Chikn Dance

Marco Rousolini: The Porco Rosso

Marco Rousolini: The Porco Rosso
after Miyazaki

Magic: the Gathering Dump!

Alex Hinkley receives a Smack Down

Here is a response to a really insulting article concerning the earnings of Game Developers recently posted on the Examiner.

Here is the link to the article.

=================

This article is an asinine poorly thought out tantrum.

Stick around for subsequent smack down.

Firstly; you presume that you can tell a person what they are allowed to do with their income. You think yourself priest enough, that you can insist what their earnings can or cannot be spent on. I'm not even getting into the amounts they are paid yet, I just need you to be aware that you are essentially saying that you can be upset that a person spends their money on what they want to. You did this in print for all to see, and stand with arms akimbo like you are a proud revolutionary. Zero irony.

Secondly; you carry on in this fit about how game developers make too much. Here is a simple truth. Games are a luxury item. You do not need your games. Yes, police, firemen, and teachers are vital and should be paid their worth. I absolutely believe that, and have voted, and paid to make it so. However you, and the public have put forth your vote on what is most important with your taxing decisions and your dollar. The American society values luxury more than necessity. Need an example? Did you stop to look up how much the designer of aforementioned sports car made? How about the engineer? The CEO of that company? What about the movies that CEO likes to watch? How much do the director, or actors make? A lot more than game devs, and an embarrassingly larger sum than the symbolic Teacher, the Fireman, or the Police Officer. The people of this country value luxury, and thus those that deliver it get paid more. Simple economics.

Thirdly; your math argument is boldly idiotic. "Keep in mind that many game studios employ literally thousands of people." -False. Most studios, even triple A studios employ literally a few hundred. LITERALLY. Few push into near quadruple digits. Riot, Blizzard, and maybe a few Activision satellites. And I can promise you those dev's salaries are wildly varied depending on necessity or perceived necessity. (See crushing point number 2).

Your average salary number contains the disparate incomes of Studio Heads, Game Directors, Art Directors, HEAD PROGRAMMERS, and QA teams, likely even janitorial staff, and security. So it's a very soft average. Did I mention Programmers? They make barrels of cash because their jobs are hard, and supremely vital. Dennis Nedry taught us a valuable lesson of why we don't fuck with programmers. PEOPLE DIE, MAN!

"If the average salary is $81,000, then a studio with 2,000 employees is paying out roughly $162 million in salaries alone." -False. We already discussed that salaries vary, and your numbers of employees are yanked directly from your rectum. But let's get into the budget of a game a little bit. Triple A game budgets are prepared with full knowledge and expectation of what they are trying to make back. It is a business after all. The goal is to make more money than you put in. Logical, right? Investors and publishers DO NOT throw a massive pile of money into a pit and HOPE that they'll get their return. Budgets to deliver the class of game that YOU and the public have come to demand are large, but not beyond the bare minimum of what they need to be to get that game shipped. Publishers invested the money and they want to make it back plus enough to have made it worth while. Devs are only a tool in that process doing what they love and getting paid to make publishers happy. Devs need to be paid less? Have you ever thought that gamers need to not expect a bowel loosening-paradigm shifting gaming experience from every disc they acquire? Of course not. No gamer does. I love my games as they are. Budgets are up because standards are also up.

"And that's not even including any of the bonuses of benefits which if the average is $17,000 yearly would be another $34 million." -False. Your source is for programmers, yet again, the highest paid on the floor devs in the industry. Fluffed numbers aside, most studios do not offer royalties. Bonuses are lean, and usually paid out to make up for profound amounts of overtime. You think seventeen or eighteen hour days are a thing of the past? Crunch is dead? Oh, my friend, you could not be more wrong. I did the math with my own salary and a few others. If you account for actual time at work in an hourly wage, you would find your absurd estimations are down right laughable. Game dev studios perform these crunches to keep from going OVER budget. They spend more time at work than with their families for a thing they are passionate about, to deliver a product that they; in their deepest wettest dreams, hope you will enjoy. I'm not complaining, or whining for them. We love what we do, that's why we do it. But an interview or two before you churn out drek would really help you not look the fool.

"No wonder games are so expensive to make! What if these numbers were cut in half? This would only benefit gamers." -True... and False. Yes, the games are expensive. What if the numbers were cut in half? Oh yes! Gamers would benefit, surely, the games would be cheaper. Game devs would not benefit directly, and your games would not be made, or be made sub-par. Enjoy the benefits of your utopian game developing fantasy. Indie games are out there, and they are on the rise. I see you partake yourself. Good on you. But don't presume to insult or insist that anyone else HAS to take your route of development.

