と言うお話になりました。<br />
<br />
<br />
日本ではPlayStationが発売されていましたが、北米市場はまだSFCが強く、<br />
北米市場向けSFCとしてプロジェクトは動き出しました。<br />
<br />
主人公のクーリーのデザインとおならでの攻撃はVISITからのオーダーです。<br />
北米のバイヤーからの意見を取り入れたとのことです。<br />
<br />
ところが、SFC版クーリースカンクも完成間際になった頃に、<br />
北米でもPlayStationがブレイクしてしまい、SFCの市場は急激に無くなりました。<br />
北米のバイヤーからも中止の申請がありました。<br />
またもや開発は中止になってしまったのです。<br />
<br />
その後、全く別の2DゲームをPlayStationで制作することになりました。<br />
当時のPlayStationは、2Dゲームを作るライブラリー等が弱かったので、<br />
クーリースカンクのキャラクターを使ってアニメーションや背景のスクロール等<br />
SFCで出来ることをプログラマーが研究していました。<br />
<br />
この研究の過程で、SFCのクーリースカンクの多くの部分がPlayStationに移植されました。<br />
<br />
<br />
そこで、VISITに再度PlayStation版を制作してみないかと、連絡を取りました。<br />
VISITからは、キャラクターはSFC版を使用しても良いが、背景等はPlayStationのレベルに合わせる<br />
という条件でPlayStation版として3度目のスタートとなりました。<br />
<br />
マップ構成やボリューム等、大幅にリニューアルして、ついに発売されたのです。<br />
JalecoからPankySkunkとして北米版も発売され、クーリーは遊んでもらえるようになりました。<br />
<br />
懐かしいお話をさせてもらいました。<br />
関わった会社も、今は無く寂しいです。<br />
<br />
日本語で長い文章になりましたが、出来るだけ分かり易く書いたつもりです。<br />
理解していただければ幸いです。<br />
<br />
楽しく遊んでもらって、制作者としては非常にうれしく思います。<br />
<br />
ありがとうございました。</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16645Pravin Wagh (interview)2017-07-18T06:17:20Z<p>Billscat-socks: </p>
<hr />
<div>'''Pravin Wagh''' is a video game programmer who has worked for Sega and other studios on titles such as Garfield: Caught in the Act for the Sega Genesis and Spawn for the Xbox. This interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2015.<br />
<br />
==Interview==<br />
<br />
'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
We finished most of the game and just sat on it for a few weeks. I went on a lengthy vacation in May of 1995 and came back with a fresh outlook and fresh set of eyes on the game and was able to better appreciate the animations. When you work on a game, you spend a LOT of time getting accustomed to everything in it and it doesn't look so special any more.<br />
<br />
<br />
'''That's very interesting about Steve Lashower since his effort isn't mentioned in any credits, I guess since he had nothing to do with the eventual product. But I am familiar with his name since it also appears in a Star Wars 32X game which has a staff consisting of several from Garfield as well.'''<br />
<br />
It's possible that Steve was not listed on the credits because his work was not used, or he might have requested not to be listed. In my career, I have seen a few people ask not to be listed on credits now and then. This is unusual because people are usually looking for any way to get included, even if it's the 'special thanks' section.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of'''<br />
'''the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
The Garfield project gave us a pretty good platformer-capable game engine at the end. If we had that engine to start out with, as Virgin did when they made Aladdin, it's quite possible we'd have finished Garfield sooner and had more time to tweak and tune it. The game could have been more about Garfield rather than us trying to find ways to salvage a project that had already lost several months of its intended schedule.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.<br />
<br />
<br />
'''Regarding the 32X, Garfield was also touted as also being a 32X release at some point. Do you recall if it was ever really planned, or was it false info on the part of magazines? I think at that stage of development magazines were touting it as Garfield: Lost in TV Land or simply Garfield in TV Land or something to that effect.'''<br />
<br />
The 32X was a system that essentially provided overlays to the graphics that your Genesis was already putting out. I don't think there was a 32X version of the game, however our studio was pretty far ahead in 32X development, enough to take on a Star Wars title. A 32X Garfield might just have been wishful thinking.<br />
<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16644Pravin Wagh (interview)2017-07-18T06:14:58Z<p>Billscat-socks: </p>
<hr />
<div>'''Pravin Wagh''' is a video game programmer who has worked for Sega and other studios on titles such as Garfield: Caught in the Act for the Sega Genesis and Spawn for the Xbox. This interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2012.<br />
<br />
==Interview==<br />
<br />
'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
We finished most of the game and just sat on it for a few weeks. I went on a lengthy vacation in May of 1995 and came back with a fresh outlook and fresh set of eyes on the game and was able to better appreciate the animations. When you work on a game, you spend a LOT of time getting accustomed to everything in it and it doesn't look so special any more.<br />
<br />
<br />
'''That's very interesting about Steve Lashower since his effort isn't mentioned in any credits, I guess since he had nothing to do with the eventual product. But I am familiar with his name since it also appears in a Star Wars 32X game which has a staff consisting of several from Garfield as well.'''<br />
<br />
It's possible that Steve was not listed on the credits because his work was not used, or he might have requested not to be listed. In my career, I have seen a few people ask not to be listed on credits now and then. This is unusual because people are usually looking for any way to get included, even if it's the 'special thanks' section.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of'''<br />
'''the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
The Garfield project gave us a pretty good platformer-capable game engine at the end. If we had that engine to start out with, as Virgin did when they made Aladdin, it's quite possible we'd have finished Garfield sooner and had more time to tweak and tune it. The game could have been more about Garfield rather than us trying to find ways to salvage a project that had already lost several months of its intended schedule.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.<br />
<br />
<br />
'''Regarding the 32X, Garfield was also touted as also being a 32X release at some point. Do you recall if it was ever really planned, or was it false info on the part of magazines? I think at that stage of development magazines were touting it as Garfield: Lost in TV Land or simply Garfield in TV Land or something to that effect.'''<br />
<br />
The 32X was a system that essentially provided overlays to the graphics that your Genesis was already putting out. I don't think there was a 32X version of the game, however our studio was pretty far ahead in 32X development, enough to take on a Star Wars title. A 32X Garfield might just have been wishful thinking.<br />
<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16643Pravin Wagh (interview)2017-07-18T06:14:10Z<p>Billscat-socks: </p>
<hr />
<div>'''Pravin Wagh''' is a video game programmer who has worked for Sega and other studios on titles such as Garfield: Caught in the Act for the Sega Genesis and Spawn for the Xbox. This interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2012.<br />
<br />
==Interview==<br />
<br />
'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
We finished most of the game and just sat on it for a few weeks. I went on a lengthy vacation in May of 1995 and came back with a fresh outlook and fresh set of eyes on the game and was able to better appreciate the animations. When you work on a game, you spend a LOT of time getting accustomed to everything in it and it doesn't look so special any more.<br />
<br />
<br />
'''That's very interesting about Steve Lashower since his effort isn't mentioned in any credits, I guess since he had nothing to do with the eventual product. But I am familiar with his name since it also appears in a Star Wars 32X game which has a staff consisting of several from Garfield as well.'''<br />
<br />
It's possible that Steve was not listed on the credits because his work was not used, or he might have requested not to be listed. In my career, I have seen a few people ask not to be listed on credits now and then. This is unusual because people are usually looking for any way to get included, even if it's the 'special thanks' section.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of'''<br />
'''the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
