what is right now essentially an overriding^
framework for the game as far as the story
goes. So that's going to work out good. We
have some voiceover, it's going to be narration
that will be in the game and so will be writing a
script for exactly what the narrator or the
dreamer is talking about.
DAL: Another game in your stable in your
company is something called Curio would you
like to tell us a little bit about that project
When ZED leaves off, a few years later Curio
picks up. I really can't get into detail about why
that is but as far as the story goes it's kind of
my take on Alice in Wonderland to some degree.
That's about as much as I can really say about it
— it’s around a girl and she has a very special
abilities and I think that that's going to be it's
going to be a pretty interesting game. We have
a lot of good ideas, and a lot of preliminary work
has already been done on it. ZED is a smaller
simpler game and we want to do that first
because we need to raise enough money to be
able to do Curio.
DAL: In the past you've done digital matte
painting for Babylon 5, one of the greatest TV sci
- fi series, and another digital artwork. What's
one of your favourite past projects to do with
that approach and that side of your experience?
CC: Sure, I've done a series of campaigns for
Babylon 5 mostly involving Mars. The favourite
one was the interior of Mars Dome and it was
this you know high shot looking down into the
dome. It had a huge hotel that was essentially
the central column of the dome and it had
swimming pools and their lobbies all in case of
the dome breaching. I did that did that back
when there was just a very very beginning of
digital cameras. I was living in St. George Utah
when I did that one piece. It was a lot of fun
because I had bought this digital camera,
because I needed to take pictures of trees from
a high angle and on the outskirts of St. George
Utah are these large red cliffs. You could drive
up to them and then look down into the city.
There’s this big red desert landscape all around,
but in the town itself it's very very green.
Everybody has trees, lawns. So essentially I
was there getting myself a bunch of images that
I could use and tear apart in Photoshop.
That was an early version of Photoshop at the
time, which had the new layers feature. I’d
paste the cut-outs into the actual matte painting
image. The rest was all built in in a program at
the time called Form Z and there was something
called Electric Image. 3DS Max existed, and an
early Maya, Lightwave.
It was a lot of fun, and a very interesting thing