I had the honor of doing an interview with my iA mentor Richard Lico. Take what you can from this. Really informative and inspiring :)
1. What is your name,
where do you work, and what is your position?
Richard Lico - Bungie Studios - Senior Art Lead.
2. How is your day at work usually like? What time does it start and end? How
crazy can it get during "crunch"?
My work day is like everyone else most of the time. I fight
the morning commute so I can be in work no later than 10am, though I'm usually
in by 9. Core hours are between 10am, and 5pm, meaning we must be in the office
during that time (minus lunch). And we must put in an 8 hour day. I'm usually
out for the day between 6-7pm. Some days, I work late, or go in early because
of my work load. It's difficult to predict when that's going to happen, but
when another department is blocked by mine, I stay until it's resolved.
Crunch is different. We try and schedule crunch for 2 weeks
before the end of a milestone. We have 4 milestones a year. A milestone is when
we take all the little parts of the game everyone's been working on, put them
together, and see how the game is progressing as a whole. Milestones get
reviewed by our publisher, who has specific criteria for us to meet.
Crunch consists of a 12 hour day minimum, 5 days a week,
with some weekend work on occasion. We choose the hours best for us and our
families. Right as we're finishing a game, the crunch schedule goes out the
window. We just work whatever necessary to get the game done, until its done.
This could sustain for weeks, or months straight. Dinner is provided (catering)
for anyone who crunches. High quality, healthy food! No crap pizza anymore!
Bungie treats us well.
We also have amenities in-office to help relieve stress and
relax on long days. We have an indoor, 2-story climbing wall. A fully stocked
snack pantry and drink fridge. We have a liquor license, so we have beer and
hard stuff in the kitchen. And a lounge area to clear your head. We also have
an L.A. Fitness in the same building, which I frequent.
I've never had to crunch more than 4 weeks at
Bungie. My worst crunch was at Ravensoft, working on Xmen-Legends. I was
the only guy doing all cinematics. I worked a crunch schedule + weekend time
for 10 months straight, with a new baby at home I rarely got to see. It was a
difficult time, and the cinematics were criticized by the media.
3. Do you spend your time mostly animating or instructing/managing?
We have a dedicated animation manager, and a separate
animation producer. My job is to focus on leading thorough mentor-ship, and
sometimes by being hands-on. I help guide, and design much of the animation
technology at Bungie with our engineers. I document systems, give demos, attend
meetings, and act as the translator between design and animation. I provide
critiques, and often keep the big-picture goal in everyone's mind. I will often
"remain relevant" by taking on some of the animation content creation
myself. I animate for about 35% of my time at work. The player character is
made-up partly my own work, and work by my player animation team, who I
directly oversee. This work is usually the highlight of my day.
I'm training up a new animation art lead to replace me. I'm
changing roles soon so I may focus more of my time on creating key animation
performances, and being more hands-on with our technology advancements. My
replacement is currently lead over all AI (enemy) character animation
as a way of getting his feet wet. He has a group of skilled animators he
directs as well.
We have a separate cinematic team, which I have little
interaction with.
4. How did you get the job you currently have? Did you have to move up the
ladder or no?
Yeah. I started out doing spinning logo animations for
electronic billboards in Atlanta with Turner Broadcasting. You know, those
billboards on the side of the highway that tell you whats on TV that night? It
was all I could get straight out of college. That was in 99'/2000, and I didn't
stay long.
Next, i scored a job making games at a budget-ware company
called Sunstorm Interactive. We were making less than awesome games like Deer
Hunter, Carnivores, etc... I was happy though. Why? Because I was making games
and animating!! I was their only animator, and during my 2 years there, I
worked on 7 games. 5 of these were published. I upgraded by scoring a job at
Ravensoft, where I helped create Jedi Academy and Xmen: Legends. Another mostly
enjoyable 2 years spent there. But after that 10 month crunch I previously
mentioned, I had to leave.
I kept my reel updated after every project, and used it to
apply to many different studios. By this time, I was getting fairly good
animation results, and had 4 years of experience, so I had many choices in
front of me. I chose Monolith (Now WB games) because of the people, and
the project Condemned: Criminal Origins. I couldn't resist an opportunity to work
on a realistic, melee, 1st person game. What a rare and awesome challenge!!
Monolith was an amazing experience, and I met some of my closest friends there.
I was hired as a combat animator, but was quickly given the lead role because
of my performance. I was also given the opportunity to help design the combat
system for condemned 1 and 2! I had a huge influence over all the new gameplay
in the second game, and still point to that time as one of my happiest in the
industry.
We had just completed Condemned 1, and I had updated my demo
reel with my work. I wasn't looking for a new job, but its stupid not to keep
yourself marketable. I had a friend at Bungie who saw my reel and showed it off
around work. Bungie approached me with the animation lead role at that time,
which I turned down politely. I was invested in Condemned 2, which was just
starting up, and I wasn't ready to leave, but I kept in touch with Bungie just
in case. Kari, Bungie's recruiter and I would touch base every few months while
I toiled on C2. I gave her status updates, and she would brief me on their
situation. I had a blast making C2, but after it was over, WB decided to
disband the team and restructure. This was a bit of a disappointment, so my
reason for staying was diminished. I told Kari, and she invited me in for an
interview.