The Garfield project gave us a pretty good platformer-capable game engine at the end. If we had that engine to start out with, as Virgin did when they made Aladdin, it's quite possible we'd have finished Garfield sooner and had more time to tweak and tune it. The game could have been more about Garfield rather than us trying to find ways to salvage a project that had already lost several months of its intended schedule.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.<br />
<br />
'''Regarding the 32X, Garfield was also touted as also being a 32X release at some point. Do you recall if it was ever really planned, or was it false info on the part of magazines? I think at that stage of development magazines were touting it as Garfield: Lost in TV Land or simply Garfield in TV Land or something to that effect.'''<br />
<br />
The 32X was a system that essentially provided overlays to the graphics that your Genesis was already putting out. I don't think there was a 32X version of the game, however our studio was pretty far ahead in 32X development, enough to take on a Star Wars title. A 32X Garfield might just have been wishful thinking.<br />
<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16642Pravin Wagh (interview)2017-07-18T06:12:50Z<p>Billscat-socks: </p>
<hr />
<div>'''Pravin Wagh''' is a video game programmer who has worked for Sega and other studios on titles such as Garfield: Caught in the Act for the Sega Genesis and Spawn for the Xbox. This interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2012.<br />
<br />
==Interview==<br />
<br />
'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
We finished most of the game and just sat on it for a few weeks. I went on a lengthy vacation in May of 1995 and came back with a fresh outlook and fresh set of eyes on the game and was able to better appreciate the animations. When you work on a game, you spend a LOT of time getting accustomed to everything in it and it doesn't look so special any more.<br />
<br />
'''That's very interesting about Steve Lashower since his effort isn't mentioned in any credits, I guess since he had nothing to do with the eventual product. But I am familiar with his name since it also appears in a Star Wars 32X game which has a staff consisting of several from Garfield as well.'''<br />
<br />
It's possible that Steve was not listed on the credits because his work was not used, or he might have requested not to be listed. In my career, I have seen a few people ask not to be listed on credits now and then. This is unusual because people are usually looking for any way to get included, even if it's the 'special thanks' section.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of'''<br />
'''the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
The Garfield project gave us a pretty good platformer-capable game engine at the end. If we had that engine to start out with, as Virgin did when they made Aladdin, it's quite possible we'd have finished Garfield sooner and had more time to tweak and tune it. The game could have been more about Garfield rather than us trying to find ways to salvage a project that had already lost several months of its intended schedule.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.<br />
<br />
'''Regarding the 32X, Garfield was also touted as also being a 32X release at some point. Do you recall if it was ever really planned, or was it false info on the part of magazines? I think at that stage of development magazines were touting it as Garfield: Lost in TV Land or simply Garfield in TV Land or something to that effect.'''<br />
<br />
The 32X was a system that essentially provided overlays to the graphics that your Genesis was already putting out. I don't think there was a 32X version of the game, however our studio was pretty far ahead in 32X development, enough to take on a Star Wars title. A 32X Garfield might just have been wishful thinking.<br />
<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16640Pravin Wagh (interview)2017-07-18T05:58:15Z<p>Billscat-socks: </p>
<hr />
<div>'''Pravin Wagh''' is a video game programmer who has worked for Sega and other studios on titles such as Garfield: Caught in the Act for the Sega Genesis and Spawn for the Xbox. This interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2012.<br />
<br />
==Interview==<br />
<br />
'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of<br />
the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16639Pravin Wagh (interview)2017-07-18T05:51:47Z<p>Billscat-socks: </p>
<hr />
<div>'''First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?'''<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
'''For the Garfield project, do you recall exactly when you got on board and how long were you on it for?'''<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
<br />
'''Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of<br />
the game's programming?'''<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
'''Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?'''<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
<br />
'''How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?'''<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
'''A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?'''<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
'''Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?'''<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
'''One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?'''<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
'''Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.'''<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Pravin_Wagh_(interview)&diff=16638Pravin Wagh (interview)2017-07-18T05:50:41Z<p>Billscat-socks: Created page with "First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like? I got into the game industry beca..."</p>
<hr />
<div>First, can you give a brief history about how you got into the game industry? How did you end up at Sega, and what was your time there like?<br />
<br />
I got into the game industry because that's how I got into computers. I started programming on an old Atari home computer that my parents weren't buying me games for, and I realized that I'd have to make my own games. This got me into programming and many years later, that became a career. A friend of mine, Steve Lashower (this name will come up later), had been working for a company that Sega had contracted out to make some games, and Sega eventually purchased that company. This meant that they'd also want to grow that division and send more game projects. I was hired as part of that expansion when Steve referred me.<br />
<br />
<br />
For the Garfield project, do you recall exactly when you got on board and how long were you on it for?<br />
<br />
Disney's Aladdin had come out for multiple game systems and it set a very high standard for game animation. It was a clone of Virgin's earlier game, "Mick and Mac Global Gladiators" but their success at bringing the Disney animation over had created quite a stir. The search for other licensed characters made Garfield a really valuable property, especially in the 90s when Garfield was such a popular comic. Steven was the lead programmer on the Garfield project. I came back from a long Christmas trip abroad and found out that the Garfield project had been completely rebooted. Mike Fernie, was the new lead, and I was his #2. Ala Diaz was our #3. We took the project all the way to completion.<br />
<br />
<br />
Besides yourself, programming was handled by a few other individuals with Michael Fernie as head programmer. What was your role in the grand scheme of<br />
the game's programming?<br />
<br />
Sega Interactive (our division) had a game engine with various components, so a lot of programmers had a part in making almost any game that we released. Mike would have a better idea of how much of the Garfield code was kept vs. how much we might have scrapped and started fresh with. I was already good friends with most of the artists and I worked with them to help meet their animation goals. This also tied in with the AI and gameplay elements that I worked on. All the Garfield animations came straight from PAWS, but our team worked on everything else. The Genesis was getting to the end of its life, and we had some engine programmers who had mastered a lot of things about it. Kevin Burley was a programmer who worked on some lighting and particle effects and special features, like a game element that involved rotational movement (Egypt level). I took his particle system and found ways to put it to use in multiple levels to create some ambient elements such as floating leaves falling in the jungle environment. I believe Kevin did the PC port some years later, and this would have been easy for him since he had already worked on such low level engine components.<br />
