After my partial defeat with the Delusion! the videoclip, was particularly bitter on the shortsightness of the music business – something many others had to deal with in future as we know, but that did not discourage me to continue my career: at the time i already started another project – that was able to continue to work thanks to the purchase of a side 2 megabytes RAM expansion.
The animation “N.O.L.W. – The Night Of the Living Wrecks” was presented at Pixel Art Expo in Rome and placed second; with the money i was able to buy a second hand Amiga 1200 that replaced my 500; then came, in Easter Weekend, as usual, the Bit.Movie. I remember was there in the awarding ceremony and they already assigned the third and second prize; assigning the first they started talking about “how the author re-interpreted a cult movie and give it a new meaning “, pretty convinced it was a slow boring animation I seen in the same contest to win so, when instead they announced my name was pretty surprised.
The prize also gave me way to expand further my machine, so I bought a hard disk (half gig, at the time pretty big), a Viper 030/42 mhz + FPU (later found out was a EC030 so no MMU drivers for me) and 16 megabytes, later brought to 32 and also a Microvitec monitor – meant that the times to draw animation on TV were over for me.
The long dark tea time of the soul
At some point money for studies ran out and I found myself working as ad spreader – those people who put junk mail in your mailboxes: was one of them, and did that job for little more than one year while looking for a job in my field.
That also lead me to take a country funded course in office automation so that I would have been able to work in a office. Thanks to shapeshifter, was able to do my homework on my Amiga on Word and Excel and, when had the time, was studying on my own how to do DTP and graphic design, trying to recover my high school know-how and a more traditional track; the fact that was working on Amiga rather than on P C or Mac (despite Mac emulation) was not helpful either: DTP people were almost exclusively a Mac shop and also pretty proud of it: for them my emulated mac was some kind of travesty.
Was working together occasionally with Maltese in doing soundtracks for commercials and some of its – if i can call it this way – failed experiments too; was also teaching myself HTML using some booklets bought in a local bookstore; at the time things were much simpler than now and having a Netscape install and a text editor was enough.
One of the themes for a never-finished project of Maltese – since there were no memory constraints those musics were more rich in audio samples and effects
As musician also worked with the main organizer of Pixel Art Expo in doing the soundtrack for its animation – made on imagine PC and VLab Motion – for Imagina, called DevilBalls; even if at the end was not qualified to participate i still consider it an interesting experience, with him sending me the tape of the animation and me creating the music and adapting it to the flow; normally in traditional animation the music comes first and animation adapts to its flows but CGI made the roles get reversed in this case.
Together with the same guy and an italian-british AMOS programmer i also worked on the static and animations for a soccer manager game; the animations were supposed to be sprite driven (for more situations to show) and inspired by the then new isometric Fifa Soccer on the Megadrive to save memory, but ultimately we decided for small pre-rendered animations in a stadio-like megascreen; i also made a music for it that at the end was not used.
Above: one of the work files, and below the final display how it looked for the soccer manager game.
Serious troubles and lockups between my accelerator and the surf squirrel i bought as second hand forced me for a pretty intensive (and money rewarding) gig to buy – for the huge (for me) amount of Five Millions of Italian lire of the time – a Power Mac Performa 6400; this however opened the door to a more steady flow of work for websites and multimedia work (mainly presentations, video animations and web sites) using Macromedia Director and the – then new Futuresplash Animator, in future known as Flash; for 3d i was still using Amiga though due to the fact that my performa was not powerful enough to work with Lightwave at a reasonable speed; so at the end had a mixed work environment, exchanging data in a rather painful slow way via serial connection and Term program.
I also had occasion to set up an exhibitions with other people living in the close city of Ostra, where we showed our works in paintings and in a slide show with pictures and animations made using Scala. It was called in italian language “Onde di luce e immagini photogeniche” – a pun using Lightwave, Imagine and Photogenics names; beside that i also held a small personal exhibition in Senigallia called “Scarabocchi Binari” – in english Binary Doodles, so now you know where the name of this blog came from.
The Fading of the Five Stars
For events not connected to Powder, however, me and Maltese had a bad discussion about a gig we were doing together and for a long while we hardly talked to each other.
Job roles, family changes (Tomas got married and had kids in example) and conflicting schedules brought Five stars to a de-facto split, not to mention Quazar disappearance.
For a better city Soundtrack and more bling – literally
Around 1995 had Thomas and Nicola complaining since a while that they were so tired of the City soundtrack that I provided them in 1990 that needed to turn off the volume when doing testing, I did try to create alternate tracks to no avail for a while, when i was not busy with other stuff: at least three different tracks were made before choosing the final one;
The alternate tracks can be found in the Powder Musics Album of my Vimeo profile once will have time to upload them.
the one with the guitar riff won – it also shows that Powder has a rock soul maybe?
One of the songs rejected was instead used for the City boss.
Nicola and Filippo thought that the city level was too flat and unappealing so asked me to add some animations, including the pulse of the crane lights and the glass glare in the buildings; i also reworked some of the posters to have a more polished look. One of the rejected one was my tribute to the OAV Genmu Senki Leda, which I tried to portray in a hypothetical sequel promotional ad.
The Rejected Genmu Senki Leda II Poster in the original workfile – using the same City 16 color palette and my now well-known justaxposition technique
Even for the logo there has been progress: after the first phase, where i was looking for a more Psygnosis-style shape, a clearer font came out that seemed satisfying and also look good if filled. Several tests were done with different filling material, with a crater field as main candidate – also to recall the dust itself; filling on Amiga never been a problem thanks to Deluxe Paint Stencil feature.
The final font face, with the initial crater filling
Also another characteristic i wanted to add was an electric spark going through the logo: not a new idea, i did that in the past for a test Quazar logo, but now skills gave me more accuracy; i tried two blue tones,one on the navy blue the other on cobalt blue, that resulted more convincing For the inner pattern at the end we decided for a clod of dust, obtained with a furious and merciless application of the smear filter to the crater landscape and a change of palette. The logo and the initial screen graphics is at 32 colors.
The logo almost final, just with the electric spark in navy blue shades rather than cobalt blue
The Final level, how you never heard it…
The actual incarnation of the final level has been mostly cobbled up in the latest month prior publishing, and is also using a music that was meant for the now lost Clouds mega-saucer Boss Fight, but it was meant differently, even this with an approach phase and then with the Boss fight following; at least the boss is the same, with a human size figure growing to a giant robot, Megaborg style (that strangely has a deja-vu feeling…), but was not meant to come out from the destroyed ship, rather to wait for us and then transform, with a crescendo and then the fight.
The Approach theme
The final Boss fight theme
…and how you heard it
I had to finish the graphic for the final level at the end: we were unable to get in touch with Maltese and so had to cobble up the background graphics and the map. For the music at the end was decided to use the music meant for the discarded Clouds boss – made by me with samples of an electric guitar played by a friend of my brother as experiment and then loved by Maltese at the time.
Pity that the replay routine messes it up a bit compared on how was supposed to play, but still makes the level pretty intense!