Taunting The Behemoth: Tom Fulp and Dan Paladin Cry Out
December 12, 2008 Page 3 of 5
BS: The Behemoth art style style has been consistently very Flash-like. I know that there's a lot of detail in it, but it's that certain stylized look. Are you going to continue in that vein? I would be really interested to see what kind of [game you'd make] if you did something that was more... delicate, shall we say.
DP: Yeah, possibly. I've been working with vectors; that's just the nature of vectors.
BS: Would you do a pixel-oriented thing?
DP: I wouldn't mind doing a pixel thing. We were just messing around with Super Soviet Missile Mastar. It was kind of fun to work with a different kind of resolution and things like that. I like it.
I guess it was so comfortable the way I'm doing it, and just the sheer amount of work that needs to be done --- it's scary if you want to jump into a completely different look or approach. It's always possible, but I'm just so comfortable with it right now.
BS: It also, in a way, sells. It's instant marketing, in a way. At this point, core gamer types recognize your art style, and they'll be like, "Oh, that's the new game from the guys who made those other two games that look like that!"
DP: Yeah it's kinda neat. People see it and they're like "It's like Alien Hominid or something!" It's cool that people make that connection. That's neat.
You know, you do something like that long enough, and you almost feel locked in, in a way. Sometimes I try to draw people and I'm like, "Oh my God! They've got necks and noses!", 'cause I don't do those.
BS: Do you feel like you've painted yourself into a corner a little bit?
DP: Sometimes. I mean, even when I sign things [for people], I'm using a pen and I'm like, "Oh my god, a pen!" I've been working on a digital tablet for like six years now. That's a total vacation from what I used to do, which was just traditional.
So yeah, it's all different. I don't feel like I'm stuck though. I know that it would just take a little bit of ramp up time to go the other way. But I just never want to go the other way 'cause it works so well right now.
BS: What about 3D?
DP: I'm not afraid of 3D... I don't mind 3D. When I started -- when I first animated -- it was on 3D.
BS: At [former employer] Presto Studios?
DP: Yeah, and even before that I was learning animation on my own, and that was 3D. And that's how I got started. So I'm comfortable with 3D, and I think you could translate it into 3D well.
Because, if you look at our figurines, it kind of proves that you can have the designs in 3D and still be appealing. But I think that some of our audience would be upset with us.
BS: Oh yeah.
DP: And I don't think I'm ready to piss people off. (laughter)
BS: It's a whole different scenario, because then you've got cameras, and you've got entirely different gameplay mechanics.
DP: And all our tools that we've built all these years, and our proprietary engines and everything, would be gone. We would be abandoning all that underlying structure that we've been creating.
BS: Sounds like a fun time. People do that all the time!
DP: We did it before. I don't know; I'm not against it. If we have something that works better in 3D, that's 3D at the concept [level], I have no problem exploring that. But right now we're still working with 2D.
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