<br />
<br />
Are there any stories regarding programming for the Sega Genesis you have? Was it an easy console to work with? Any incidents during Garfield's development?<br />
<br />
At some point in the life of a console, you get to know so much about it that you can come up with techniques that can squeeze out some really special effects and game features. I already mentioned how we had done particle effects. The whole game was written in assembly language, and many of us were transitioning to C and C++ as we made supporting tools. The 32X was starting to become a product around the same time we were completing Garfield (Steven worked on a launch title for it), and the Saturn was coming out soon as well.<br />
<br />
<br />
How was meeting Jim David, and how involved was he with any of the team ideas for the game's conception?<br />
<br />
I only got to meet Jim Davis at E3. We worked more with his animator, Glen (don't recall the last name), who sent in his hand-animations that were scanned, cleaned up, and eventually put into the game. Jim autographed things for us at the show, but that was really the extent of me working with him. I'm sure he might have been more involved in directing Glen or approving any ideas that we might have been sending out, but that process did not involve the development team.<br />
<br />
<br />
A huge area of interest concerning this game is the fact that it originally was much huger with a few levels that eventually didn't make the cut due to time constraints and issues with programming. For example, the Catsblanca level was originally going to have a portion where you ride atop a train, but I am told it could never be programmed just right and had to be dumped. Do you have any recollection of this?<br />
<br />
When Garfield first came through the company, many of us were working on other titles that were being put together as we went along, and in a very ad-hoc manner. In contrast, Garfield had a thick design document and every inch of it seemed to have been planned out, and we were quite envious. I'd only seen a few pages now and then, and wished that my project had come with such thoroughly planned out level maps and storyline. It made perfect sense that Garfield would be so perfectly executed.<br />
<br />
But that turned out to be just another case of the grass being greener.<br />
<br />
Just because you put a Hollywood superstar in a movie, doesn't mean that the movie is automatically good. While we might know what kinds of things are fun, it's not until we implement those features that we find out whether they really are fun or not. I never looked at the original Garfield "bible" but was told by the assistant producer later that it was a lot of impressive documentation, but ultimately it was not an entertaining game.<br />
<br />
Catsablanca had a train level for a very, very long time, but I think we just weren't able to make it a satisfying game element. Maybe it could have become a mini-game or bonus round, but back in those days, cartridge space was precious and needed to be budgeted carefully. You can't allocate a large amount of storage space to something that's only barely used in the whole game.<br />
<br />
I also recall that it was worked on by a developer who was really new to the company and he was caught up in a learning curve about our game engine and not able to make the tweaks required to save that level in time for our production schedule.<br />
<br />
At some point, we had to figure out how we could meet a delivery schedule and cutting content was the solution. Cutting out content means that we don't have to spend more time fine tuning the gameplay, or bug testing those levels (which also takes a long time).<br />
<br />
People do this even today with multi-gigabyte games, and they sell those cut levels as DLC. These options didn't exist for Genesis.<br />
<br />
I'm sure there might have been some business reasons also forcing our hand for release, such as marketing dollars and schedules.<br />
<br />
<br />
Besides that, there were other lost levels that have gained infamy, including Space, Viking, Robin Hood, and Ancient Rome. Do you have any memory of any such levels and their eventually cancellation?<br />
<br />
I do remember Garfield dressed up as those characters and in those levels. Didn't Robin Hood ship in the game? I remember working on lighting and particle effects, and Garfield running through a forest canopy.<br />
<br />
Cancellation of those levels would have had to be a combination of them either not being fun enough or distinct enough, and/or we didn't have any more time or budge to keep working on developing those levels.<br />
<br />
<br />
One interesting thing about the lost levels is that eventually Sega compiled them into a specific download for their Sega Channel cable subscription service and had the game available for awhile as "Garfield: The Lost Levels." Did you have any part in this happening, or are you aware of it and how it was able to happen if the levels were cut to begin with due to possibly not even being completed?<br />
<br />
I left Sega a few months after Garfield shipped and began working on Playstation games. That Sega division was eventually closed, and Mike Fernie and a few others from that team became my teammates at the company I had moved on to. I was not involved with Sega Channel, and was not aware of anything new happening with Garfield. Among the things I'd heard as we completed Garfield is that it would be the last in-house Genesis game that Sega would undertake. Any future Genesis titles would be done by third party developers. The rest of our division was already working on pitching game ideas for 32X and Saturn.<br />
<br />
<br />
Did you have any involvement with the PC port or GameGear versions of the game? For some reason the cancelled Space level from the Genesis version did end up included in the PC port, but no one knows why only that one in particular. The Gamegear one also contains several of the areas cut from the Genesis game, although presumably with a completely different design.<br />
<br />
Some years later, I remember hearing from Kevin Burley because he was going to port Garfield to PC. I think it was all being emulated, and he probably had access to the old codebase, even levels that we had discarded. Our Sega division had a GameGear group, but I don't recall if they worked on Garfield. I think the GG Garfield was probably made by someone else, which would explain it being a different game. Another reason for it to be very different is that GameGear had many constraints and you can't just blindly put a Genesis game onto GG and expect it to work.<br />
<br />
This is similar to the PSP not being a 100% portable PS2, or GameBoy being a portable Wii. Likewise, the GameGear is not a portable Genesis and you'd have to make some gameplay and game design adjustments.<br />
<br />
And then you have to throw in that the particular Sega Interaction division was eventually shut down and we may have lost code, graphics, audio, etc. in the process and are relying on any of the team still having some things around on their personal systems.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Petra_Evers_(interview)&diff=16637Petra Evers (interview)2017-07-18T05:31:31Z<p>Billscat-socks: </p>
<hr />
<div>'''Petra Evers''' is an artist who formerly worked in the video game industry. She has worked on projects such as Garfield: Caught in the Act and Parasite Eve. <br />
<br />
==Interview==<br />
<br />
'''How did you get involved with Sega?'''<br />
<br />
I applied for a job at SEGA ( in a branch where they did research and development ). I came to the job interview with my back ground as conceptual artist/designer who made installations using text and video. And I had a bit of 3D animation in my portfolio. I was hired as a game designer who had to come up with new games for women. Garfield was my first video game I worked on.<br />
