Knowing when to walk away…

Art is never finished, only abandoned.
— Leonardo da Vinci

That quote probably goes through my head a dozen times a day, especially when I’m in the middle of a project. You get bored, you get sick of looking at the thing you’ve been working on for god knows how long, you run out of time, you forget where you left off…there are a multitude of reasons that you might walk away from a piece of art, a film, a story, a song, or whatever creative endeavor has been feeding on your soul like some invisible, soul-sucking vampire that thrives on souls. But there’s another old adage:

You got to know when to hold’em, know when to fold ’em,
Know when to walk away and know when to run.
— Kenny Rogers

Like many ambitious or wayward young people (take your pick) I entered college almost exactly three months after I graduated high school. I enrolled in a state university with the ambition of becoming an illustrator and ultimately a production designer in the film industry. After two semesters of repeating the same curriculum I’d just had for four years in public school, and having the opportunity to take about one unit of art course for every four units of non-art-related courses, I folded my hand and dropped out. I took my tuition grants and bought a bunch of art books, then buckled down and actually learned to draw. I’m not condemning higher education (I’m married to a doctor, after all), I’m just saying it didn’t work for me. Possibly my expectations were misguided — I really wanted to focus on art. Or possibly, it’s because in the short time I was actually enrolled in college, I didn’t come across one art instructor in those lower division classes that I felt was helping me achieve any of my artistic goals. At the age of 19, I made a very difficult decision to go against everything that had been drilled into me since I entered the public school system and I walked away (ran away, really!) from my extended education with the newly adopted goal of becoming a professional comic book artist! But that’s a story for another day, what I want to tell you about is the one instructor in my life that taught me a single damn thing about art, and it wasn’t how to draw.

His name is Rock Newcomb (couldn’t find a dedicated website for him, so this is the best I could do). He used to teach at Troy High School in Fullerton, California, where I went to school my senior year. Mr. Newcomb (‘the Nuke’ as the kids called him affectionately) is an amazing artist (check out that link) and had a character unlike any other I encountered in fourteen years of schoolin’. He had a way of giving you just the right amount of shit that you were inspired to work harder and be better — if you gave a shit about art, anyway. He didn’t teach it, so much as he facilitated it. He’d give you free range to explore and create but there were always boundaries, and when you hit them, it was like hitting an electric fence. After one year with the Nuke, he didn’t teach me a single worthwhile thing about drawing or painting, but what he taught me was a lesson I’d never forget and I have to say that I probably wouldn’t be doing what I’m doing today if it hadn’t been for him.

Each semester we had a certain number of pieces to complete and they had to coincide with specific subject matter that Mr. Newcomb had determined would be beneficial to our artistic development. The subjects weren’t necessarily interesting, but I learned that if I positioned a good argument to him, Newcomb would give me the latitude to stretch my creative wings. For instance, we had to do a portrait; he let me paint a human skull that was the centerpiece of a surreal anti-toxic waste campaign poster. We had to do a piece depicting wildlife; he let me paint a dragon inspired by one of Roger Dean’s ASIA covers. There was a give and take to Mr. Newcomb’s approach to teaching, and it encouraged me to solve my artistic challenges creatively. However, the one thing the Nuke wouldn’t let me do was finish a piece of artwork.

Working an hour each day in class doesn’t get you very far very fast, so boredom could set in quickly on the work. After a couple weeks, I’d finish an assignment and I’d turn it in to Mr. Newcomb. He’d look at it for about thirty seconds and he’d offer no constructive criticism. He’d simply say, “You’re about half-way done.” Demoralized, I’d return to work on this piece of art that I had no idea what to do with and I’d just keep working on it wherever it seemed like I could make a little progress. A week later, I’d turn it in and Newcomb would say, “You’re about a third of the way there.” What???

I fumed. “Look, just because my favorite class is Art does’t mean I’m an idiot — I can do the math, and a week ago I was further along than I am now? That doesn’t make any sense!”

He’d just smile. It was a terrible smile that said, I don’t have to explain anything to you because I’m the one in charge here, and then he’d say, “Yep.”