The most damning part of this article is your terrible misrepresentation of Cliffy B's quote. I hope you purposefully messed that up, because the thought that you actually think that's a justification or defense for your argument will be an affirmation that I have indeed been wasting my time shedding some light.

He is talking about equalizing the cost to return ratio by removing what the publishers have implied is a seeping monetary wound in the industry and a justified reason for price hikes. He is not saying lower salaries. He is not suggesting that developers 'make too much'. He is saying lower the cost of production that is being woven into budgets to cover heavy losses in the rental/return market. This is obvious, and I truly hope you just had ill will and malicious intent in including it in the article. No one enjoys dunking on someone that is incapable of jumping. It loses all the fun.

My favorite remark in your article is this: "Why are developers making so much money? It might be tedious or even grueling at times and require long hours and lots of commitment, but working in the video game industry is generally fun. People should be working in the gaming industry because they want to create awesome games. Not because they want to become rich. When did the gaming industry become so corporate?"

This logic could be applied to ANY job. Teachers, police men, corporate officers, architects, scribes of terribly researched and thought out articles, artists, musicians, politicians.

I want you to read it again. Slowly. Try to be objective. That's generally the job of a journalist. Especially one that gets paid for it. Read it one more time.

If you aren't cackling with laughter at that statement, you haven't the forebrain to deal with the world around you, and I hope you are institutionalized for your own safety. The world is just going to tear you apart.

Please take more care when you write. Get more rounded sources, the internet doesn't have all the answers. Try also to not let your own feelings of misguided injustice lead your fingers into saying things that are so non-purposefully funny.

I hope the Examiner reconsiders it's gaming journalists with more care and caution in the future. Actually, Examiner? If you are taking applications...

I partially apologize. This is my first response to a ridiculous article like this. So like a baby rattle snake, I am probably spurting more venom than necessary to drop the simple woodland critter I caught unawares.

WTF Monsters!

Came home tonight ready to do some studying.  Here's some random madness that fell out of my head over the last few hours.

Godzilla 2014 Concept Art

It...  approaches.

On the horizon, you would see the storm front.  Gigantic flickering black clouds.  They would billow massively, forks of lightning would tear through the ominous shapes squatting on the horizon.

The storm would grow larger, and larger.  A wall of atmosphere, like a sandstorm, would overtake your city  

The ground would shake with the monstrous tremors of its foot falls.

The steam and the crackling ozone would envelope you, it would become difficult to breath.  All around you the squeal of car alarms merge into a panicked warble, like the cries of dying deer.  

Out of the thick atmosphere, the silhouette of the pained vengeance of the very EARTH would loom overhead.

It would loose a screaming roar from high above you.  

A deafening shriek that shatters all the windows in the sky scrapers around you.  Glass would rain down and tinkle on the tarmac.  You won't pay it any mind.

You would not feel shame when you emptied your bowels.  

Death has come for you.  

Your tears are lost in the sudden showers brought by it's own weather system.

This force of nature has arrived.  This world ender is...

...GODZILLA  

===============================

Here's a Godzilla concept in the film style.  Inspired by my friend's vision.  

The lightning coming off of his back is the nuclear energy constantly venting from his massive spines.  This creates a perpetual ion storm that follows him wherever he goes.

The idea is that whatever it is that has awakened Godzilla causes him incredible amounts of pain.  He's like Grendel, except he has a radiation blast breath weapon.

Nice.

Disney's Starwars! LOL

This one was inspired by Anthony Jones' Jedi from a while back.

I thought my side of the Force needed some love too!  

I present Lady Vex!  I don't think Disneyland would allow this character to run around.

Chloe Moretz as YT :Snow Crash Movie

Another attempt at film style concept art.  This time I used an existing actress to add some more reality to the idea.  I think she'd be a stellar YT.  After seeing her smarm right along with Jack Dohnagee from 30 Rock, I knew she had the spunk for this role!

 Anyway, in the concept she's seen delivering a package.  I decided to separate the magna-poon into a sort of magnetic bola, that way more contact points equals better stick!

Check out here board!  That was a BITCH to design in perspective. LOL

*Concept art for a District 9 Sequel

Christopher Johnson returns!

...Because I've been really wanting Neill Blomkamp to tackle this awesome IP again, I decided to take maters into my own hands.  Hope you like!

Practicing more film style concepts.  This one was way outside my wheelhouse. :D

*I wish!!!

Yesterday's Studies up close

A day of studies

I've been wanting to practice a bit of quasi-realism.  I don't think I'm there yet.

It might be, I just can't do it.  Somehow I end up ultra saturated and cartoony,

even when I paint from a photo! LOL  Anyway.  It's been a long day of painting and it's time for some sleeps!  Buenos Noche suckas.