<br />
<br />
'''Do you remember how long the Garfield project was in development?'''<br />
<br />
It has been a while ago...I was on for the duration of the project..but can't remember how long that was.<br />
<br />
<br />
'''What role did you primarily serve on the game?'''<br />
<br />
I designed the level and made the art work for the space level. Except for the cool animations like Garfield and the robot dog. I remember at that time games started to incorporate 3D animation and 3D looking background elements. I was one of the first who learned to use a 3D software package at SEGA and all the art work for the space level is rendered in 3D. (Instead of hand drawn like the other levels)<br />
<br />
<br />
'''Do you remember what it was like working on the Sega Genesis console?'''<br />
<br />
It was all about making it look good within the limitations. I remember working hard at a pixel level to make it work with 16 bits. Of course hardware limitations made you design with repetition of art work in mind. Limited amount of animations etc. For example having the background of the space level parallax (that wavy effect) was a head ache for the programmers to figure out.<br />
<br />
<br />
'''Do you remember anything about how it came to be that the Space level was cut in the final release of the game?'''<br />
<br />
What ended up in the game or later releases I did not know. I was as much surprised as you are.<br />
<br />
<br />
'''The Space level eventually did get included with the PC release of the game. Did you have any involvement with this?'''<br />
<br />
Again, can't give you insight here. I did not work on the PC port of the game.<br />
<br />
<br />
'''How would you describe your experience at Sega overall?'''<br />
<br />
Working at SEGA was really fun and challenging at the same time. I am still thankful to the art director at that time, Maureen Kringen, who hired me and gave me this amazing opportunity. The people who worked there where all super talented animators, illustrators, programmers and musicians. They were very kind in helping me in the beginning to adapt to their game environment. It was challenging because being a "non gamer" we didn't share the same background. Trying to introduce abstract, artsy stuff or a different angle in the game design didn't always go over too well.<br />
<br />
<br />
'''Info online shows that the last game you worked on was Parasite Eve for the Playstation. What are you up to these days?'''<br />
<br />
Yes, PE was the last game I worked on. Then I moved to Hawaii to work for Square's "Final Fantasy, The Spirits Within" movie as a special effects and lighting artist.<br />
So, yes, I have since then left the games...but coming back through a different door with The Little Greenies!<br />
I am still interested in the exploration and creation side of interactive experiences. The Go-Greenies Apps that we currently producing hopefully will have some of those elements. Once you have been into creating games it never really leaves you. It is just too much fun.<br />
<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16636Michael Fernie (interview)2017-07-18T05:24:32Z<p>Billscat-socks: </p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 2012.<br />
<br />
==Interview==<br />
<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone that had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really didn't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and the project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well, I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well, I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could be that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My task was to port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.<br />
[[Category:Garfield: Caught in the Act interviews]]</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Petra_Evers_(interview)&diff=16635Petra Evers (interview)2017-07-18T05:20:52Z<p>Billscat-socks: </p>
<hr />
<div>'''Petra Evers''' is an artist who formerly worked in the video game industry. She has worked on projects such as Garfield: Caught in the Act and Parasite Eve. <br />
<br />
==Interview==<br />
<br />
'''How did you get involved with Sega?'''<br />
<br />
I applied for a job at SEGA ( in a branch where they did research and development ). I came to the job interview with my back ground as conceptual artist/designer who made installations using text and video. And I had a bit of 3D animation in my portfolio. I was hired as a game designer who had to come up with new games for women. Garfield was my first video game I worked on.<br />
<br />
<br />
'''Do you remember how long the Garfield project was in development?'''<br />
<br />
It has been a while ago...I was on for the duration of the project..but can't remember how long that was.<br />
<br />
<br />
'''What role did you primarily serve on the game?'''<br />
<br />
I designed the level and made the art work for the space level. Except for the cool animations like Garfield and the robot dog. I remember at that time games started to incorporate 3D animation and 3D looking background elements. I was one of the first who learned to use a 3D software package at SEGA and all the art work for the space level is rendered in 3D. (Instead of hand drawn like the other levels)<br />
<br />
<br />
'''Do you remember what it was like working on the Sega Genesis console?'''<br />
<br />
It was all about making it look good within the limitations. I remember working hard at a pixel level to make it work with 16 bits. Of course hardware limitations made you design with repetition of art work in mind. Limited amount of animations etc. For example having the background of the space level parallax (that wavy effect) was a head ache for the programmers to figure out.<br />
<br />
<br />
'''Do you remember anything about how it came to be that the Space level was cut in the final release of the game?'''<br />
<br />
What ended up in the game or later releases I did not know. I was as much surprised as you are.<br />
<br />
<br />
'''The Space level eventually did get included with the PC release of the game. Did you have any involvement with this?'''<br />
<br />
Again, can't give you insight here. I did not work on the PC port of the game.<br />
<br />
<br />
'''How would you describe your experience at Sega overall?'''<br />
<br />
Working at SEGA was really fun and challenging at the same time. I am still thankful to the art director at that time, Maureen Kringen, who hired me and gave me this amazing opportunity. The people who worked there where all super talented animators, illustrators, programmers and musicians. They were very kind in helping me in the beginning to adapt to their game environment. It was challenging because being a "non gamer" we didn't share the same background. Trying to introduce abstract, artsy stuff or a different angle in the game design didn't always go over too well.<br />
<br />
<br />
'''Info online shows that the last game you worked on was Parasite Eve for the Playstation. What are you up to these days?'''<br />
<br />
Yes, PE was the last game I worked on. Then I moved to Hawaii to work for Square's "Final Fantasy, The Spirits Within" movie as a special effects and lighting artist.<br />
So, yes, I have since then left the games...but coming back through a different door with The Little Greenies!<br />
I am still interested in the exploration and creation side of interactive experiences. The Go-Greenies Apps that we currently producing hopefully will have some of those elements. Once you have been into creating games it never really leaves you. It is just too much fun.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Petra_Evers_(interview)&diff=16634Petra Evers (interview)2017-07-18T05:18:51Z<p>Billscat-socks: </p>
<hr />
<div>'''Petra Evers''' is an artist who formerly worked in the video game industry. She has worked on projects such as Garfield: Caught in the Act and Parasite Eve. <br />
<br />
==Interview==<br />
<br />
'''How did you get involved with Sega?'''<br />
<br />
I applied for a job at SEGA ( in a branch where they did research and development ). I came to the job interview with my back ground as conceptual artist/designer who made installations using text and video. And I had a bit of 3D animation in my portfolio. I was hired as a game designer who had to come up with new games for women. Garfield was my first video game I worked on.<br />