Eventually, after I was completely exhausted, fed up, bored and sick to death with the assignment, he’d accept the final piece and give me an A- on it. But then the next assignment would go exactly the same way. After a while, I got wise to what he was doing. He wasn’t teaching me how to draw or paint, but he was teaching me a valuable lesson. At first, I thought it was patience, but that wasn’t it. He was teaching me how to finish a piece of art.

Mr. da Vinci, in his famous quote, summed up the angst of every artist. It’s so hard to know when you’re done, when to put the brush down, when to write ‘The End’. You’re bored and you’re sick of it, or you’re lost and can’t see the forest for the trees anymore. More often than not, though, what the project needs is just a little bit more, that last ten percent, the final polish that will make it great. Whether it’s a painting, a film, a game design or a piece of dramatic fiction, you can always take it a little further and make it a little better, but it takes an incredible amount of stamina to get there. Eventually, though, you have to finish. You can’t work at something forever, especially if it’s got a commercial application with a deadline. Every project must come to a end, sooner or later. But knowing when to hold on and keep pushing, or when you’re actually finished and when to walk away from it — that’s the art.

And if I ever actually figure out how to do it, I promise to disclose the secret in an entry on this blog!

 

 

Eiryss 3 — Thumbnails

Having gotten a number of large projects off my plate, including a short film called [WELCOME TO] LEVEL 7 that you may have heard me rambling about and a life-endangering post-birthday celebration in Las Vegas (which I both thoroughly recommend as well as warn earnestly against), I found myself with a couple spare hours to start contemplating this next incarnation of the infamous WARMACHINE mage-hunter, Eiryss.

It’s been a while since I did any real drawing, so I thought I’d ease into things with some very rough thumbnails of poses and weapon ideas. I did these with an ink pen so as not to get too caught up in details or accuracy. When you draw in ink, you don’t have the luxury of erasing, so the mind stops worrying about making things perfect. It’s essentially doodling. When I have a chance to do exploratory drawing, which is rare, I’ll do it in ink.

Normally, I don’t start with poses. That’s usually the last thing on my mind. I like to start with a solid concept of the garb and trappings (aka the costume) and then find the best pose for it at the end. But because I’m rusty, I thought some pose exploration would help me get back into the character of Eiryss. There were also a lot of comments and suggestions about her pose in the previous blog entry, so I thought it’d be fun to show which ones were  bubbling up to the top in my mind.

Just warming up…

First, let’s get this out of the way — hood down, and bald head (if there was still any question) exposed. However, I am digging the ‘optional hood up’ idea, and I think I’ll try to implement that, but I’m going to compose the image hood down with the expectation of seeing this lady’s full set of tattoos once and for all. The image here, which is the first doodle I did, looks NOTHING like it should — it’s just a warm up — but I included it for fun, showing how I might approach the location of the tattoos we’ll see, which of course will only be seen in the art and on FULLY PAINTED figures (I’m looking at you, non-painters), not on the final sculpt itself.

For the pose, I keyed to several comments about how Eiryss primarily uses her crossbow in action, so I started with an idea to do a dynamic, leader-ish pose with her crossbow aimed and her saber held in her trademark reverse grip(1). I’m looking for a little more presence from this character, though, so my next thought was to get one foot up on something(2). I don’t know what that ‘something’ is, yet, but I like where this going. While I really love the scenic base that the Angel of Retribution is on, I heard a few people bemoan this feature, and I understand why. But I think I can get away with just a little bit of a scenic feature that will allow a more dynamic pose and help separate her from the pack.

About this time, my mind wandered into a different space looking for an entirely different way to approach this figure and this is the one I like the most at the moment (3). I don’t think the scribbles are doing the idea justice, but rolling with the idea of the foot up on ‘something’, I thought putting her in a deep stride, hunched over like a stalking predator might really bring this character home. I have some ideas that I’m going to playing with in her new cloak design, and I’m liking the idea of this extra long cloak (don’t start on functionality, this is fantasy!) dragging on the ground behind her as she slinks over this ‘something’. I want to achieve some symmetry in the way her arms are posed — shoulders back, elbows up, saber in the reverse grip, crossbow…er…<record screech>.

