Frog Skull

Donkey Kong Country Returns

2011-05-29T14:31:00.000-07:00

So it has been a loooong time since I made my last post, but I am finally able to show what I have been working on since last time.

Donkey Kong Country Returns! I worked as an environment artist on this game, and it was the first game I had the opportunity to work on from start to finish. For the levels I worked on, I used some models and textures that were created by the whole environment team, so credit also goes to other artists, Sammy Hall, Ryan Powell, Sean Horton, Mark Brady, Reed Ketcham, Ted Anderson, Russel Lingo, Amanda Rotella, Luis Ramirez, Elben Schafers, and Jay Epperson.

My work on the levels mainly consists of taking the blocked in designer level, and arting up the scene, implementing the composition, creating any custom geometry and textures needed for that level, UV mapping, occasional environmental animations, and finally, lighting the scene. For the few silhouette levels, I also had so create versions of the characters, objects, etc. that would have the respective color of the level, as well as the custom skymaps used in them.

Also, many characters appear in these shots, and these were done by the character artists. The few that I had worked on are specified below.

1-4 Sunset Shores

This level was originally an experiment for what might work as a kind of interactive loading screen. I originally tried to use as little textures as possible so that it would be easy for the game to load while other assets were loading in the background. In the end, it was able to be adapted for a proper level instead. The inspiration came mainly from growing up on the coast in Massachusetts, and loving the colors and silhouettes that would come in the early morning sunrise, and sunsets. It was fun to explore silhouettes, and find the middle ground of what was too busy, and what worked nicely as a solid shape. I made Donkey Kong's tie, and Diddy's hat and shirt red primarily as a means to keep their shapes readily identifiable and offer a separation to their otherwise solid forms. I think it kept them very identifiable as characters, while only minimally interrupting the overarching color scheme that applied to everything else in the level. It was also one of the few levels that I had a hand in the initial layout, as much of the original test layout was utilized in the final design.

2-1 Popping Planks

this level was iterated upon many times, and Luis Ramirez and Mark Brady also worked heavily on the final version. I have tried to isolate shots of areas that I had worked on primarily. I created the initial landscape shot of the beach going off in the background, with the ocean surf that comes and crashed upon the beach in the background. Shadow of the Colossus was a good game to study for this effect, to see how what techniques they were using for their crashing waves on their beaches. I also created many of the unique background rock shapes that are jutting out from the ocean.

The background rocks were a fun asset to create. they started out as base sketches, then scanned and painted in photoshop, and finally given some dimension to the models in the actual level. with the restriction of the 2D camera, it allowed me to use some techniques that would not work in a totally 3D environment. Another good example was the skymap, which I was able to use on a polygon that was tilted towards the camera. Even though it is a simple scrolling textures, doing this provides the illusion that the clouds that are higher up on the texture, and closer to the camera, will pan by faster than the clouds far off, and closer to the horizon.

It was a great treat to see these shown during the early playthrough of the game on the Jimmy Fallon show :)

Popping Planks playthrough

2-6 Blowhole Bound

For this level, I given the opportunity to create the Whale character that DK rides upon. This was then given some final touches by one of the character artists, Quinn Smith.

I created the animated mussels that react as DK walks on the pier above. This was fun, as I hadn't done much game scripting before, and it was simple enough to script up the animation attached to an area trigger. I grew up playing on the beach during the summers, and it was always intriguing to study the mussels that would cake up on the rocks, and how they would shut suddenly when disturbed. The yellow on the inside of the shells, and the black shell itself gave a beautiful contrast when they would move.

Blowhole Bound playthrough

2-B Pinchin Pirates

This was the one boss arena that I made for the game. Going from the stormy weather of the previous levels, to a more calm sky for the boss battle. I tried to make an area where the crabs were using the remains of an old wrecked ship as their little hideout.

Pinchin Pirates playthrough

2-K Tumblin Temple

This level was the secret temple level for the Beach world. It was fun to create a level that was in a state of collapse and disrepair, with lava pouring in through the architecture.

