Craig Stitt (2025 interview): Difference between revisions

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'''~~Alexander~~ Rojas: Hi! Good morning Mr. Stitt! First off, it's an absolute pleasure to speak with you. You'll have to forgive me if I'm a little nervous in speaking with you.'''

'''Ashley Rojas: Hi! Good morning Mr. Stitt! First off, it's an absolute pleasure to speak with you. You'll have to forgive me if I'm a little nervous in speaking with you.'''

Craig Stitt: No worries. It's my pleasure. It really, really is.

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The levels are in fact inside Robotnik, and you're collecting this Chaos Dust and trying to save Robotnik. That was the original idea, which I still really like and still think would have been a good game, but Sega didn't want it in the Sonic universe. I had to come up with this other idea that I was never happy with, story-wise of the concept or the reason for anything being. But at least they wanted the game because they gave us like a couple months to do the prototype. That's where I realized I had all this finished artwork for Hidden Palace Zone just sitting on my desk. That enabled us to do a really quick and dirty first playable, proof of concept, but have it look finished.

The playable version that you [~~Alexander~~ Rojas] just got sent was what Ken Rose and I managed to do in a couple of months or less. I don't know how much time we spent on that. That's another one that we got… just the lack of support from Sega and our management. Cause they had me managing and I don't manage. I don't know anything about the background of making the games. You know, "Let me do the art." Then they had Ken who… no actually, we didn't have Ken. Ken did the prototype. Then when the game went into production… No, we still did have him, but there was something going on between Ken and management cause Ken wanted some assurances, "What was going on?" I can't remember what the politics were going on there, but there were some politics going on between Ken and management.

The playable version that you [Ashley Rojas] just got sent was what Ken Rose and I managed to do in a couple of months or less. I don't know how much time we spent on that. That's another one that we got… just the lack of support from Sega and our management. Cause they had me managing and I don't manage. I don't know anything about the background of making the games. You know, "Let me do the art." Then they had Ken who… no actually, we didn't have Ken. Ken did the prototype. Then when the game went into production… No, we still did have him, but there was something going on between Ken and management cause Ken wanted some assurances, "What was going on?" I can't remember what the politics were going on there, but there were some politics going on between Ken and management.

We had at least one Japanese programmer but Ken said he just was a terrible programmer and the other two artists they hired… One was a very talented fine artist [Marte Thompson] and she had been working on the computer, but had been doing technical schematics, literally line work and text, so she had no clue about making video games. I don't think she was even a big game player. Then the other guy was this incredible artist. His name was Alex [Niño]. He was extremely famous in the comic world cause he did like the original Tarzan comics. He's an older guy. The art director hired him just because he could. [laughs] Cause this guy was a legend in the art world. But he'd never worked on the computer at all. I don't know if he even owned a computer at the time.

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 }}
-'''Alexander Rojas: Hi! Good morning Mr. Stitt! First off, it's an absolute pleasure to speak with you. You'll have to forgive me if I'm a little nervous in speaking with you.'''
+'''Ashley Rojas: Hi! Good morning Mr. Stitt! First off, it's an absolute pleasure to speak with you. You'll have to forgive me if I'm a little nervous in speaking with you.'''
 Craig Stitt: No worries. It's my pleasure. It really, really is.
@@ Line 579: / Line 579: @@
 The levels are in fact inside Robotnik, and you're collecting this Chaos Dust and trying to save Robotnik. That was the original idea, which I still really like and still think would have been a good game, but Sega didn't want it in the Sonic universe. I had to come up with this other idea that I was never happy with, story-wise of the concept or the reason for anything being. But at least they wanted the game because they gave us like a couple months to do the prototype. That's where I realized I had all this finished artwork for Hidden Palace Zone just sitting on my desk. That enabled us to do a really quick and dirty first playable, proof of concept, but have it look finished.
-The playable version that you [Alexander Rojas] just got sent was what Ken Rose and I managed to do in a couple of months or less. I don't know how much time we spent on that. That's another one that we got… just the lack of support from Sega and our management. Cause they had me managing and I don't manage. I don't know anything about the background of making the games. You know, "Let me do the art." Then they had Ken who… no actually, we didn't have Ken. Ken did the prototype. Then when the game went into production… No, we still did have him, but there was something going on between Ken and management cause Ken wanted some assurances, "What was going on?" I can't remember what the politics were going on there, but there were some politics going on between Ken and management.
+The playable version that you [Ashley Rojas] just got sent was what Ken Rose and I managed to do in a couple of months or less. I don't know how much time we spent on that. That's another one that we got… just the lack of support from Sega and our management. Cause they had me managing and I don't manage. I don't know anything about the background of making the games. You know, "Let me do the art." Then they had Ken who… no actually, we didn't have Ken. Ken did the prototype. Then when the game went into production… No, we still did have him, but there was something going on between Ken and management cause Ken wanted some assurances, "What was going on?" I can't remember what the politics were going on there, but there were some politics going on between Ken and management.
 We had at least one Japanese programmer but Ken said he just was a terrible programmer and the other two artists they hired… One was a very talented fine artist [Marte Thompson] and she had been working on the computer, but had been doing technical schematics, literally line work and text, so she had no clue about making video games. I don't think she was even a big game player. Then the other guy was this incredible artist. His name was Alex [Niño]. He was extremely famous in the comic world cause he did like the original Tarzan comics. He's an older guy. The art director hired him just because he could. [laughs] Cause this guy was a legend in the art world. But he'd never worked on the computer at all. I don't know if he even owned a computer at the time.