The ramblings of a mad man…

So the crossbow is giving me some issues. It’s not playing real well with my idea for this pose and I’m thinking it’s time for a redesign. Eiryss’ weapons have never been particularly flashy, anyway, but now that she’s hanging more with this apparently well-funded religious cult, I think she could have access to some upgraded weaponry. Problem is, this version has already gone through play test and the crossbow and ‘bayonet’ function the same as her previous incarnations. What’s that mean? I need a ranged weapon that is believable POW 10, and it has to have a blade on it. BUT, it doesn’t have to be a bayonet because she doesn’t actually have BAYONET CHARGE in MkII. That gives me some flexibility!

I noted a few comments about how a pistol crossbow might be cool — my only dilemma there is whether we’ll believe a pistol crossbow could be POW 10, but again I think I could fall back on the superior weaponry Eiryss now has access to. Also, it’s a one-off, so maybe it’s crafted a little better than normal for some extra POW? For the blade, I thought of something more integrated and less protruding, but then I had a thought — how about a reverse blade on a pistol-crossbow, similar to Garryth’s weapons? Now we’re talking. I’m really digging this because then she can wield both blades in a reverse grip, while still holding her crossbow in a useful position. It’ll give me that symmetry I’m looking for in the pose, as well as a cool evolution to her accouterments.

My mind may change, but this is what I’m thinking right now. This is a figure that I think would look bad ass leading my Mage Hunter Strike Team or a unit of these other Retribution bad asses that you’ll be seeing shortly.

Next I’ll start working on the costume and we’ll see how it comes together.

(Please link to the article, but please do not repost or link directly to the images.)

Gray Area

A few weeks ago, I was cleaning out the garage and came across something I had completely forgotten existed. There’s a reason I leave the sculpting to the professionals, but these little guys occupy a soft spot in my heart and I’ve never been able to throw them out. They’re the only miniatures I’ve ever sculpted or ever will. (The astute observer may recognize some pilfered bits from other games…)

When they're this cute, you don't mind the probe so much!

WARMACHINE wasn’t the first miniatures game I ever sat down to design. Almost two decades ago, I booted around a number of game ideas with a wargaming buddy. The one that made it furthest into development couldn’t look more different than WARMACHINE or HORDES. It was hard core sic-fi, deadly, highly complex, and took about five hours to play a game, which we thought was pretty good back then! There was also no world to it — it was purely an exercise in game design. But we each had our own ‘factions’ that we brought to the game, and mine definitely reflected my influences over the years.

It was the mid 90’s. X-Files was the coolest thing on TV, X-Com was my favorite computer game, and crop circles were regular news items. Being a lover of UFO mythology since Leonard Nimoy hosted IN SEARCH OF when I was a kid, I loved anything to do with the idea of extra-terrestrials, and I wanted to be able to play with them in my favorite hobby. A couple weeks and a pound of Sculpy later, I was raiding towns and abducting hapless victims with an elite tactical unit of well-armed alien Grays.

So, it’s almost twenty years later, and what am I doing? Making movies and games about bug-eyed aliens. I guess the more things change, the more they seem to stay the same…

(Don’t worry, I promise never to sculpt anything for Privateer!!! But if you haven’t checked out [WELCOME TO] LEVEL 7, please have a look!)

Completion Anxiety

Last night, [WELCOME TO] LEVEL 7, the short film that I have dedicated the last eight months of my life to, was released to the world via the magic of YouTube and the interweb. It was an exciting, exhilarating, and utterly terrifying moment.

I realized when this project was within hours of being completed that the prospect of finishing, the moment that I’d been dreaming about for months, wasn’t coming with any sense of relief. Quite the opposite, in fact. The end of this project was marked with a wave of anxiety and a question I wasn’t ready to answer: What next?

There’s a false sense of security one builds up when immersed in a protracted project with no defined sense of end. When you have your head in one project for so long, it infiltrates your identity, and your existence becomes defined by your daily effort on what can often seem like a task that may never end. And in a way, I think sometimes that’s what the subconscious wants, because the act of finishing the project means detaching yourself from what seems like your very reason for living. You’re severing the umbilical, cutting all ties free, pushing the bird out of the nest. I just can’t seem to figure who the bird is: me, or the project?

