Dinker's View Ten: Justin Martin - Artist Extraordinaire
Time for another interview - this time with one of the original members of the creation team behind Dink - Designer/Artist and RPG wizard - Justin Martin.
Head to the comments section for full details:
Well it's been a while since I've done an interview, and so I thought ... given my interest in graphics, what about one with the original graphics wiz, the man responsible for those lovely original graphics we all know so well - Justin Martin! So I asked him, and here is the result.
Hi Justin, I hope you can find some time to go through this written interview and thanks for taking the time to do this.
You're welcome, Simon. Thank you for the opportunity for this interview, this is actually my first interview regarding the development of my favorite cherished game, Dink.
Q: How did you first team up with Seth Robinson? Was Dink Smallwood your first project together, or did something proceed it?
A: I had originally worked on a poster design for Seth's Legend of the Red Dragon BBS game. During the development of the poster, we realized that we had a common interest and vision and ambition to create a CRPG video game. Tackling the creation of a full blown PC video game would be a first for us both, and we were aware of the challenges, but were extremely excited about the new endeavor.
Q: What was it like working on Dink Smallwood? Did Seth give you game concepts to design first? Was there a story outline?
A: Like I said, this was the first video game that I had ever worked on, and back in the 90s, the internet was just budding and the resources for game development did not exist as they do now. Nowadays, you can walk into Borders and pick up a how-to manual for creating a video game; an RPG one for that matter... that wasn't the case back then. So you can imagine the overwhelming creative and technical hurdles that needed to be overcome. Besides being challenging, the experience was thrilling. Thrilling because in what other profession can you pour your passion, heart, and mind into such a large pool of creative outlets... game art, concept design, level design, audio, and programming. I played games all my life, and now I had the opportunity to make one... that's the opportunity of a lifetime that I wasn't going to pass up.
Seth and I had a great partnership. Seth allowed and gave me maximum creative freedom and license to implement anything and everything... I'm not saying that every idea was implemented, but the culture for dreaming up concepts was cultivated. We would bounce ideas back and forth further refining them. I would have to say that the biggest advantage of having a small development team over a large one is not having to face bureaucratic barriers, political correctness, and disparate game concepts.
As far as a story outline, I was not aware of a rigid structure or outline that Seth followed. The approach in developing Dink was more fluid and impromptu... not completely abstract, but by no means did we have a detailed design document. We were basically a two-three man team; we worked within our capacity and sanity, and did what we needed to do in order to achieve our main goal. If we had to cut a few corners or take a slightly different approach in development, then we did so.
Q: I believe you worked on some of the scripts for the original game, can you go into more detail of what you did?
A: Well, I would say that I had influence over some of the game mechanics, and I had my share of level design concepts... many of which we ran out of time to implement, but would have been fantastic in the game. I would rather not go into detail as to what I will take credit for or not, because recalling a whirlwind of occurrences from eight years ago is too brain draining.
Q: I believe you created the graphics in 3D Studio Max, were there any other software programs that were used to create graphics?
A: 3D Studio Max and Photoshop were essential. If only I had the tools and current versions that I have now. But as the saying goes, "It's not the size mate, it's how you use it." - very, very applicable, not in a sexual context though. Ha ha. What counts is what you do with those tools and how you utilize them harmoniously. For example, adding the shadow to all the Dink sprites was quite challenging. The shadow consisted of a checkerboard pattern of black and white pixels and had to be shown at a consistent perspective... to implement this involved numerous sequential steps using both Photoshop and Max; getting the best out of both software applications, and knowing when to use one over the other.
Q: What were the most memorable, and most frustrating aspects of doing Dink Smallwood graphics (and the whole game making process in general)?
A: The most horrendous aspect of developing a game with limited man-power and resources would be the sheer volume of graphic assets that needed to be created. There is never enough, and that could be quite disheartening. The fact of the matter though is that one has to take baby steps, and continue the race on a day-to-day fight remaining focused on smaller milestones. The most memorable moments were brainstorming concepts and collaborating with genius like minds. Do you like how I subtly weaved in the "genius" statement. Ha.
Q: After the original game you and Seth created the add-on module "Mystery Island". What were your inspirations behind the robots?
A: To correct and clarify, I didn't work on the Mystery Island add-on. Seth and Greg, alias "Pap", had created that one.