Tumblin Temple playthrough

3-3 Mast Blast

I worked on this level with Reed Ketcham. He handled the beginning of the level, with the Jungle Temple, and I focused on the Beach area that transitions to the inside of the ship hull, and ultimately across several ship decks.

Mast blast playthrough

5-1 Vine Valley

I originally arted out an entire version of this level, but after iterations, most of it got tossed and redesigned. the transitionary area from the caverns to the upper tree canopy was kept, though.

Vine Valley playthrough

7-1 Foggy Fumes

This was another silhouette level that was fun to work on. It was much more mono-chromatic than the others, with much of the area being coated with a thick fog. It worked out well as a kind of reveal level for the rest of the factory world, as the fog gets dissipated once you turn the machines on at the end. The designers had the ideas in mind of using the fog to mask the character, and make some of the platforming more challenging in areas.

I was able to use some throwbacks of the past on this level, putting a distant silhouette of the original game's I-beam structure off in the background that had taken some weathering in years since the original adventure took place.

I put a little Mr. Game and Watch off in the background, hammering away at the pipes of the factory. I fell in love with the character after playing him in Smash Bros. I loved how they kept to the original choppy animation speed, and wanted to recreate that here. It was also something of a throwback to a version of the old handheld game.

Foggy Fumes playthrough

7-R Lift-Off Launch

Life-Off Launch was fun because of how unique it was. Going from inside the factory buildings, to launching up into the sky, and up into the atmosphere allowed the opportunity to create an interesting way that the level played out visually. I wanted to sneak an aurora borealis into the game somewhere, and this was the perfect level to use it in.

Lift Off Launch playthrough

8-4 Smokey Peak

This level was fun to. It looks better in motion, as the background consists of rolling smoke throughout the area. It was nice to do a Rambi level in this style, and have lots of destructibles. I put some brambles in to add to the aggressive nature of the level. they were something of a throwback to the dreaded bramble levels of earlier DKC games, too.

I learned a lot of 'low-tech' tricks from the Monster Hunter series. They have done some clever tricks of animating 1-bit alphas across mostly transparent geometry to achieve effects like embers in the wind, or snow billowing in through a doorway. I used a similar thing here with the embers blowing up from the bottom of the frame, and the rolling smoke in the background. The smoke was separated out into four layers, using wavy ribbons of geometry and scrolling textures. The closer to the camera, the faster they would be animating, pushing the illusion of depth in the scene.

Smokey Peak playthrough

8-5 bobbing Basalt

The volcano was the one world I probably had the most influence on the look of. Early on, I worked on the initial look for the world, creating the black stone basalt, lave and rock textures, starry night skymap, and working with the engineers to develop the heatwave effect that would separate the background from the main gameplay path.

Bobbing Basalt playthrough

Extras Gallery Dioramas

I made several of the dioramas that are unlockable in the Extras gallery.

Cave Diorama

Cliff Diorama

Ruins Diorama

Forest Diorama

He-Man Customs art project

2008-02-12T08:42:00.000-08:00

This is a personal project that I have been working on for a little bit. I remember when I had the Masters of the Universe toys when I was younger, I would commonly trade out arms and other parts to create new custom characters. It was simple because many parts of the old toys were removable and interchangeable. I took that same idea, but approached it with different artistic skill sets that I had acquired over the years, and its been quite a fun and explorative project.

As a general rule for myself, I only used parts of the original MOTU toy series, combined with somewhat raw materials and found objects. I strictly didn't use any parts from other toy lines. It seemed more fun and creative that way. I also tried to use each one as an excuse to try out new techniques. I have learned a lot in terms of paint/ink washes, and dry brushing, and other random tricks. I've attached a little bit of fiction for each of these characters as well. I hope you like them.

Hideous and frightening in form, this beast is a champion of the great battle arenas. Pitted against man and beast alike, he has yet to be felled in mortal combat. Whether from a lost line of of a once greater species, or some grotesque creation of a dark sorcerer is unknown. The beast does not speak, but appears to understand those that do.