<br />
<br />
'''Do you remember how long the Garfield project was in development?'''<br />
<br />
It has been a while ago...I was on for the duration of the project..but can't remember how long that was.<br />
<br />
<br />
'''What role did you primarily serve on the game?'''<br />
<br />
I designed the level and made the art work for the space level. Except for the cool animations like Garfield and the robot dog. I remember at that time games started to incorporate 3D animation and 3D looking background elements. I was one of the first who learned to use a 3D software package at SEGA and all the art work for the space level is rendered in 3D. (Instead of hand drawn like the other levels)<br />
<br />
<br />
'''Do you remember what it was like working on the Sega Genesis console?'''<br />
<br />
It was all about making it look good within the limitations. I remember working hard at a pixel level to make it work with 16 bits. Of course hardware limitations made you design with repetition of art work in mind. Limited amount of animations etc. For example having the background of the space level parallax (that wavy effect) was a head ache for the programmers to figure out.<br />
<br />
'''Do you remember anything about how it came to be that the Space level was cut in the final release of the game?'''<br />
<br />
What ended up in the game or later releases I did not know. I was as much surprised as you are.<br />
<br />
<br />
'''The Space level eventually did get included with the PC release of the game. Did you have any involvement with this?'''<br />
<br />
Again, can't give you insight here. I did not work on the PC port of the game.<br />
<br />
'''How would you describe your experience at Sega overall?'''<br />
<br />
Working at SEGA was really fun and challenging at the same time. I am still thankful to the art director at that time, Maureen Kringen, who hired me and gave me this amazing opportunity. The people who worked there where all super talented animators, illustrators, programmers and musicians. They were very kind in helping me in the beginning to adapt to their game environment. It was challenging because being a "non gamer" we didn't share the same background. Trying to introduce abstract, artsy stuff or a different angle in the game design didn't always go over too well.<br />
<br />
'''Info online shows that the last game you worked on was Parasite Eve for the Playstation. What are you up to these days?'''<br />
<br />
Yes, PE was the last game I worked on. Then I moved to Hawaii to work for Square's "Final Fantasy, The Spirits Within" movie as a special effects and lighting artist.<br />
So, yes, I have since then left the games...but coming back through a different door with The Little Greenies!<br />
I am still interested in the exploration and creation side of interactive experiences. The Go-Greenies Apps that we currently producing hopefully will have some of those elements. Once you have been into creating games it never really leaves you. It is just too much fun.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Petra_Evers_(interview)&diff=16633Petra Evers (interview)2017-07-18T05:17:50Z<p>Billscat-socks: Created page with "'''Petra Evers''' is an artist who formerly worked in the video game industry. She has worked on projects such as Garfield: Caught in the Act and Parasite Eve. ==Interview==..."</p>
<hr />
<div>'''Petra Evers''' is an artist who formerly worked in the video game industry. She has worked on projects such as Garfield: Caught in the Act and Parasite Eve. <br />
<br />
==Interview==<br />
<br />
How did you get involved with Sega?<br />
<br />
I applied for a job at SEGA ( in a branch where they did research and development ). I came to the job interview with my back ground as conceptual artist/designer who made installations using text and video. And I had a bit of 3D animation in my portfolio. I was hired as a game designer who had to come up with new games for women. Garfield was my first video game I worked on.<br />
<br />
<br />
Do you remember how long the Garfield project was in development?<br />
<br />
It has been a while ago...I was on for the duration of the project..but can't remember how long that was.<br />
<br />
<br />
What role did you primarily serve on the game?<br />
<br />
I designed the level and made the art work for the space level. Except for the cool animations like Garfield and the robot dog. I remember at that time games started to incorporate 3D animation and 3D looking background elements. I was one of the first who learned to use a 3D software package at SEGA and all the art work for the space level is rendered in 3D. (Instead of hand drawn like the other levels)<br />
<br />
<br />
Do you remember what it was like working on the Sega Genesis console?<br />
<br />
It was all about making it look good within the limitations. I remember working hard at a pixel level to make it work with 16 bits. Of course hardware limitations made you design with repetition of art work in mind. Limited amount of animations etc. For example having the background of the space level parallax (that wavy effect) was a head ache for the programmers to figure out.<br />
<br />
Do you remember anything about how it came to be that the Space level was cut in the final release of the game?<br />
<br />
What ended up in the game or later releases I did not know. I was as much surprised as you are.<br />
<br />
<br />
The Space level eventually did get included with the PC release of the game. Did you have any involvement with this?<br />
<br />
Again, can't give you insight here. I did not work on the PC port of the game.<br />
<br />
How would you describe your experience at Sega overall?<br />
<br />
Working at SEGA was really fun and challenging at the same time. I am still thankful to the art director at that time, Maureen Kringen, who hired me and gave me this amazing opportunity. The people who worked there where all super talented animators, illustrators, programmers and musicians. They were very kind in helping me in the beginning to adapt to their game environment. It was challenging because being a "non gamer" we didn't share the same background. Trying to introduce abstract, artsy stuff or a different angle in the game design didn't always go over too well.<br />
<br />
Info online shows that the last game you worked on was Parasite Eve for the Playstation. What are you up to these days?<br />
<br />
Yes, PE was the last game I worked on. Then I moved to Hawaii to work for Square's "Final Fantasy, The Spirits Within" movie as a special effects and lighting artist.<br />
So, yes, I have since then left the games...but coming back through a different door with The Little Greenies!<br />
I am still interested in the exploration and creation side of interactive experiences. The Go-Greenies Apps that we currently producing hopefully will have some of those elements. Once you have been into creating games it never really leaves you. It is just too much fun.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16630Michael Fernie (interview)2017-07-18T05:01:09Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone that had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really didn't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and the project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well, I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well, I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could be that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My task was to port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16629Michael Fernie (interview)2017-07-18T04:49:20Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16628Michael Fernie (interview)2017-07-18T04:47:31Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16627Michael Fernie (interview)2017-07-18T04:45:10Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16626Michael Fernie (interview)2017-07-18T04:43:59Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16625Michael Fernie (interview)2017-07-18T04:41:09Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16624Michael Fernie (interview)2017-07-18T04:40:12Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16623Michael Fernie (interview)2017-07-18T04:35:36Z<p>Billscat-socks: /* Interview */</p>