Q: Oh, I see - sorry, I should have done my research
Anyway, I've seen the artwork for Dink Smallwood 2 on your website, could you give any background about that? It looks like an army of evil... goblins or something marching, any story stuff there you'd care to share? Did any other work start on this project?
A: At one point, Seth and I started discussing and brewing various concepts for a possible Dink 2. We did not proceed any further, but I hope that in due time, we will produce a sequel that will be an even greater and more fantastic adventure for Dink. I have so many fresh game ideas that I want to materialize and to unleash on all the Dinkers and RPG fans. With that said, of course, I won't disclose any details. Muhahahaa.
Q: Since Dink Smallwood, have there been any other projects you've done with Seth? Could you go into a bit of a description of them.
A: Yes, I have worked with Seth on a few other projects contracting to a company called Machineworks Northwest, www.machineworksnorthwest.com. My duties mostly have been creating game menu screens, a number of low-poly airplane models, sprite graphics, and graphic/web design.
Q: Have you done graphics for any other RPG games, or any games for other companies than RtSoft? If so, what was it like in comparison to your RtSoft experiences?
A: Yes, see previous question. No comparison. Working with RT Soft was a partnership and collaborative effort on behalf of a few ambitious individuals striving to create a fun, whimsical, humorous RPG. Our setup fostered an extremely creative atmosphere and synergy. We drank Red Potions of Synergy of Extraordinary Strength and Stamina daily to keep us going--better pick-me-up than an expresso.
Q: Have you ever played any of the DMODs? What did you think about them?
A: Sorry to say that I have not played many DMODS. I'm sure there are many creative and talented individuals that have devised some awesome adventures. My praises go out to them for their hard work and dedication to the legacy of Dink Smallwood.
Q: What about your background, what training have you had, and where?
A: I have an associates degree in electronic imaging and prepress technology. My biggest advancements in learning seem like they have come from self-education and real-world experience. Lots of ambition and determination are required though. If more colleges back then would have offered the multitude of game development programs that they offer now, I most likely would have gone that route.
Q: Have you got any advice for any of the Dinkers out there wanting to make their own graphics?
A: I have some words of encouragement for budding digital artists. Although opportunity may fall from the sky, you've got to work your hardest to increase the chances for that opportunity to fall onto your lap and not the next guy's. The balancing of priorities and dreams is key while setting in motion the steps necessary to get you to where you want to be in five years, one year, six months. Never lose sight of your ultimate goal, and never forfeit your current priorities. Sacrifices that you make today will produce great benefits for the future. You never know what lies around the corner. Now in a practical sense, schooling is an important foundation to build your artist skills and harness your talents. Study, respect, and analyze other people's work. Always question, what really makes a game fun, why do I enjoy playing Zelda so much, how did they do that and how can I replicate that image using Max and Photoshop. The digital artist is one part creative, one part technical, and a whole lot of ambition.
Q: What is your favorite food, and why?
A: This question is quite the monkey wrench. Almost like being at an interview and after an hour of exhausting questions and scrutiny, someone stands up and asks "What is your favorite food and please explain why?" 'hmmm' haha. I love good food, so I will gladly answer this. Although I thoroughly enjoy many, many types of food, I would have to say good Chinese food ranks up there. "Good" meaning none of that American Chinese sweet and sour crap... sorry if I've offended the many, many sweet & sour pork lovers. Nothing really surpasses the flavors and sauces/soups and variety of poultry, pork, beef, seafood dishes. Sushi and sashimi are really close behind if not in the lead periodically.
Thanks again Justin, and good luck with your next projects. For those interested his website is here Justin Martin Design. Check out the 2D section for the Dink 2 poster
Head to the comments section for full details:
Well it's been a while since I've done an interview, and so I thought ... given my interest in graphics, what about one with the original graphics wiz, the man responsible for those lovely original graphics we all know so well - Justin Martin! So I asked him, and here is the result.
Hi Justin, I hope you can find some time to go through this written interview and thanks for taking the time to do this.
You're welcome, Simon. Thank you for the opportunity for this interview, this is actually my first interview regarding the development of my favorite cherished game, Dink.
Q: How did you first team up with Seth Robinson? Was Dink Smallwood your first project together, or did something proceed it?