In ages past, for crimes long since forgotten, this monster was shackled and chained in the deepest dungeons. Bloodlines of kings came and gone as it sat undying in the cold and wet darkness. Any remnants of sanity and intelligence long since cracked and broken away from such solitude. In a fit of bestial rage, the prisoner tore it's weakened and rusty bonds away, and escaped once again into the wilds. Hunters traveling the furthest stretches of untamed wilderness tell tales of the chained beast who haunts the forest, feasting on the fleshes of the land.

The idea I had for this next character was of an immortal demon, with tremendous physical constitution. As a ritual, he would carve patterns into his ever healing flesh, and pierce himself with large decorative rings. From these rings he would hang dismembered pieces of victims.

This mechanical man exists as a combination of technology and magic. What little essence of thought and will that could be harnessed by the strange arts gave life to the otherwise cold and dead metal man. Acting as a guardian and service drone for it's creator, this clunky robot wields slow but great strength. A large amount of maintenance is required to prevent rust decay and stiffening of joints.

In the jungle stretches of the far southwest grows an abundant and hugely sustainant plant, the Shucao. Breaking apart it's leaves reveals the nectar inside that has proven to be a miracle medicine salve for the peoples of the lands. Over the centuries, as practice mixed with tradition and superstition, one tribe adopted a brutally sadistic practice for only the highest of it's warriors. Engaging in a ritual that lasts days, the warrior will slowly have the outer layers of his skin peeled off, and his naked body coated in the clear juices of the Shucao. During this practice, the healing plant all but keeps the warrior alive as they endure insufferable pains. It provides a "second skin" that eventually bonds with the flesh itself, offering a coating of unseen protection. Many die, but those that survive are revered highest in the social order, and their will and honor is strengthened by the ordeal. Legends say that a Shucaoan Warrior has never been seen running from battle. Bitter in temperment, Horrific in appearance, and divine on the battlefield, they are also the most compassionate to their peoples. Many take on the spiritual belief that they are stripped of their humanity with their skin, and become a higher manifestation of protection for the community as a whole.

In a failed experiment of sorcery, a hive of overgrown and violent wasps was created. Overtaking their creator, they escaped to the nearby swamp lands. What scattered remnants of magic that coursed through their bodies, and down their bloodlines, gave rise to this sentience of living sap and honey. drawing upon the collective thought of the hive, and attaining a form of consciousness of it's own, this amorphous monstrosity is neither it's own being, or the collective thought of the hive, but a strange combination of the two. Allowing the hive to now travel, this beast slowly lurches through the lands, providing protection and transportation for this cursed wasp colony.

I always loved skeletor, But hated that idea of a skull attached to a muscular man. With this one, I wanted to hide the body, and leave the physical form more to the imagination.

A mighty stone civilization once flourished in the wet jungles of the west. Ceremonial temples and statuary peaked above the forest canopy all throughout the land, like fingers reaching for the heavens above. Scholars say it was their arrogance that angered their gods. Almost over night, flood and famine killed off the men of these tribal kingdoms, and a curse spread throughout the lands.

These days, nary a wanderer will journey to the crumbling overgrown cities of rock. Those that do are often overcome by a madness of the mind upon returning, speaking of nameless horrors and a world covered in darkness. One corollary among many of the tales speaks of creatures part man and part jungle. With glistening yellow skin, that shifts in pattern and color, and thick strong legs that carry these beasts up into the tree heights with hardly an effort. They are as protectors of the lands from man. Keeping sure that his destructive and vain presence never again takes root in the thriving jungles. Whether these are natural protectors, or the long fallen citizens shaped by the anger of their gods, nobody can tell.

This guy was a lot of fun. I found a pile of shattered windshield glass on my bike ride to work, and took home a bag of it.

"There is a deep cave hidden in the foothills. Within it's network grows the deadly Cyrth mineral. It bonds and grows quite hurriedly with any organic surface it comes in contact with. The crystalline dust is sterilized by sunlight, ensuring the danger will not escape the caverns in which it thrives.
There is still the occasional traveler who happens into the subterranean dungeon as means of shelter from the storming weather outside, only to be accosted by the much more dangerous elements inside the caverns. The entrance is filled with the frozen statues of these hapless victims, frozen in time by the mineral's windswept dust."

