Announced during August's Leipzig Conference, this game used PlayStation Eye camera to allow a virtual pet to interact with people and objects in the real world.
Using augmented reality, the cat-like creature appeared to be aware of it's environment and surroundings and reacted to them accordingly.
Here is a quick capture from the Eight Days Animation Test Level, showing the basic navigation of the main character.
As Animation Director, it was my responsibility to design and implement the animation tools and pipeline with the goal of creating a fluid, yet responsive, animation system.
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When I heard that Ubisoft Shanghai needed help with Splinter Cell: Double Agent, I jumped at the chance to reacquaint myself with Sam Fisher.
For this project, I was again responsible for the animation of the main character, Sam Fisher, whilst also developing new moves and mechanics.
Working alongside Ubisoft's Montpelier studio, we were responsible for creating an Xbox 360 version of Peter Jackson's King Kong. My role as Technical Director of Animation was to create high-res rigs of low-res characters.
Unfortunately the remote collaboration (Canada/France) became too difficult and eventually the game was taken back to Montpelier.
Although the original Far Cry game was developed at Crytek, Ubisoft was tasked with creating an independent Xbox version.
With a new story and engine, this project was fraught with difficulties but fortunately came together in the end.
My brief spell on this project saw me animate a portion of the in-game cut-scenes.
Splinter Cell: Chaos Theory was the third title in the Ubisoft's Splinter Cell series but only the second to be made internally (the second one was made in Shaghai).
Working as the Technical Director of Animation, I was responsible for hand animating the core moves of Sam Fisher, the main character.
Jade Empire was a delight to work on. Gone were the constraints of Neverwinter Nights and in came the flexibility of a new combat system - not to mention a beautiful world.
I was responsible for creating and editing a series of fighting styles.
Moving from Neversoft to BioWare, Neverwinter Nights became the first RPG that I worked on. Together with another animator, we created a series of new animations for the 2003 expansion pack.
Unfortunately this foreign language trailer was the only one I could find.
Tony Hawk Underground was the fifth title in the series and the first to introduce a story mode. It was also the first time the skater was able to dismount his board and travel the world by foot.
As with other versions of this game, I was responsible for rigs, animations and in-game scripting.
Tony Hawk Pro Skater 4 was a fantastic project to work on. Developed in just 12 months, THPS4 was re-engineered from the ground up to run at an impressive 60 frames per second on the PS2.
From a design perspective, the introduction of the revert makes this, in my opinion, the best game of the series.
Working with a terrific external animator, I was responsible for the game's rigs and animation.
Moving from Manchester to Los Angeles, the Tony Hawk series was the first AAA titles that I was involved with.
Whilst my contribution on THPS3 was limited, it was an honour to work on such an established title.
Loons was originally developed internally at Infogrames' Castlefield Studio but when the studio was closed, the team moved to Warthog to finish the game.
I was responsible for modelling and animating Bugs Bunny, amongst other characters.
Taz Express was the second game that I contributed to at Infogrames. A colleague and assisted Zed Two by working on the in-game cut-scenes.
Radikal Bikers was the first project that I worked on professionally. Whilst it may look a little dated, I was very grateful to Infogrames for giving me the opportunity to work in the games industry.
I worked on character models for the 1999 PlayStation version.