A: I had originally worked on a poster design for Seth's Legend of the Red Dragon BBS game. During the development of the poster, we realized that we had a common interest and vision and ambition to create a CRPG video game. Tackling the creation of a full blown PC video game would be a first for us both, and we were aware of the challenges, but were extremely excited about the new endeavor.
Q: What was it like working on Dink Smallwood? Did Seth give you game concepts to design first? Was there a story outline?
A: Like I said, this was the first video game that I had ever worked on, and back in the 90s, the internet was just budding and the resources for game development did not exist as they do now. Nowadays, you can walk into Borders and pick up a how-to manual for creating a video game; an RPG one for that matter... that wasn't the case back then. So you can imagine the overwhelming creative and technical hurdles that needed to be overcome. Besides being challenging, the experience was thrilling. Thrilling because in what other profession can you pour your passion, heart, and mind into such a large pool of creative outlets... game art, concept design, level design, audio, and programming. I played games all my life, and now I had the opportunity to make one... that's the opportunity of a lifetime that I wasn't going to pass up.
Seth and I had a great partnership. Seth allowed and gave me maximum creative freedom and license to implement anything and everything... I'm not saying that every idea was implemented, but the culture for dreaming up concepts was cultivated. We would bounce ideas back and forth further refining them. I would have to say that the biggest advantage of having a small development team over a large one is not having to face bureaucratic barriers, political correctness, and disparate game concepts.
As far as a story outline, I was not aware of a rigid structure or outline that Seth followed. The approach in developing Dink was more fluid and impromptu... not completely abstract, but by no means did we have a detailed design document. We were basically a two-three man team; we worked within our capacity and sanity, and did what we needed to do in order to achieve our main goal. If we had to cut a few corners or take a slightly different approach in development, then we did so.
Q: I believe you worked on some of the scripts for the original game, can you go into more detail of what you did?
A: Well, I would say that I had influence over some of the game mechanics, and I had my share of level design concepts... many of which we ran out of time to implement, but would have been fantastic in the game. I would rather not go into detail as to what I will take credit for or not, because recalling a whirlwind of occurrences from eight years ago is too brain draining.
Q: I believe you created the graphics in 3D Studio Max, were there any other software programs that were used to create graphics?
A: 3D Studio Max and Photoshop were essential. If only I had the tools and current versions that I have now. But as the saying goes, "It's not the size mate, it's how you use it." - very, very applicable, not in a sexual context though. Ha ha. What counts is what you do with those tools and how you utilize them harmoniously. For example, adding the shadow to all the Dink sprites was quite challenging. The shadow consisted of a checkerboard pattern of black and white pixels and had to be shown at a consistent perspective... to implement this involved numerous sequential steps using both Photoshop and Max; getting the best out of both software applications, and knowing when to use one over the other.
Q: What were the most memorable, and most frustrating aspects of doing Dink Smallwood graphics (and the whole game making process in general)?
A: The most horrendous aspect of developing a game with limited man-power and resources would be the sheer volume of graphic assets that needed to be created. There is never enough, and that could be quite disheartening. The fact of the matter though is that one has to take baby steps, and continue the race on a day-to-day fight remaining focused on smaller milestones. The most memorable moments were brainstorming concepts and collaborating with genius like minds. Do you like how I subtly weaved in the "genius" statement. Ha.
Q: After the original game you and Seth created the add-on module "Mystery Island". What were your inspirations behind the robots?
A: To correct and clarify, I didn't work on the Mystery Island add-on. Seth and Greg, alias "Pap", had created that one.
Q: Oh, I see - sorry, I should have done my research
Anyway, I've seen the artwork for Dink Smallwood 2 on your website, could you give any background about that? It looks like an army of evil... goblins or something marching, any story stuff there you'd care to share? Did any other work start on this project?A: At one point, Seth and I started discussing and brewing various concepts for a possible Dink 2. We did not proceed any further, but I hope that in due time, we will produce a sequel that will be an even greater and more fantastic adventure for Dink. I have so many fresh game ideas that I want to materialize and to unleash on all the Dinkers and RPG fans. With that said, of course, I won't disclose any details. Muhahahaa.
Q: Since Dink Smallwood, have there been any other projects you've done with Seth? Could you go into a bit of a description of them.