<hr />
<div>'''Michael Fernie''' is a programmer in the video game industry. He has worked on games such as Star Trek: Generations - Beyond the Nexus, Goofy's Hysterical History Tour, Home Improvement, Bart vs the world, Garfield: Caught in the Act, Fear Effect, as well as the cancelled Penn & Teller's Smoke and Mirrors for the Sega CD. The interview was conducted by [[User:Billscat-socks|Billscat-socks]] in 20xx.<br />
<br />
==Interview==<br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. <br />
<br />
'''I assumed with how many levels were cut that it had to have been released ahead of when it was ready. Do you remember anyone being very opposed to the cut levels being ditched? It seems especially unfortunate for Petra, who from what I can tell had that one level.''' <br />
<br />
Yes - I think most people were mad that their levels got cut. In the case of Petra's it was done and working. You might be right in that Sega didn't want to spend the money on the cart ROM increases. As I said I had to fight for hours to make everything fit. The animations for Garfield took lots of room. I do think most levels were done to some point. Some of them being pretty much done. All the reasons you list could be valid as to the why. Some of the time - the decisions would come 'from above' and we never really knew why. We also couldn't fight most of them. If we could Dino level would have be first. :)<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''Going back to your mention of E3, did you get to meet Jim Davis yourself?'''<br />
<br />
Yes we got to meet Jim Davis at E3. So that is normally in the summer time. So guessing it was that holiday season the game shipped. It was fun meeting him and doing the lasagna lunch. I would be interested if Petra remembers that or not. I remember that she was a normal artist (not pixel or tile artist). It was hard trying to fit her art style into the game. Glad that the PC version was able to have her level in it.<br />
<br />
<br />
'''On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
The alien level was cut from the genesis version - but we had a fully working version of that level. This was the one ported to the PC. I think it was cut because it wasn't that fun and also because the glob artwork was a memory hog. We never could cut the level down enough. During development we were ALWAYS running into memory issues. I had to spend so much time trying to save here and there. It was a big pain in the butt. The PC of course didn't have this problem. <br />
<br />
I also now believe that all the other levels were working to a certain level. But were cut mostly because of time. There was no way to get them all done and in a final state when they wanted to game out. I know for a fact we had assets for most of those levels. Can't remember which ones exactly. <br />
<br />
As I said the El Train was cut because it never worked right. It also wasn't that fun and the people in charge thought it wasn't worth the time and money to fix it. I think it was also because they were planning on cutting some levels anyways.<br />
<br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.<br />
<br />
'''It's interesting you worked on several games that never made it out. That Penn and Teller game is definitely the most interesting, especially since it's been put out on the net now and even has support from Penn and Teller themselves, since people do a fundraising event for charity every year where they play that Desert Bus minigame for 24 hours. I'm assuming you're aware of that game having gotten out? It's certainly one of more interesting preservation efforts out there.'''<br />
<br />
Yes I know about the Penn And Teller game being out. I find it very interesting that people are playing it. Penn and Teller were VERY involved in making the game. This included doing voice sessions with their friends like Lou Reed and Debra Harry. They both appear in the game. Both Penn and Teller thought the game was great since it was mostly gag games and things that you could trick your friends with.<br />
<br />
A few FUN FACTS. At a company meeting Penn and Teller showed up and did a show for us. Huge surprise to everyone in the company. Another FUN FACT - there was a contest where if you made it to the end of Desert Bus and provided a screen shot then the prize was riding the Desert Bus - for real with Penn and Teller to Vegas. Just like in the mini game - lol. Another funny thing was that Sega had to play the game real time to test it - those Sega testers really hated us. Another FUN FACT - a bug splat was added to the window at the halfway point of the mini-game. FUN FACT - I did the tool that made the animation for MoFo The Psychic gorilla match the audio. Very fun project to work on - too bad it never came out. <br />
<br />
I have worked on many games that never came out. It's a shame. One fun thing was for the Star Trek Generations game we did - the game boy programmer (I was doing game gear) got to go to Paramount and read the script before the movie came out. They locked him in this room without paper or pen. He was only allowed to take out what he could remember. The game was based on that. He was a HUGE Star Trek fan so that was nice for him. <br />
<br />
'''Do you recall working on a Sega Genesis version of the Home Improvement game that came out for SNES?'''<br />
<br />
I know the Home Improvement for Genesis. My tasks was the port the SNES version to the Genesis. I had helped a small bit with the SNES version but I was the one that was doing the Genesis port. They decided not to finish the port - not sure why. Maybe sales were not good for the SNES version.<br />
<br />
==See also==<br />
* [https://www.giantbomb.com/michael-fernie/3040-32135/ Michael Fernie] on Giant Bomb.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Michael_Fernie_(interview)&diff=16620Michael Fernie (interview)2017-07-18T04:05:38Z<p>Billscat-socks: Created page with " '''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?''' I always made little games on my Commodore 64 compute..."</p>
<hr />
<div><br />
<br />
'''Just to start off, can you tell me how you got into the game industry? How were your beginnings as a programmer?'''<br />
<br />
I always made little games on my Commodore 64 computer. I went to college to work in the Aerospace industry. Once I got out of college I kept getting laid off of Aerospace type jobs. Since I was the low man on the totem pole. Once I went to New Jersey to interview for a programming job. I saw a little job listing in a newspaper (no internet back then). On a whim I went down to the company - Absolute Entertainment. As luck would have it the person I needed to talk to was away because his mom was in the hospital. So I ended up waiting in my car all day. We are talking 8 hours. <br />
<br />
Every few hours I would go in and see if he was there. After awhile I got a knock on my car window's door. He told me to come inside. He said anyone he had the tenacity to wait in a car all day deserves a few minutes of his time. Since I didn't have any skills or published work they really don't want to hire me. So I told them I would move down to NJ on my dime and work for crap money for 3-4 months. If they liked me they could hire me for real otherwise no hard feelings. <br />
<br />
So he gave me a shot. A week later I packed all my stuff in my car and drove to NJ from NH where I was living. I ended up staying with the company for many years so lots of products for NES, SNES, Genesis, GameGear, GameBoy and Sega CD. A few I did were: Star Trek TNG, Goofy, Home Improvement, a bunch of NES games like Bart Vs the world. Lots of stuff including the Penn and Teller game that never came out. I pretty much shipped a game on every game platform that was out at the time. <br />
<br />
'''How did you get onto the project for Garfield: Caught in the Act?'''<br />
<br />
When I left Absolute I had offers from Sony, Sega and a few other places in California. I ended up going to Sega. The project I was supposed to do was 'Ratchet and Bolts' for the Genesis 32x. The company was about to move and trying like mad to get Eternal Champions CD out the door. So nobody had time for me and my team and project wasn't really going anywhere. So they just had me<br />