Completion of such an all-consuming project would seem like a time to rejoice, to pop the cork on the champagne and toast the project on its merry way. For me, it comes with a strange sense of emptiness. There’s a hole left behind that must be filled with another project immediately, or I start to get a little anxious. This neurotic separation anxiety comes from two aspects of the project’s completion. First, I have more dream projects in my head than one person could complete in a single lifetime. Knowing this, I have to select the next project carefully, for time is a scarce commodity and I’m capable of working on only a few projects at once with any degree of efficiency and competency. Second, there is a gut-wrenching reality one must face when they release a project into the world — judgment.

There is an idea that art no longer belongs to the artist once its offered up for view, it belongs to the audience. To the degree that ‘perception is reality’, I agree with this. If the audience at large perceives that something is great, then it will be successful and great. If the audience at large perceives that something sucks, then it sucks, man. As the old adage goes, numbers don’t lie.

Another phenomenon related to being so completely immersed in a project is that one loses perspective on quality. Where in the beginning, you might have enjoyed a vantage point of objectivity, eventually you can’t see the forest for the trees. The wise man seeks the opinion and feedback of wise people and prays they tell him the truth, and that can help mitigate the blindness that comes with having your head stuck in a project too long. But in the end, all you really have to go on is your planning and the hope that  you have done a decent service to the vision you set out to create.

After 17 or so years of sending art, stories, and games into the world for public scrutiny, I’m fairly familiar with judgment in all its forms. I’ve racked up both great successes as well as great failures. And while I’m in the positive overall, I’ve never released a major project without feeling the butterflies in my stomach. I think that’s why it’s so important to get right on to the next thing — it’s the need to fill that hole with something that will push the damn butterflies out.

So today, this little film goes out into the world, but it’s you who will decide if it has wings or not. I hope you watch it. I hope you like it. If you do, please pass the link on to anyone who you think might be interested.

No matter what, I’m already up to my ears in the next thing; excited, exhilarated, and terrified. Can’t wait to share it with you.

http://level7film.com/

 

 

The Suggestion Box

Maintaining a blog, I’ve found, isn’t easy. It’s kind of become a fourth job. The hard part isn’t the writing. I crank out pages of emails, stories, and outlines every day. For me, the difficult part is in coming up with that next idea that will make an interesting article. Some articles, like the Eiryss concept discussion, write themselves. Others are more timely and in the moment, springing from some fit of inspiration to become words and pictures on the page. But whether it’s focused content with wide appeal or the muddled musings of a mad man, I find it a bit of a trick to get out in front of my self-imposed publishing schedule.

Office for Emergency Management. War Production Board, 1942. Public Domain Image retrieved from Wikimedia Commons

I’ve had great success harvesting loads of responses from the new Eiryss design and WARMACHINE VS. Iron Kingdoms movie topics. Today, I’m looking for suggestions and questions on topics that would make content on this blog interesting to you. Broadly, my area of expertise is ‘creativity’, but I dual-wield writing and illustration, and I specialize in game design. I’m multi-classing as a writer-artist-filmmaker-game designer-businessman so I can cover a lot of topics that relate to the production side of genre-based media. I frequently get emails from college students working on papers or aspiring artists and game designers looking for tips or advice on how to pursue a career path, and I may start adapting these to blog entries as well, but I’d like to find out what interests the people who have eyes on this site — beyond just sneak peaks of new miniatures when I have something to leak!

So, be general or be specific and post your ideas in the comments section. If someone posts an idea you really like, give it an extra ‘Here here!’ and I’ll know that’s something I should give extra consideration to. I’ll use your suggestions and ideas to generate delicious content for future blog entries that will hopefully build this site into a resource for anyone interested in ‘creativity’.

The Office for Emergency Management thanks you for your support.

“It’s not the years, honey, it’s the mileage.”

Today I turned 40. Thank you for your condolences. But I’m finding it’s not so bad, really. I had a much harder time turning 30.