Hiro Protagonist: SnowCrash Movie

I tackled the Snow Crash universe many moons ago in college.  The visuals have never left me, but my aptitude in painting has improved, so I figured I'd give them another go.  Here is Hiro doing his strut.  I wanted to simultaneously capture his outfit and his attitude.  

I'm trying really hard to put together some work that would get attention in the film fields, so any critiques, anyone can offer that might guide my work in that direction would be endlessly valuable!

Thanks for watchin!

Cyberpunkish

Had some time for a little sketch the other night.

I haven't really painted just for myself in so long, I felt weird trying to start without the collar.

Scary thought!  I promised myself to do some more 'fer shits n giggles' paintings

to combat the concept art institutionalization! O.O

Magic: The Gathering Webcomic pt 2!

Here are seven pages I was commissioned by Wizards for their second Planeswalkers Webcomic Series.  I have a whole new found respect for comic book artists.  They are serious bad asses.  Anyhoo, the art is a bit aged now, but I haven't posted them until this week.  I figured my blog needed some love! 

I'll be posting much more stuff this month, but if you'd like a sneak peak at some of it check out my Facebook fan page.  I've been meaning to set up a community to push me to post more work, so take part in being my digital task masters! Cannibalcandy: Art of Izzy


Also in keeping with this whole new community you can follow my recently resurrected Twitter here: Cannibalcandy on Twitter


Stick around for more goodies from Uncle Iz!  And be sure to follow God of War: Ascension's progress in the coming months!  We're really trying to put together something awesome for you guys!

Izzy on God of War: Ascension

Hey guys! I realized I hadn't posted here. I have taken on the lead concept art position for characters over at Sony! Here's the project I've been working on! Things have been crazy busy, But I promise more to come soon!! God of War Teaser!

Turkey Day imminent!

 

The Ambassador

BlueCanvas "Invasion" contest entry 

 

Gizmo C.1756 (part of a little concept side project I'm working on)  Got more arts for it coming up so you guys can enjoy EVEN MORE nostalgia based redesign.  I really hope this fad ends soon!

CTN super fast color Demo

 

Random ComicCon Demo for CGMW at CTN booth

Hey guys, I've got a load of art to share, mostly Wizards stuff, I just need two seconds I can rub together to get them in.  I'm busy working on a writing project, putting some serious effort into the office job, and I've become a total servant to my Skyrim Master.  Damnit.

Comic Con Demos

Hello my friends!!

If you are rocking out to comicon this year come catch me doing some live drawing and painting! On Saturday I'll be doing a Sketch Theatre recording at 3pm at booth booth 4712 and then an hour demo at the CTN Booth 5022 HALL G at 5pm. Come on down and shoot the shit while I paint for your general entertainment! It's gonna be a blast and there will be lots of amazing artists milling about. I hope to see YOU there!
Big loves,
Izzy

Lunchtime Sketchies III

Joined some of the fellas at the office for some lunch time endeavors.

Check out everyone's AMAZING work at Zbrush Central

Here's a crappy warm up Skeletor

Another Mr. Freeze. God I love this guy.

Orko!

And finally Soda Popinski.
Look forward to more arts coming up!
And if you want to keep up on the thread come and say Hi!
Peace,
Z

Some more Neverending Story

Grograman The Many Colored Death

Atreyu the Greenskinned Warrior

 Grograman and Atreyu from the Neverending story.  These were demos for: http://www.cgmwmasterclasses.com/

Atreyu is one of the protagonists from The Neverending Story. I made him a little older, and switched it up from the more traditional Native American look.  He's more Mezzo-American/ Mayan inspired with a massive blowgun with poison snail darts for taking down the Purple Buffalo his people hunt. 

Grograman is the lord of the Desert of Colors from the Neverending Story.  He's featured in the novel when Bastian goes crazy after going to Fantasia and wishing it back together.  I did this as a demo for my online CGMA class!

Student Interview

A student I met last year when I did a super short lecture at Siggraph sent some questions for a school assignment.
I thought there were some good ones in there so I figured I'd share them and my responses with you guys!
=============================================

1. When did you first develop an interest in art?

I started getting into drawing in Highschool, as I went to an 'alternative' school for weirdos, and they expected us to have a portfolio coming in.  I basically traced a bunch of shit out of a victoria's secret catalogue, and some manga images on lined paper. Hahaha, that's how it really got started, after that, I started meeting people that actually knew something of drawing, and started to learn ravenously.

2. Your pieces are generally digital paintings; did you start in a more traditional art background and move into the digital realm?

