Well, there it is. I finished up MGS3 this weekend. It took 81/2 pages of notes, 24 days, with 25 hours of recorded game time. (Actual game time was probably somewhere around 50, I would guess, since I would have to restart if I was spotted, or died during a boss battle.)
I only shot 56 of the 64 Kerotan frogs; but I did collect all of the food items, got all of the boss camos, and received the stealth camo. I counted 60 areas of gameplay.
Of course, all of this is amateur stuff compared to speedruns like these:
I’ve only just discovered that these even existed, but I can’t believe the planning and execution that would have to go into a speed run (or speedrun, I’ve seen it both ways) like this.
Now, after watching these speed runs, here’s what I would love to see. Let’s take MGS, the 1998 Playstation version; get all of the cutscenes, all of the codec conversations that are vital to the plot, and a speed run like Powells; then cut them together so that you could watch it like a (really long) movie. And do it for each of the games in the series. I would buy those on DVD.
That’s my million dollar idea for the day.
Oh, and if I were Konami, I would create a tour, so that you could go see these guys live, in-person, when they’re making a record breaking run.
Look at that. Two million dollar ideas in one day. Not too shabby.
Here’s a look at a sketch done in preparation for my piece for an upcoming art show. Be warned: “Thar’ be crazies on that link!”
The theme I’m participating in is Peanut People; right now the name of my piece is Peanut Gallery. I’m going to draw gobs of characters from fact and fiction.
Here’s a color version of Peanut Spidey.
As always, you can click on the image for a closer look.
The inks are too heavy; too lifeless; no thicks and thins; no line variety in general. (Inks were done in Macromedia Freehand, by the way. I used the variable stroke pen tool. If I had it to do again, I’d use the Bezier pen tool. More control.)
I’m fairly happy with the color job. Also done in Freehand.
I’m pretty sure I heard about Gonick from one of Scott McCloud‘s books, and you can visit Gonick’s website, but I’m curious about Gonick’s own history. I haven’t really dug up anything on the internet, though…
Why I haven’t been updating; told in a single image:
I picked it up the day after my birthday, but, to be fair, I haven’t been playing it very much. What I have been playing are MGS 2 and 3, and I’m glad I did, because I didn’t remember half of the story. (You can download the Metal Gear Database onto your PS3 to catch you up, story-wise, and I did, and it’s well done, but it’s been a lot of fun going back into these games.)
I breezed through MGS 2 in about 15 hours, but I’ve been taking my time going through Metal Gear 3, which is simply a flawless game. It’s so immersive; the sounds of the jungle, the slow deliberate gait of the KGB soldiers scattered throughout the game, the rustle of movement from nearby jungle creatures, and that’s even playing it on my old RCA (so old I needed to buy a video converter to plug the PS3 into it) with just the one little buit-in speaker in the corner. I can only imagine playing on a system with surround sound.
Unfortunately, taking such intense care with MGS3 has made it seem a little like work of late, so I’ve been distracted this past week with another birthday present, “The Pixar Touch” by David A. Price.
It’s terrific. As a Pixar wannabe, I’ve gleaned a lot about Pixar’s process from watching the DVDs (which at their best are loaded with extras and therefore kind of a home film school, and at their worst, they’re the Cars DVD), but a lot, and I mean a lot of it, I didn’t know;particularly about Pixar’s early days (Ed Catmull is an extraordinary genius), the circumstances which led to Lasseter’s hiring (Lasseter is a staggering blend of talent and ambition), and the copyright infringement trials surrounding Monster’s, Inc. (I was completey unaware of the two separate trials at the time).