For me, the transition between 29 and 30 was accompanied by a major reality check. You might be an adult in your 20’s, but it seems you’re not expected to act like one. It’s almost like a free pass to enjoy the most irresponsible time of your life. You party, you take chances, you accumulate stupid debt on futons, lava lamps, and unwise automobile purchases, and that’s what you’re supposed to do. Thirty, though — at thirty, you better have your shit together. You’re way past your college years, way past that time where it’s okay to make mistakes because everyone knows you’ll learn from them, and no one is going to be bailing you out when you blow it anymore, at least they shouldn’t. When I hit 30, I found myself with no higher education to speak of, a pending layoff, and a fledgling company that at that time was actually on the express elevator to financial DOOM! I’d used up all my ‘get out of jail free’ cards, and had no idea what the next year would hold, much less the next five or ten. I remember spending a day soul searching, looking for some sort of road sign to life that would point me in the right direction and guide my way. I never found the sign. There was no bolt out of the blue or grand epiphany. Instead, I just kept doing what felt right in the moment, and everything seemed to work out okay.

I’m waxing nostalgic today — not because of the years behind me, but because I realized today why my birthdays as a kid were such a special time for me. Every year for my birthday, my mom pulled me out of school and took me to the movies, and for me it was the greatest day of the year. As long as there have been big, blockbuster movies, the biggest and the best have come out in May and June, right before school got out for the summer. RAIDERS OF THE LOST ARK, THE EMPIRE STRIKES BACK, BLADE RUNNER (technically released a few weeks later than my birthday, but I remember seeing the poster when I went to see THE WRATH OF KHAN)  — the best of the best usually dropped within days, if not weeks of my birthday! Somewhere, my brain re-wired to associate my favorite movies with my birthday and I’d look forward to the big event for months. Today, as I’m pining away for the release of Sir Ridley Scott’s PROMETHEUS, I realize that at 40 years old, 30 years after the release of BLADE RUNNER, very little has changed about me.

I love movies, toys, and games today just as much as I did when I was a kid and I think no amount of years behind me will ever temper that. I eagerly await every new phase in my son’s development, and quite selfishly, so that I can once again shamelessly indulge myself in these things I love (not that I’ve held back much, mind you). The one thing that has changed about me, though, is my perspective. The passage of time doesn’t provide any insight to life, but experience — the mileage — does. Between 30 and 40, I managed to rack up some serious XP. Most people would equate the mileage to the toll living takes on your body, and I’ve got more than my fair share of squeaky parts. But in my mind, I think unlike cars, that mileage has an upside — wisdom.

Some of the best wisdom came from those summer movies:

“Imagine what you will be, and it will be so.”
–Russel Crowe, GLADIATOR

“Goonies never say die!”
— Sean Astin, THE GOONIES

“No. Try not. Do…or do not. There is no try.”
— Yoda (Frank Oz), THE EMPIRE STRIKES BACK

You don’t have to be a Jedi master to be wise. You just have to learn from your mistakes. Unfortunately, I didn’t stop making mistakes in my 30’s like I thought you were supposed to, but I did keep learning from them. One lesson, looking back, is that I shouldn’t have feared turning 30. In fact, it’s turned out to be the best decade of my life. Worrying about getting old, I’ve realized, is a waste of time. Embrace the mileage. Just keep doing what feels right in the moment, and everything turns out okay.

Now I’m not saying I’m eager to turn 50 — that’s REALLY FREAKING OLD! But right now, 40 feels pretty damn good.

Thanks Mom.

 

 

 

[WELCOME TO] LEVEL 7

Back in September, I started preproduction on a short film titled, [WELCOME TO] LEVEL 7. The funny brackets around “[WELCOME TO]” are a stylized way of indicating that this film is part of a much larger family of projects that all fall under the LEVEL 7 property — a new sci-fi, horror setting that I’ve been creating for the past couple of years.

I don’t want to spoil all the fun of LEVEL 7 before you have a chance to see the short and the other upcoming expressions of the setting — half of the fun in exploring this setting is the mystery and the experience of slowly peeling back the onion to reveal more and more of the creepy, crazy, messed up world that it is. I will tell you that LEVEL 7 incorporates popular government conspiracy theory and well-known mythology unique to our modern culture (though present in nearly every culture on Earth). There are monsters, both human and inhuman. There are dark and dangerous places. And there are secrets, the answers to which will be revealed through a variety of experiences, including this upcoming short film, as well as the LEVEL 7 [ESCAPE] board game to be released this summer from Privateer Press, and some other fun experimental media projects.