This guy was a good challenge too. Even as a kid, I always hated how bad the anatomical proportions looked on the original ram-man, so it feels good to make one that looks more accurate.

"The Fisherman"

In the dark kingdoms to the south, tales are spun in late night war tents, by soldiers too frightened and anxious to sleep. Their stories describe a legendary reaver of death, forever locked in an impenetrable armor. The fisherman is so named because of his method of killing. Only cold lifeless eyes, and frothing teeth can be seen inside this monster's helmet, as he furiously hooks and reels in warriors with his sharpened chained grapple, falling upon their reeling bodies and crushing their bones and ripping their flesh apart with his oxen-strength arms.

Alright, White robot dude....

this one worked out pretty cool, in that mekanek's neck was the perfect fit for the cavity inside manefaces' head. (sorry pictures are kinda dark)

Some additions:

And this guy:

Metroid Prime 3: Corruption Art

2008-02-07T12:06:00.001-08:00

In July of 2005, I moved to Austin, Texas to work for Retro Studios. The project was a lot of fun, and a really exciting challenge for me. The first two games had already received quite a bit of acclaim for their art direction, and environments specifically. the bar was already set very high in that respect, but it was the best kind of challenge.

I worked alongside some of the most talented people I have had the fortune of knowing.

I was already a huge fan of the Metroid series, Super Metroid being one of my
favorite games. It was a constant struggle from a design standpoint to want to re-introduce throwbacks from the older games, and also introduce new things that would add to what had already been done.

I am an environment artist at Retro, so that is what my work consisted of during Prime 3.

My first room was just at the tail end of the Galactic federation planet and ship worlds. there were two versions, a damaged east hallway that forced you to use the morphball tunnel, and an undamaged west hallway:

Brryo:

Bryyo, crashed ship:

Bryyo, Generator halls:

These hallways were designed to have destructible barrels throughout that you could shoot to damage enemies with. I wanted to tie in Space Pirate tech from earlier games, so I made them a variation of the "zebetites" from the first metroid, which were the collapsing canisters you had to shoot through to get to Mother Brain at the end of the game.

Bryyo Fire, landing site:

The landing site was fun to make. I made a variation entryway statue based off of Ben Sprout's original Bryyo statue. Keeping with the reptilian theme, I made the twisting fangs that curve around the room. I thought the fire landing site should feel like the most dangerous and aggressive, and tried to incorporate that into the aesthetic of the architecture. I also imagined that the inhabitants of Bryyo would hold some sort of holy significance to the glowing fuel gel. I liked the idea of rivers of fuel gel culminating at this one spot, and funneling through the architecture and hidden plumbing.

Bryyo Fire, entry hallway:

This was one of my favorite rooms to make. Again, working of off Ben Sprout's original Bryyo statue, I made a series of busts to display throughout the room. Sort of like a hall of heroes, or hall of gods. While making this room, I wrote brief mythologies for each head, and put together a loose history. Although these descriptions didn't make it into the final game, I like to include them here so you know where I was coming from when making them. Again, these are just from my own personal notes.

"From the sleeping chaos awoke the high god. It was he, the Antecedent, the propagator of the genesis, and the eternal body in the sky. In the beginning of creation, the life giving sun created its first child, Bryyo. Upon it’s surface it poured a vast ocean in which the beginnings of life could thrive. The high god then laid down to resume his eternal sleep. From his body, the 23 keeper gods sprang forth as the watchers and caretakers of the world.
Within the expansive waters, the children of Bryyo were borne. In their primitive forms, they wandered the currents for eons, becoming masters of the deep. The gods watched this burgeoning life from atop their holy island, where the eternal flames burned within the Garden of Light.
When the Reptilicus had dominion of the oceans, the gods granted them access into the divine province, to be one as them, and partake of their knowledge. Given new forms to walk upon the land, they dwelt within the garden for a time.
After bestowing their wisdom to the mortal sons of Bryyo, the pantheon ascended to live upon the sun. All departed the celestial first son but one god, Thalyys, who remained as the keeper of the Garden of Light and watcher of the mortals.
Arkithun crafted for the gods the City of Glass, wherein the vital light of the high god’s form could eternally penetrate. It was after this that he bestowed the knowledge and gift of architecture to the curious reptilicus, to forge for themselves a civilization.
The oceans sank, and the land spread out from the divine island in all directions. The great migration occurred, and the kingdoms and cities spread throughout the world. Having long departed their primordial territory, the Garden still remains at apex of the lands highest mountain, abandoned by all but Thalyys, who tends to it eternally."