I started work at Bungie in March of 08 as the animation
lead for Reach, which was just starting at that time. I was also an advisory
over ODST, itself just starting. I was promoted to senior art lead after Reach
shipped due to the killer results we achieved as a team.
5. Where did
you go to school and how was it? Any opinions about art school/college in
general?
I went to school at the Savannah College of Art and Design,
in Savannah, GA. It was a great life experience, and I improved as an artist.
But I didn't learn much about animation from SCAD. 3D animation wasn't
something schools taught back in the mid 90's, so I didn't have an opportunity
to learn 3D animation from them. And SCAD had a habit of forcing students to
take a bunch of classes to "broaden their horizons", which to me
meant, "spend money on classes that aren't going to get me into animating
for games". Now that I've been in the business for 12 years, I can honestly
say that my assessment was accurate. I did take a bunch of Photoshop, and basic
3d modeling/rigging/rendering classes. I graduated in 99' with a bachelors in
"computer art", and a 3D generalist reel. I did get experience
with the 3d packages (Max/Softimage) of the day, which was helpful. And those
classes did indeed broaden my horizons. Just not sure if that wider horizon was
worth the huge price.
During my final couple years at SCAD, and after graduation,
I had to teach myself 3d character animation, so I spent my time working a
full-time job and attending classes during the day, and practiced 3d character
animation and playing Street Fighter III: 3rd strike with my friends at night.
I played a LOT of street fighter during that time, and used the animation in
that game as my template for how to animate for games. Most of my foundation
knowledge comes from dissecting street fighter, not SCAD. I rarely slept.....
I can't say if SCAD was worth it or not for me... That
degree got me in the door at Turner Broadcasting. I didn't have much of a reel,
so I relied on my credentials. SCAD allowed me the time to teach myself what I
needed, and introduced me to people I work with today. Schools this day and age
are much more relevant and focused, including SCAD's own animation and gaming
curriculum. And schools like iAnimate really provide relevant, specific,
accurate information from the pros in the industry doing the work every day.
How could that NOT be worth it!? I would have given anything to have a lesson from
one of the 3rd strike animators back in my time.
6. Do you think it's
better to go to an art school or to learn by yourself?
Who's responsible for your education? Your school? Your
parents? .... no, it's you. College provides real life context in a safe
environment. It teaches responsibility, accountability, and how to deal with
stress. These are essential life skills. And it teaches information
about your chosen trade. It's a school's responsibility to provide you with all
the information it can. It's your job to learn that information. If, at the end
of your time, you don't have the results, but you have had the opportunity,
it's not the school's fault if you fail.
But learning a trade can be done on your own through
observation, if you are self motivated enough. Learning a trade from trained
professionals is always a more informative route though. Not everyone has the
ability to teach themselves through observation only. My students at iA are
progressing faster than I ever did learning on my own.
7. Did you end up
where you thought you'd be today? What were some of the career choices you
wanted earlier in life?
In 6th grade, after beating the legend of Zelda (1st quest),
I knew I wanted to make games for a living. My 11 year old brain figured doing
Nintendo tip-line work was the way in. Thankfully, it turned out, I was wrong on
that part, but I never deviated from my goal of being a game developer. Film
animation has always been attractive, but I'm too much of a game designer to go
that route.
8. What was the
key moment that made you want to become an animator?
The Street Fighter series has been a HUGE influence for a
long time now. I would enter tournaments all over the NYC area where I grew up.
And my friends and I played like it was a religion during college. I learned
how to count frames, learn rhythm, frame advantage, etc... While I was doing
this analysis to get better at the game, the frames of animation became
engrained in my head.
When I was in the middle of my time at SCAD, Toy Story came
out. It was a HUGE influence as well. If I could animate like Pixar, I'd be
ahead of everyone else trying to get into games. So I would study every frame
of that movie. I'd watch every choice, arc, pose, personality glance.
Once I tried character animation, all of that knowledge
converged into one outlet. I knew then that character animation was my ticket
into games. Luckily, as it turned out, I was right to do so. 3D Animators were
the most sought after trade back in 99'/2000 when I was looking to break into
games.
9. Where do you see
yourself in the future? Still have any goals? Any other company/studio that you
would want to work for?
For the near future, I'm just focused on getting Destiny
done and out the door at the highest quality bar I can. At the end of this
project, I'll be changing my role from lead, back to working full-time directly
on the next game. I've found that leading isn't nearly as fulfilling to me as
being in the trenches. I'm happy at Bungie, and am looking forward to all we
have in store.
I don't have a list of companies I want to work for. I don't
think like that. I have work that I want to accomplish in the future. For
example, I hope to one day make my own fighting game. I have a design
that's been evolving in my head for 12 years now. I'm just waiting for the
right opportunity to strike, but I am patient. If a company wants to hire me to
do that, so be it. But I expect to have to do that on my own. I may eventually
do a film, but it would have to be under the right circumstances, and a topic
I'm interested in. Again, my goals, not some company's goals are what I chase
after.