Working out the kinks in our blast doors...

LEVEL 7 began as a feature length screenplay that I wrote about 18 months ago. The script establishes the world and the major conflict taking place within it. It’s the tip of a very big and horrifying iceberg. While writing the script, I also compiled a world bible that detailed the backstory of how everything came to be and who the players are in this deep, far reaching conspiracy that has been going on for over 50 years. While developing the feature script with my producing team, I also initiated the board game project at Privateer. The goal with LEVEL 7 is to explore it through as many different mediums as possible, and that’s where the short film comes in.

Quick convo with stunt coordinator, Ron Balicki and our soldiers

[WELCOME TO] LEVEL 7 is not an excerpt of the feature script, but rather, a tangential story with a different cast of characters that gives us a glimpse into the setting without revealing the greater scope of the conflict. I had several reasons for tackling it alongside the other projects we’re doing with LEVEL 7. For one, it acts as proof-of-concept for the feature project. Getting a feature off the ground is no easy feat, and the more ammunition at your disposal that can demonstrate the commercial validity of a project, the better chance you have of getting a green light on it. Second, it’s a fun and unique way to expose people to the new setting we’re launching at Privateer Press. I’m not sure if any other board game in history was preceded by a short film to help announce its release. (If there was, let me know in the comments section because I want to see it.) And last, as I’ve become quite addicted to filmmaking in the past few years, I was ready to jump into a new project and LEVEL 7 is a world I have a great deal of passion to explore.

Checking to make sure our star is still breathing.

So with a polished eight page script in hand, I recruited my producing partner, Tarik Heitmann, to help me assemble a fantastic crew and bring [WELCOME TO] LEVEL 7 to life. My great and very talented friend, Farzad Varahramyan leant me his artistic skills, and together we evolved the look of the film’s monsters until they were ready to be realized in the flesh. With designs in hand, I then had the opportunity to spend a month at ADI (Amalgamated Dynamics Incorporated), an Academy Award winning animatronics and creature shop known for their work in such films as SPIDERMAN, STARSHIP TROOPERS, and the ALIENS and PREDATORS franchises. There, I supervised the creation of prosthetics and even got my own hands dirty building the actual ‘suits’ that our creatures would wear. As a lifelong fan of special effects and animatronics, you can only imagine how much fun it was to visit the studio several times a week to see these monsters that were born in my head come to life right before my eyes.

Director of Photography, Ruben Russ

As it goes with projects like this, we finished up the creatures and costumes just minutes before we started production in November. Shooting on an amazing digital camera called a RED Epic, we stalked the basements of Los Angeles’s famously haunted Linda Vista Hospital for three days. This hundred year old hospital has been in constant use as a film location since it was shuttered in the early 80’s, and it’s notorious for being inhabited by ghosts. Aside from being locked in an unlit basement by a very live person, we had no harrowing experiences, but I will say that by the end of the shoot, I felt like the walking dead. It was three days of some of the most exhilarating work I’ve ever done. There’s nothing like seeing your words on the page get turned into real dialog and action right there in front of you. But we had a three day shooting limit, so we had to squeeze every minute out of every day. In those three days, we worked almost 60 hours total, but at the end of it, I was ready to come back and do it all over again.

Once production wrapped, it was time to get down to post. The goal with the edit was to give the film a very tense, fast, and frenetic pace. It’s very much an action-thriller that takes you on a high-speed tour de force of the LEVEL 7 environment and we wanted the film to reflect that in every cut.

Green Screen shot on final day

Meanwhile, Deane Ogden, a man who I have sung the praises of many times in the past, composed the original score. While he’d already created over 20 minutes of music to help develop the feature project, he started from ground zero with [WELCOME TO] LEVEL 7 and created an entirely new score, custom tailored for this film, and it’s amazing! To capture the tone of the setting, Deane peppered the score with mechanical and industrial sounds. It’s creepy, gritty, and totally gets your blood pumping.