"Chronicler of Ages – Ordyyn: Nestled deep within the walls of the great library, Ordyyn tirelessly scribes the history and events of Bryyo. Those chosen ones that have most impacted the histories of the world ascend to assist the chronicler in their afterlife, helping to maintain the infinite halls of knowledge, and forever bask in the radiant light of the high god."

"Instiller of Venom - Korphyygis: At the beginning of each life, and before birth itself it is Korphyygis who bites each youngling, pouring into their body the physical essence that is as a poison to their enemies. This blessing is carried within each mortal for life."

"The Lord Artisan – Arkithun: After the gods departed Bryyo, and chose to live upon the sun, it was Arkithun who crafted for the gods the mighty City of Glass. Its sprawling towers and buildings are their eternal dwellings. From within its walls, the light of the high god may still penetrate to soak all with vitality and life. After crafting the divine city, Arkithun granted to the children of Bryyo the knowledge and gift of architecture, to forge a civilization for themselves."

"Dreamer of the gods – Pharandrin: This half blind deity remains in a perpetual dreaming state. It is within his mind that the resting conscious of all children of Bryyo travel. He is the god of abstraction, and the weaver of mystery. For those attuned to him most, he is also the god of insight."

"The Sacred Transmuter – Anglyyn: When the children of Bryyo became masters of the deep, and then left the water to pursue a life upon the land, it was Anglyyn that crafted for them new forms to better traverse the world. The spirit of Anglyyn is with each mortal at all times, providing eternal growth and replenishing the body when needed."

"Caretaker of the Dead – Ekrosyys: Within the body of the sun itself lives Ekrosyys. It is here where all spirits of fallen children of Bryyo ascend to. He keeps watch over all souls of the deceased, who’s life essence is absorbed into the light of the sun, to lend themselves once again to the never ending cycle of life."

"Keeper of the Garden of Light - Thalyys: Atop the highest mountain in the burning plains dwells the god Thalyys, forever tending to the gardens there, and maintaining the eternal flames. It is written that when the last child of Bryyo has fallen, the flames will extinguish themselves, and the light of the sun will cease to be, casting the world into a great darkness."

"The Travelling sustainer – Kromdyyn: When the great continent expanded outwards, and the children of Bryyo migrated with it, Kromdyyn traveled with them for a time as well, seeking to learn the ways of the land, and discover the mysteries that the ocean had concealed since the beginning of time. For an age afterwards, Kromdyyn disappeared into the frozen dark lands, and wandered the expansive plains of ice. When he returned from his dark sojourn, he had learned much, and bestowed to the mortals the ability to conceal themselves, and hide from their enemies."

"Harvester of Nectar – Vyyth: When the oceanic waters receded from the primordial island, and land spread outwards in all direction, Vyyth poured upon the naked crust of the land the invigorating and restorative burning nectar. This immaculate serum has the powers to heal the sick and diseased. All newborn younglings are ceremonially bathed in this curative substance to ensure strong vitality."

Bryyo Fire, Temple:

I made this wall as a bas relief of what the Bryyo locals would create, being influenced by the natural world around them. This had a heavy art noveau influence as well.

These displays of ceremonial armor were fun to make. I was hoping to imply more culture and ceremony than what was there in front of you, to hopefully get the player into imagining how the Bryyo society might have functioned.

Bryyo Fire: Korba hallway:

This Korba creature was originally just the mouth that would grab you when you get too close. Danny Richardson created the original creature. Using his textures, I added the thick slug body embedded in the cross section here. I liked the idea of an enemy like this, who does not move away or die, to be heavily incorporated into the environment around him, like some sort of worm that buries himself and waits for hundreds of years, as food occasionally passes through.