I started with a pencil and paper (they were and are the cheapest art form).  Eventually in college I learned to apply more advanced and expensive materials. Ha!  Finally I went fully digital (for work anyway) because of the speed, alterability, and ease of clean up. So the short answer is: Yes!

3. Has fantasy art always been your passion?

No, as I mentioned in the first response, I didn't get into art until a little later.  Before that I wanted to be a musician... and before that... (this is a secret!)  I wanted to be a marine biologist.  Which apparently EVERYONE my age wanted to be as a kid.  Who knew?

4. What jobs/internships prepared you for Sony and the freelance work you do nowadays? Do you miss any of them?

The interesting thing about art is that the final result of what you need to turn in never really changes.  You change.  You constantly build on what you learn, and are in a constant need to learn more.  Art is absolutely the VERY best field for a person with a made hunger to learn.  You can never know it all!  I do lots of the same freelance I did early on, I'm just faster, and as a result make a bit more money.  I don't miss any old jobs, as I'm always looking forward to the next new thing.  That alone keeps me damn busy.

5. What drives you to do freelancing and lectures/teaching, in addition to your primary career?

Initially I went to teaching and lecturing to challenge myself.  I'm generally a fairly shy person, and knowing that I try to force myself into some uncomfortable situations.  You being there for the biggest one to date.  Speaking in front of hundreds of people terrified the shit out of me!  Once I got comfortable teaching in front of people (I'm still not there yet for siggraph sized groups), it started becoming interesting to see what I could convey, and how simply I could share it.  Actually seeding people with notions and ideas.  That for the moment now has become a little boring though, and I'm looking for something new in it to challenge myself.

6. What is your favorite kind of work to do? What's your favorite part about your job?

I love what I do.  It's definitely my favorite kind of work.  I paint monsters and boobies all day!  Awesome!  Lately I have been working as a full Senior level guy here, and I'm getting some new responsibilities which has made things interesting as well.  Also... Boobies.

7. What's a typical day/week like as a concept artist?

Well, I don't know about the rest of the guys, but I get in to work around ten.  Paint all day.  Leave between six and seven.  Go home, hang out a little.  Paint some more on freelance OR teach... sometimes both.  Go to bed around two or three, unless I want to play some video games... then it's a little later.  Rinse.  Repeat.  The interesting thing about doing for work, something that you genuinely love to do in your free time, is that you can actually get burnt out on it.  You can put TOO much in, and exhaust yourself out of excitement.  I've found the key is to try to hold back just a little. " Put in eighty percent", a friend once told me.  "No more, no less.  Key to happiness!"

8. What's the most challenging part of your work?

Iterations.  Definitely.  When you see a design we've done for a game or something.  It's usually the end result of dozens, or even hundreds of sketches.  Constantly generating new ideas, and a variety of the same basic idea can be VERY mentally exhausting.  But it's also the core of the purpose of concept artists.

9. Your pieces display a vast knowledge of anatomy, movement, etc. Is that where you get ideas for your creatures, by piecing the various kinds of creatures together? Where does that inspiration come from?

I do pull from nature ALL the time.  For more specifics on my creature design check out this article I wrote: http://mercilessdesign.blogspot.com/2007/10/advanced-principles-of-creature-design.html

10. What is the best method, in your opinion, to develop those skills? What sources do you recommend? In other words, how did you get so good?

The absolute best method to develop visual understanding of things is to sketch them.  If you can, take them apart.  The ability to depict anything in detail with levels of reality is entirely dependent on a great deal of mileage studying it.  We think of study and sketching as a chore to be gotten through to get to the final art.  The fact is; sketching IS the art.  Visual study is how those skills are developed, and the only way the finals will have any breath of life blown into them.
This sounds tedious, but there is no magic recipe to improving a skill.  Personally, I find this liberating.  Because, then we are all responsible for our own levels of skill, and how quickly we improve.  The only thing one need to, is keep doing and practicing that skill.  They are guaranteed to get better.  Mileage, see!?

11. The ever famous - What do you wish someone had told you when you started? Any suggestions for a noob?

You will never stop being a student.  Don't look at this as a bad thing, it means your life will be filled with exciting challenges, and you'll constantly be levelling up to the next new thing.  Plateaus in skill improvement are normal.  Learn to love the plateau, and keep on practicing, notice how they get shorter when you do.  Find time to do other things.  Find a subject, or medium, or show, or anything that you like and you find interesting.  Make time to follow that interest until you are done with it.  When you've gotten bored of that interest, find  a new one, and start a new flow.  This is not flighty, this is amassing vast stores of knowledge to be pulled from.  You will be AMAZED at how all that seemingly irrelevant stuff will start to pepper your work, imbuing it with greater depth, interest, and realism.
=============================================
Questions by Amanda Walker