Ruben prepares to be suffocated with his camera

Once the final edit was locked in March, it was time to get down to the final visual effects. We worked with Entropy Studio, an incredible VFX company based in Spain that went above and beyond anything we could have expected. They added atmosphere, digitally animated the creature effects, perfected and polished our green screen composite shots, and created an entire environment from nothing but our concept art, allowing us to realize visuals that would have been otherwise impossible with our limited budget.

With an almost final picture in place, I began working on the colorization process with a brilliant colorist and filmmaker, David-Aaron Waters, where we brought every shot into the same color space and gave the film a look that would enhance and increase the tension of the story. At the same time, the sound scape was designed by Michael Ferdie, a genius of sound design — I can almost guarantee you’ve heard his work if you’ve turned on a television any time in recent history. He filled the environment with textural sound and ensured that the subliminal experience would be just as visceral as the one in front of your eyes.

So creepy...

And for some icing on the cake, I recruited a little help from Privateer’s art and video team to produce the title and end credits for the film, giving it that last bit of professional polish it needed to feel like a real production. Maybe it’s the artist in me, but good credit design is very important in my mind — it’s like great package design on a product. It’s easy to go overboard with something like that on a short film, but the crew at Privateer struck a perfect balance between artistry and subtlety that I think perfectly speaks to the heart of the film.

Right now, we’re just days way from having the entire film completed, in the can, and ready to show to the world. So where can you go to see it? As soon as it’s ready, I’ll announce a website where it will be available to view. It’s been several months of constant work and I’m combing my hair over a few bald spots that appeared during the course of this project — but that’s the nature of the beast. I hope when we’re ready to unleash it, you’ll come have a look.

Working out the blocking with our very patient and generous star, Christian Oliver.

In the meantime, I’ll be running a little Twitter contest for anyone interested in grabbing an early copy of LEVEL 7 [ESCAPE]. Check out the details in last week’s blog post and thanks for staying tuned!

 

What have I gotten myself into?

It’s been a while since I officially had an art deadline to meet. I honestly don’t recall the last piece of actual concept art I did for WARMACHINE or HORDES. These days, my art contributions amount to little more than scribbles on the back of napkins as I try to communicate a basic shape or silhouette to the art team at Privateer. In fact, most of the illustration I’ve done over the past year or so has been either storyboards or creature design for my upcoming LEVEL 7 film project and that’s been very much at my own pace. I was setting the deadlines, so if I needed to, I could move them. Not anymore.

The first concept for Eiryss, ever — swaggering'!

As we were reviewing the concept documents for all the new models that will be in the next WARMACHINE book, I started to get the itch to do some drawing again, and I made the mistake of opening my big mouth. It started with an upcoming character for Cryx. It’s something we’ve never seen in that army and I have an image in my head that I need to get out by way of the illustration. I tentatively expressed my interest and thankfully found out the illustration wouldn’t be due until fall. No problem! One character in the next 4-5 months? I can fit that into my schedule. Then Ed Bourelle, Privateer’s Creative Manager got greedy and suggested I tackle some more. “You could feature it on your blog!” chimed in Simon Berman, our Community Manager. They made it sounds so easy.

Fortunately, some of my better judgment won out and I didn’t take everything Ed threw at me, but there was one I couldn’t refuse: the new incarnation of Eiryss, the much loved, much loathed Mage Hunter who now stalks the Iron Kingdoms with the fanatical Retribution of Scyrah.

The second incarnation of Eiryss will kill you with even more style!

Eiryss is one of two mercenary solos in the original WARMACHINE: PRIME book that came out nearly ten years ago, and she’s one of the first characters I ever created and designed for the game. She’s also the first appearance of an Iosan (elf) in WARMACHINE and is for me, one of my all time favorite personalities featured in our fiction. In our next book, we’re reinventing Eiryss once again, and not how you might expect! Instead of going solo, she’s  joining up with some rank and file troopers as a Unit Attachment. That’s right, Eiryss, the original Iosan badass will now be making an entire unit of badasses even more badasser. Who would have ever thought she could be a team player?