This was a small hiding spot I decided to put into one of the morphball tunnels. I was thinking of some small scavenger that scurries into here, and feeds off stray bits of corpse he comes across. I wanted it to seem as if Samus was the first person to ever come across this little feeding spot.

Icicles! Working with one of the particle artists, Sean Horton, I covered the ceiling of this room with icicles that are slowly dripping at their ends, in the eternal ebb and flow of temperature in this room between the portal to the frozen side of Bryyo on one side, and the sweltering heat of the Fire lands to the other side. I had made some Bryyo native skeletons to arrange in ceremonial burial poses, but didn't end up working on the room they were intended for, so I placed them in here, within the tomb alcoves built into this section, for crimes long since forgotten.

Skytown, entryway Chozo statue:

The Chozo statues were always some of the most memorable set pieces for the metroid games that I had enjoyed so many times before. It was important to make ones here that were recognizable, but also influenced by the unique artistry of skytown. For this entryway statue, I thought of the statues from Zero Mission, and adopted a similar indian style sitting position for him.

Skytown, Spiderball chamber:
This room was fun in many different ways. It was tight, and a little bit claustrophobic, which felt like old school metroid. You journeyed into the hearts of one of the skytown pods, so it was an opportunity to show off the guts of the mechanism. It also gave me a chance to put a chozo statue in. I actually created this one first, and the entryway statue second. For this one, I wanted to pose him in the traditional statue pose, but incorporate some elements of the prime style chozo, which had a thinner head. I also created the armor the statue is wearing to reflect a similar method of technology as Samus' own chozo armor. It was while searching through some reference images that I discovered that they already did this in Zero Mission.

Skytown, exterior hallway:

Skytown, landing site:

Skytown, interior hallways:

Skytown, save station:
I always loved the feel of the save stations in prime. I thinks its the immediate sense of comfort and safety you feel when entering one. I wanted push that feeling that I always got, and make a very serene little hideaway type of save station. Along the walls, I made celestial clocks, that correspond to some unknown solar system, and the respective orbits of their planets.

Space Pirate Planet, Metroid laboratory:

This room was a lot of fun too. I always considered the Metroids themselves to be one of the most interesting aspects of the series, and easily one of the most original creatures in gaming. I wanted this room to feel something like a metroid museum of sorts. I thought about the ways the pirates would test and analyze the metroids, and different experiments they would put them through. Like the statuary room in Bryyo, I wrote many notes to correspond with some of the different things I put into the room. Many of these made it into the game actually, although they had to be edited due to text size resrictions. I made the metroid eggs specific for this room. I watched the intro to Super Metroid again, and noticed that the fluid inside the egg dries almost instantly when exposed to the air. I created some "hatched" eggs similar to this, with the embryonic fluids hardened immediately in their dripping state. I'll include the notes I made as well, for those interested in the fiction I created personally for the room.

When I first started working on this room, I envisioned all different types of Metroids being housed here, as if this was the main research facility where all different variations of the creature were brought and studied. Due to a number of reasons, many of these variations did not make it into the final game, but some of the write-ups mention them.

"FAILED EXPERIMENT"
Metroids exposed to the Dark Aetherian atmosphere displayed significant changes to their physiology and behaviorial patterns. Exposure resulted in altered cutaneous pigmentation, solidified carapace with superficial dermal striation, emergence of multiple luminescent ocular organs, and two additional cuspidate teeth.
Advanced physical durability was observed, as well as more instinctual and aggresive behavioral tendencies. Subsequently nocturnal, Dark Metroid developed a fatally acute sensitivity to solar light.
All attempts to recreate this atmospheric transformation have met with utter failure. Test specimens yield a 100% mortality rate.
Experiments rarely live more than a few hours after artificial transformation is achieved. Of these rare instances, specimens require complete artificial sustainment. No sentient behavior has been observed in any instances.
Failure attributed to unknown variables.