And I'm looking forward to retirement, when I can travel
more, teach, and work unfettered by others, making my own decisions.
10. What inspires you
as an artist? Any influences?
Everything! The latest animated films, whatever game I'm
playing, the way the person in front of me walks up stairs with a bad left
knee... I can't sight anything or anyone specific. Again, my brain just doesn't
work like that. Everything is interesting, and worth observing. I actively
avoid others instruction on animation these days. I've evolved a very unique
method and style which others often times don't quite understand, and they will
try and steer me away from. A unique identity makes you easy to spot. Those without
one will try and get you to conform. Be wary.
11. What has been
your biggest obstacle into getting where you are today?
Myself. My own personality quarks. My emotional outbursts.
My communication style of blunt honesty. My odd way of working. My lack of self
confidence and overcompensating arrogance has created missed opportunities. Any
setbacks in my life come down to how I've handled those setbacks, or even
created them. I probably could be one of the top brass at WB games now if I
played those cards differently. Or possibly be the owner of my own successful
studio if I had made different decisions. Success takes vision, and honesty to
yourself.
Opportunities are there for those who... I was going to say
work hard enough, but that's BS. It's for those that work smart enough. I know
our cleaning crew, and they work very hard, but they're not making games. Don't
look at the path well blazed, it has too many people already on it. Look at the
path of most opportunity. Think through your decisions like a chess (or street
fighter) match. Your next move should be to support your next 5 moves. Change
the way you think, and it will influence what you do.
12. Do you have any
personal time for any side projects?
A little. Right now, my side project is being an iAnimate
teacher. I'm also a judge for the yearly awards from the AIAS. (Think of it
like being an Oscar judge) I'm headed into the final stretch for Destiny, so my
side projects will have to end come January until we,re done. After that, I may
start making fighting game animations. ;)
Any side project I do has more benefits than what is
directly obvious. With iAnimate, I get paid. That's great, but not why I'm
doing it. I get industry wide exposure. I get experience teaching. I used it to
leverage a raise at work. IAnimate pay will end when I'm done teaching, a raise
is forever. I get more eyes on my demo reel, which may result in a future
opportunity. I get to network like mad. And I help improve the industry as a
whole by teaching the next generation, and spreading my own strange, yet so
much better :), workflow. And by doing that, I may get paid speaking
opportunities when I retire like Richard Williams does now.
I also play a lot of games... Sure, it's fun. But for me, it
really is research and inspiration. It's where I learn from.
13. What are some of
the things you like about working in the game industry and some of things you
don't like?
I love designing and animating gameplay! There's nothing
like play testing a great character performance you made. I enjoy the stable,
year-round salary work. Not having to float between projects is important, when
you have a family like I do. Establishing strong teams that really work well
together takes years, which we can do because we're not on a project basis. I
like the more artistic freedom animators get in games over film. A director
can't possibly review every clip we make, so we're relied on more to be
proactive. This leads to more proactive co-workers, since the "list
following" people don't usually make it, which I like.
I don't like crunch, but it's common in all entertainment
work. I've crunched just as much on freelance commercials for Shilo, as I did
for Halo.
14. Does your company
take internships? Whats your view on them?
We may take internships in the future, but not right now.
Internships are tricky business. A gamble... The student usually has the naive
perspective that free work is free work, why turn it down? But reality is very
different. Every person at the office, paid or unpaid, needs certain things.
They need tools like a computer to work on that has all the requirements for
security, networking, and hardware that works with our game engine. They need
pricey software to work with like Maya, Max, Havok, and any middleware, etc....
And they need more time from co-workers and leads to help train them. And if
those highly paid individuals are spending time with an intern, the question
arises "is that the best use of their time? Could they take that time, and
just do that work themselves at a much higher quality bar?" And for all
this spent money and time by highly paid contributors, interns have a real
difficulty producing the quality of work necessary to even be used in the shipping
product. So the company may not get the return on the investment.
This isn't unique to interns though. Hiring anyone with little experience runs
this risk. I did that 2 hit melee chain in class in 5 hours, which included me
explaining each step as I went. Yet I spent 3 weeks, and 2 semesters teaching
students how to do that. That's 18 hours of training. I could have done 3,
maybe 4 times the amount of content in that 18 hours, at the required quality
bar. This isn't a knock on the students, but it does illustrate how a company
views interns. If the interns could hit that bar after that little training,
they wouldn't be interns needing the training in the first place. Schools like
iAnimate ARE essentially an internship, and why it exists. You're getting
everything I teach my team at work, but you're getting a lot more of my time.
Each member of my team may get me for 15 minutes a week. But that's all they
need.
The flip side is that hiring Interns gives a company access to the next Jason
Ryan, Cameron Fielding, or John Lassiter when they're still rookies. And that's
so valuable! So, like I said, a gamble.