See? I got all excited just writing about her. I almost forgot to tell you what the problem is: the due date on the concept is July 16th! Now maybe that sounds like plenty of time to do a simple illustration of one character, but to me, that feels like tomorrow. I’ve got a list of things that have to be done between now and July and heaping concept art responsibilities on top of that is insane. But like the saying goes, no rest for the wicked.

So now I’m going to do something I’ve never done before — I’m going to ask for suggestions on how to design this next incarnation of a very beloved character. NO! Not rules — don’t even think about making a suggestion for her game rules. Jason Soles graduated her out of play testing months ago. We’re just talking about the visuals, here. We’ve seen Eiryss in a dynamic leap, Eiryss stalking from a rooftop, Eiryss walking with a sexy swagger. Now she’s going to be leading a unit of razor-blade-wielding, human-hating, homicidal zealots — where do I take her from here? The only thing written in stone is that she’ll be retaining her signature weapon combination: A sword and a crossbow fixed with a nasty bayonet.

Things I have to think about:

Pose: Action, Heroic, Stealthy?

Costume: More armor? More skin?

Details: Hood up or hood down? Is it time to see Eiryss’ ears? I’m not sure the world is ready for that…

If you’ve got a good idea, let me know what you think. I have a feeling I’m going to need help with this one…

And whatever I do, I’ll show you here — progress to completion, pass or fail! Stay tuned!

 

Many Bothans died to bring us this information.

Okay, maybe these aren’t exactly stolen plans, but you’re not going to find them anywhere else, at least for a while. Through total random happenstance, the assembly diagram for the Stormwall Colossal was included in an email to me this morning from Privateer HQ. The discussion was actually in reference to the manufacturing of the Stormwall legs, which are undergoing some revision in order to make them more efficient to produce to our quality standards, so these specs will be out of date at some point in the near future. But for now, at least I’m back in business putting this thing together!

The Next Level

If you’ve been following my tweets or Facebook updates over the past year, or have been watching this blog, you may have noticed a few references to a little project called LEVEL 7. For the past couple of years, LEVEL 7 is what has consumed the better portion of my time, but it’s not just one project, it’s several connected and related projects. The biggest undertaking, for me, has been a short film called [WELCOME TO] LEVEL 7. It’s eight minutes of sci-fi-thriller-action-horror and I hope to be able to showing it online very soon.

Another big undertaking has been the LEVEL 7 [ESCAPE] board game that will be released by Privateer Press this summer. The big effort on this project was put in by Privateer’s game development team and helmed by William “Oz” Schoonover. Using a feature length screenplay, a short film script, storyboards, concept art and a world bible that I supplied them, Oz and company turned the story into a very fun, very tense, and very exciting board game that brought all of the creepy, thrilling and dynamic elements of the setting to life.

I’ll have more to say about the short film soon, but in the meantime I’m going to abuse my executive authority to play a little game of my own and give you a shot at getting your hands on a copy of LEVEL 7 [ESCAPE] before it even hits the stores. Here’s how it’s going to work:

First, you have to be following me on Twitter @MattWilsonPrime. All you have to do is hit that link or the button in the margin on the home page of the blog and confirm the follow. Second, watch this blog for my update on [WELCOME TO] LEVEL 7. If you want to be on the front lines, it’d be a good idea to sign up for the updates, which you can also do on the home page of this blog. Then, keep an eye on Twitter. Three times within 72 hours of posting the next LEVEL 7 update on the blog, I’ll tweet a question, the answer to which can be found in the blog post. The first person to reply to the tweet each time will win a copy of LEVEL 7 [ESCAPE] which I’ll ship to you in a few months once they’re in Privateer’s warehouse! So sign up and stay on your toes — there’s more to come!

THE FINE PRINT: This is not an officially endorsed Privateer Press, Inc. contest. It’s being conducted solely by moi. Only one copy per person, so if you’re the first person to answer one of the questions, step aside for others on the following questions. Last, while I’ll ship the game out to you before it hits stores, depending on where in the world you live, I can’t guarantee it’ll get to you before the release, so if you’re not a U.S. resident, keep in mind there will be a longer shipping time. If you are a winner, I’ll send you a message to contact me via email so I can obtain your shipping information — don’t worry, I’ll pay the shipping!