look over the genesis docs and do little games and experiments. They put me in the building with the people doing Star Wars 32x. Garfield was already started but having huge problems and way behind schedule. So I was asked if I wanted to [A] Wait until a team could come free to do Ratchet and Bolt [B] Take over Garfield which was a mess and way behind schedule. Well I was tired of the reading and little games so I jumped onto Garfield. Happy to say that I was able to help turn it all around and get it into shape. <br />
<br />
'''As lead programmer, how much of the games development were you involved with? Did you have input on anything besides what was needed to be coded?'''<br />
<br />
Well I did all the major programming tasks including the main player and also guided the other programmers we had. Which was two other people. I was involved in all areas of the game including helping with design and figuring out what could and could not be done or finding ways to get it done. This also included changes to tools and engine parts as needed. Of course we did have designers too that did all the heavy lifting in that area but all members could say what they liked and didn't like and offers game play suggestions and what not. FUN FACT: The space level (Petra's) glob looking artwork came from her looking at a Lava lamp. She had one in her office and she got the idea of that artwork by watching it.<br />
<br />
'''Can you recall how long the game was in development?'''<br />
<br />
Not sure how long it was in development. I will look into it and let you know. It must have been over a year. That doesn't count the time before I was on the project. When I got on there wasn't much done and we were WAY behind schedule. Which is part of the reason stuff was cut. I think they also might have made us ship the game earlier than we had planned. Again I will try to get back to you on that but over a year for sure.<br />
<br />
'''How much input on the project did the people at Paws Inc. have? I've been told Jim Davis made suggestions here and there and liked the game, and any Garfield products always go by him before release.'''<br />
<br />
Paws was very much involved with the project. The animation for Garfield was done on paper and then scanned into the game. The person that did those was a paper animator by trade. I believe that Paws either picked him or had to approve of him. So those graphics were done the old way. I think they might have been colored on the computer but down with paper and pencil for the animation. For the Goofy game I did at Absolute we had a paper animator too that came from Disney. It's a lost art and of course everyone now uses the computer for all of it. Jim Davis did have final say in many matters and gave input. FUN FACT: Jim Davis was at E3 the year Garfield came out - we had an event where you could have a lasagna lunch with Jim Davis - it was mostly for the team and press. <br />
<br />
'''One of the main thing that fascinates me about this game is its history with its cut content. The game has several cut levels that didn't make it into the retail product, which includes Space, Viking, Robin Hood and Ancient Rome levels. Do you remember why these levels eventually were gotten rid of? Besides that it's also known a train section for the Catsablanca level was cut. '''<br />
<br />
Some levels were cut because of time and the fact that the project was running behind when I started. Some like the train level never worked right. The programmer worked on it forever and never could get it working right. Later I tried to fix it or do things but there was no way to make it fun or finish it. Too bad since it was a very cool idea. Never came together. That programmer ended up getting fired or quit and that is part of the reason it didn't get done. The other levels we never did much on like Rome and Viking. I know they were planned and maybe we had designs for them (don't recall) but never worked on them much. FUN FACT: The shirt you talk about - every team member got one. I had mine signed at the E3 event I talk about above. I will try to find it and send you a photo.<br />
<br />
<br />
'''Were you involved at all with the PC release of the game? Interestingly enough, that version has the Space level put back into the game. Any idea why that one level was spared?'''<br />
<br />
Not involved but I know the guy that did the port. He was a very good friend of mine. He used my code to port the project and once said that my Player code was very good and well commented and easy to port. Not sure why the space level is in there. I do know on the Genesis version he did have it pretty much done. So they might have just taken the assets and the design and finished it. It could also be that Sega wanted something extra for the PC version.<br />
<br />
'''Apparently in the late life of Sega's "Sega Channel" cable service, there was a release of the game known as Garfield: The Lost Levels, which I assume included most of the cut content from the game. Do you know why they decided to release this?'''<br />
<br />
Don't remember this. It must have been after my division got shut down. I will try to look into it. FUN FACT: There was a Genesis version that had Garfield as the pack in game. Man - I would love to get my hands on that. I saw it at Target even but didn't buy it. Not sure how many they made or how long they were around.<br />
<br />
'''Was the Game Gear version worked on by a team working closely with the team for the Genesis version? Some of the cut levels seem to exist in that version, though the game play mechanics are different. Going by the credits most of the same production staff was involved while a lot of the rest was Hungarian.'''<br />
<br />
Not sure about this one either - might be after my division got shut down. I'm sure they used the same artwork and what not so that might be why some of the credits are the same. They might have also tried to use some the genesis code as a reference for the port. FUN FACT: The genesis version had a maze game were you looked down a mouse hole in fake 3d. You ran around and picked up cheese. It was more of a test and never made it in the game - but something we tried. It was going to be a mini game you could play.<br />
<br />
'''Was the title "Garfield in TV Land" an early title for the game, or a planned alternate for a later release? I've seen before supposedly it may have gone on 32X using that title, though it's possibly just an unfounded rumor.'''<br />
<br />
Not sure about this. But yeah I would assume that was the name. Then marketing changed it or just something they tried for awhile. The idea of Garfield being in the TV was from the start and the focus of the game. FUN FACT: The dino level was supposed to be the first level. It was one of the strongest levels. At the last minute Marketing made us put the graveyard level first. This was considered one of the weakest levels by the team. Everyone was so mad. I know some people that played that level and never gave the game a chance. I always wished the dino level could have been first. I think more people would have liked the game.<br />
<br />
'''1On the whole, how smooth was the development? With how much content was cut it seems like there must have been more ideas and work done than could be used.'''<br />
<br />
Well - it was okay. After I got on there we had to work our butts off to get everything done. I don't think the project was that smooth before me since it was so far behind and going nowhere. I do know we worked lots of crazy hours to get everything done. Lots of time to make up. It wasn't just me - the whole team worked lots of hours and put in great work to get everything done. I know that I worked thru our normal week off at a Christmas break. There was lots of stuff we did that never made it in the game. FUN FACT: My first day on the project I convinced our producer to take the whole team to Battletech center which was a play where you could fight each other in mechs - it was a video game where they are all linked up. I did this because I wanted a way to help bring the team together and get us working well. <br />
<br />