A: Yes, I have worked with Seth on a few other projects contracting to a company called Machineworks Northwest, www.machineworksnorthwest.com. My duties mostly have been creating game menu screens, a number of low-poly airplane models, sprite graphics, and graphic/web design.
Q: Have you done graphics for any other RPG games, or any games for other companies than RtSoft? If so, what was it like in comparison to your RtSoft experiences?
A: Yes, see previous question. No comparison. Working with RT Soft was a partnership and collaborative effort on behalf of a few ambitious individuals striving to create a fun, whimsical, humorous RPG. Our setup fostered an extremely creative atmosphere and synergy. We drank Red Potions of Synergy of Extraordinary Strength and Stamina daily to keep us going--better pick-me-up than an expresso.
Q: Have you ever played any of the DMODs? What did you think about them?
A: Sorry to say that I have not played many DMODS. I'm sure there are many creative and talented individuals that have devised some awesome adventures. My praises go out to them for their hard work and dedication to the legacy of Dink Smallwood.
Q: What about your background, what training have you had, and where?
A: I have an associates degree in electronic imaging and prepress technology. My biggest advancements in learning seem like they have come from self-education and real-world experience. Lots of ambition and determination are required though. If more colleges back then would have offered the multitude of game development programs that they offer now, I most likely would have gone that route.
Q: Have you got any advice for any of the Dinkers out there wanting to make their own graphics?
A: I have some words of encouragement for budding digital artists. Although opportunity may fall from the sky, you've got to work your hardest to increase the chances for that opportunity to fall onto your lap and not the next guy's. The balancing of priorities and dreams is key while setting in motion the steps necessary to get you to where you want to be in five years, one year, six months. Never lose sight of your ultimate goal, and never forfeit your current priorities. Sacrifices that you make today will produce great benefits for the future. You never know what lies around the corner. Now in a practical sense, schooling is an important foundation to build your artist skills and harness your talents. Study, respect, and analyze other people's work. Always question, what really makes a game fun, why do I enjoy playing Zelda so much, how did they do that and how can I replicate that image using Max and Photoshop. The digital artist is one part creative, one part technical, and a whole lot of ambition.
Q: What is your favorite food, and why?
A: This question is quite the monkey wrench. Almost like being at an interview and after an hour of exhausting questions and scrutiny, someone stands up and asks "What is your favorite food and please explain why?" 'hmmm'
Thanks again Justin, and good luck with your next projects. For those interested his website is here Justin Martin Design. Check out the 2D section for the Dink 2 poster
That was quite a splendid interview. I had always wondered what became of Justin and Pap. That strikes out one.
One question, though: what's with all the "'d1" stuff? (particularly noticeable in the second answer)
One question, though: what's with all the "'d1" stuff? (particularly noticeable in the second answer)
I assume el SimonK typed it up in Microsoft Word, and d1 is probably the ascii equivalent of the '...' character. (Yeah, Microsoft Word changes three periods to their own character, which is stupid.)
Yeah, that's about right - that and I was on a Mac while putting the interview together for pasting as news... opps. I think I got them all now
In the last answer: "sour crap'd1sorry"
Yeah, that seems insane. I guess I can accept how he screwed up the Dragon shadows, which are two different shades of black
Simon, you didnt ask the all important question, when will we see, if ever, the original .max or .3ds files. You blew it. I know Seth has basically said no, but this is the artist, he might have had them laying around somewhere.
Actually I asked Justin that question over 2 years ago when I was making Dink row a boat for Pilgrim's Quest - and he declined.
He and Seth have released a plethora of graphics, enough raw materials for almost anyone. He doesn't want to release his models or textures, and I for one respect that.
He and Seth have released a plethora of graphics, enough raw materials for almost anyone. He doesn't want to release his models or textures, and I for one respect that.
March 1st 2005, 02:38 PM
Kat Daggett
Great interview. Enjoyed reading the insightful questions and answers into the making of Dink. Justin, will definitely succeed and excel in his field. Kat Daggett
Yeah, I asked Seth about 3-4 years ago and he was shaky on it... but now it has been years later... I mean they are decent graphics sure, but its not like Justin will be using his 6 year old model for any new project. IMHO, the only thing the Dink model is useful for is Dink.
Excellent interview! It's very interesting to see inside the mind (not literally of course) of one of Dink's creators.