"MACHINE DISSESCTED METROIDS"
Side by side observation of metroids native to different planets show subtle variations in dietary cycles, energy consumption abilities, and aggressive tendencies. Theoritical analysis suggests that the Metroid's environmental versatility is due in part to it's adaptness to survive in differing atmospheric conditions, marked changes in gravitational influence, and varying levels of gamma type radiation.
Specimens native to SR-388 still display most consistent growth and energy consumption maturation.

Working off the older metroid models from the first two primes, I created these virtual wireframes for the testing facility.

"EGGS CHAMBER"
Exposure of unhatched metroids to alien sustentative chemicals and levels of radiation has been insightful as to the adaptability and survivability of the organism, even at this early latent state.
Specimens that survive have been observed with greater scrutiny as to their cumulative behavioral augmentations, as well as any affect exposure has to their ability to drain life energy.

"BABY METROIDS"
Metroids derive from a parthenogenetic birthing process. Amniotic egg fluid provides both nutrients and phsyical protection of the developing larva.
Once hatched, this fluid experiences rapid desiccation, hardening completely in several seconds.
Hatched Metroid larva still retain a full coelenterate body structure. larval tentacles harden to become cuspidate teeth in adults. Energy draining abilities in this form are primitive, but still very fatal.

Here are the remaining notes for various contained metroid specimens:
"INDIVIDUAL METROIDS"
Tallon IV specimen - One of a small batch of Metroid native to Tallon IV. This was the only group transferred from local research laboratories on the planet before their subsequent attack and destruction.

SR388 Specimen - Metroid recovered from Ruined structures excavated below the surface. The frequent presence of Chozodian architecture wherever Metroids are found to habitate naturally leads to theories of possible connections between the two species.

Zebes Specimen - Research laboratories located below the surface of Zebes consistently yield the most relevant data on Metroid developmental cycles, and physiological composition. This could be due to the vast changes of climate on the planet. Observations and tests may be performed in a multitude of naturally-occuring native environments. Progress of research on this site has led to Expansion of the labs, as well as a stronger security presence. The Zebes station remains our primary Metroid research station.

In one chamber, I wanted to put a fat giant metroid, like in the end of Super, and then tie in an explanation as to why some metroids (like the one in super) get really big in their larval state, but others evolve into more adult forms. Again, none of this is canon by any means, but just the fiction I wrote for myself when making the room.

"BIG METROID"
Observations of captive Metroids display a rare anomaly in their developmental growth. Approximately .08% of contained specimens never reach the biological process that leads to their otherwise natural metamorphic stages of maturity.
While developmental stages are stunted, physical growth continues at a congruent rate. Efficiency of energy consumption increases steadily as well. During behavioral analyses, greater intelligence and problem solving skills are observed.
Heightened abilities of energy consumption make this anomaly a potential key in isolating and duplicating their feeding process artificially.

Space Pirate Planet, hallway:

Space Pirate Planet, Mining room:

This room was fun to work in. I wanted it to feel like a natural part of the planet that the pirates were slowly boring through. I gave the floor a makeshift feel. Working with Todd Keller, the art director, we came up with an idea for a type of mineral/metal on this planet that was a mix between wood and muscle in it's shape, but actually composed of metal ore, with veins of hot blue glowing substance inside.

..quot;>

Space Pirate Planet, elevator hallway:

Dioramas:

At the end of the project, I made several dioramas that could be purchased using points acquired through playing the game. These were made quickly, and use many assets created by many other artists at retro. I made the bases for the dioramas, and arranged them all into a scene, using characters made by Quinn Smith, Danny Richardson, Ben Sprout, Andrew Jones, Elben Schafers, and Ian Olsen. Sorry if I forgot anyone!

Bryyo Throne:

Mogenar battle:

Steamlord Battle:

Ghor Battle:

Aurora unit Battle:

Metroid NES cart project:
This was actually a personal project that I did before getting to Retro. I always wanted to recreate a sprite pixel for pixel with NES carts, and chose to do the Metroid sprite. They had been in storage for a while, and with the help of some folks at Retro, especially Al Artus, these were repainted, and suspended on fishing wire so they could hang from the ceiling. I donated it all to Retro...