'''Moving away from Garfield, how long have you been involved with Flying Tiger Entertainment? I don't want to get ahead of myself by asking too much without knowing for sure, but I know that they apparently had a title called Rachet and Bolt for the Genesis that eventually switched to the 32X before being canceled altogether. Any idea about that game?'''<br />
<br />
I was at Flying Tiger for 8 years. Got laid off not that long ago. They might have had that project. But that is the one I was hired to work on for Sega (see answer above). I did do a sample version of the game while at Sega. You could walk and shoot and switch between the two robots and had a sample level and a few enemies to kill that blew up into bolts you could collect. It was more of a proof of concept and something to help me learn the tools and Genesis. I do know they had designs and wanted to do it at some point. It could me that Flying Tiger was going to make that game. But that was before my time. When I got to Flying Tiger they were just starting doing mobile games for phones and had done a few hand held games. So not sure if they ever worked on that game or not.</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=10148Aladdin (Chicago C.E.S demo)2016-09-05T22:44:56Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Aladdin_(June_29,_1993).zip<br />
}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
* The ROM's internal header refers to it as The Jungle Book.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=10147Aladdin (Chicago C.E.S demo)2016-09-05T22:44:10Z<p>Billscat-socks: Changed status to dump</p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Aladdin_(June_29,_1993).zip<br />
}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
* The ROM's internal header refers to it as The Jungle Book.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=10146Aladdin (Chicago C.E.S demo)2016-09-05T22:39:19Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download<br />
|file=Aladdin_(June_29,_1993).zip<br />
}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
* The ROM's internal header refers to it as The Jungle Book.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=File:Aladdin_(June_29,_1993_prototype).zip&diff=10145File:Aladdin (June 29, 1993 prototype).zip2016-09-05T22:38:08Z<p>Billscat-socks: </p>
<hr />
<div></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Rocket_Knight_Adventures_(Store_Sample)&diff=6722Rocket Knight Adventures (Store Sample)2016-06-21T03:52:06Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|status=Undumped<br />
|origin_type=Sample cartridge<br />
|origin_labels=MD ロケットナイトアドベンチャーズ 店頭用サンプル (EN: MD Rocket Knight Adventures Storefront Sample)<br />
|origin_ownership=YJ auction (2015), Billscat-socks (2015), anonymous<br />
|game=Rocket Knight Adventures<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A store demo of Rocket Knight Adventures for the Sega Mega Drive.<br />
<br />
==Notes==<br />
* The cartridge generally appears to play the same as the final JP retail release.<br />
<br />
<br />
==Origin==<br />
<gallery mode=packed><br />
DxmAcQ8.jpg|Cartridge case<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Rocket_Knight_Adventures_(Store_Sample)&diff=6721Rocket Knight Adventures (Store Sample)2016-06-21T03:51:44Z<p>Billscat-socks: Created page with "{{Prototype |status=Undumped |origin_type=Sample cartridge |origin_labels=MD ロケットナイトアドベンチャーズ 店頭用サンプル (EN: MD Rocket Knight Adventur..."</p>
<hr />
<div>{{Prototype<br />
|status=Undumped<br />
|origin_type=Sample cartridge<br />
|origin_labels=MD ロケットナイトアドベンチャーズ 店頭用サンプル (EN: MD Rocket Knight Adventures Storefront Sample)<br />
|origin_ownership=YJ auction (2015), Billscat-socks (2015), anonymous<br />
|game=Rocket Knight Adventures<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A store demo of Rocket Knight Adventures for the Sega Mega Drive.<br />
==Notes==<br />
* The cartridge generally appears to play the same as the final JP retail release.<br />
<br />
==Origin==<br />
==Origin==<br />
<gallery mode=packed><br />
DxmAcQ8.jpg|Cartridge case<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=File:DxmAcQ8.jpg&diff=6720File:DxmAcQ8.jpg2016-06-21T03:51:13Z<p>Billscat-socks: </p>
<hr />
<div></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6715Aladdin (Chicago C.E.S demo)2016-06-21T03:40:37Z<p>Billscat-socks: /* Notes */</p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
* The ROM's internal header refers to it as The Jungle Book.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6713Aladdin (Chicago C.E.S demo)2016-06-21T03:39:35Z<p>Billscat-socks: /* Screenshots */</p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Probably deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6701Aladdin (Chicago C.E.S demo)2016-06-21T03:32:25Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Properly deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery><br />
<br />
==Origin==<br />
<gallery mode=packed><br />
Aladdin-ces-cart.png|Cartridge front<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=File:Aladdin-ces-cart.png&diff=6699File:Aladdin-ces-cart.png2016-06-21T03:31:56Z<p>Billscat-socks: </p>
<hr />
<div></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6687Aladdin (Chicago C.E.S demo)2016-06-21T03:27:15Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Properly deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
</gallery></div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6685Aladdin (Chicago C.E.S demo)2016-06-21T03:26:39Z<p>Billscat-socks: </p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen that operates the same as the level select screen in the final.<br />
<br />
==Differences==<br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* The level music for Level 2 "The Desert" is a completely different tune that was cut from the final.<br />
* Aladdin's lives icon looks different.<br />
* The "Inside the Lamp" level is completely different from the final. Instead of going all the way to the right of the level, the player instead has to reach the very top by riding on Genie bowling balls and jumping on springs. A lot of graphics appear that are not in the final iteration of the level.<br />
* The final level uses a different background.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Properly deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
S2proto_6.png|Hill Top Zone</div>Billscat-sockshttp://hiddenpalace.org/w/index.php?title=Aladdin_(Chicago_C.E.S_demo)&diff=6676Aladdin (Chicago C.E.S demo)2016-06-21T03:23:16Z<p>Billscat-socks: Created page with "{{Prototype |titlescreen=TheJungleBook.F3BB 012.png |builddate=Jun 27, 1993 |buildname=Chicago C.E.S Show Work In Progress Demonstration |status=Dumped, not released |dumper=B..."</p>
<hr />
<div>{{Prototype<br />
|titlescreen=TheJungleBook.F3BB 012.png<br />
|builddate=Jun 27, 1993<br />
|buildname=Chicago C.E.S Show Work In Progress Demonstration<br />
|status=Dumped, not released<br />
|dumper=Billscat-socks<br />
|origin_type=EPROM cartridge<br />
|origin_eproms=8x EPROMs<br />
|origin_dumpmethod=Retrode<br />
|origin_ownership=DreamTR (Unknown), Niels (??-2016), Billscat-socks (Present)<br />
|game=Aladdin<br />
|system=Sega Mega Drive<br />
|genre=Platform<br />
|final_builddate={{RegionDate|US|Aug 6, 1993}}<br />
|release_date={{RegionDate|US|Nov, 1993}}<br />
|unreleased=No<br />
}}<br />
{{Download}}<br />
A work in progress build of Aladdin for the Sega Genesis. This cart was apparently shown at the Chicago CES trade show back in 1993.<br />
==Notes==<br />
* The game begins at startup on a level select screen. <br />
* A lot of levels have enemies either missing from the final or incomplete pencil tests.<br />
* the level music for Level 2 "The Desert" is a completely different song that was cut from the final.<br />
<br />
==Screenshots==<br />
<gallery mode=nolines heights=168 widths=240><br />
TheJungleBook.F3BB 000.png|Level select<br />
TheJungleBook.F3BB 001.png|Opening Sega screen with a Genie animation that was replaced in the final. Properly deemed too risky for a kids game.<br />
TheJungleBook.F3BB 008.png|A cut knife-throwing enemy, and a pencil test of the basket throwing enemy at the top.<br />
TheJungleBook.F3BB 009.png|Level checkpoints look different.<br />
TheJungleBook.F3BB 010.png|Cut prisoner enemy that tries to saw the chains from its ankles.<br />
TheJungleBook.F3BB 011.png|The "Inside the Lamp" level is completely different.<br />
S2proto_6.png|Hill Top Zone</div>Billscat-socks