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DemoScene Starter Kit 3 07
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³ INTERVIEWS ³
³ PART 7 OF THE DEMOSCENE STARTER KIT V.3.0 by Zippy of Utopia. ³
³ DO NOT DISTRIBUTE SEPERATELY FROM THE STARTER KIT. ³
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Welcome to the only totally new section of the DemoScene Starter-Kit,
for version 3.0. In this section I will provide you with interviews where
I've asked lots of different people lots of different things.
Newbies, proffesionals, and even myself! I quite like this section. Read on.
'Q' stands for question, 'A' stands for answer.. Duh!
There are six interviews:
1. "The Newbie" Sanity (Jason.. something)
2. "The established coder" Statix (Alex Evans)
3. "The established musician" CjTrack (Chris Jarvis)
4. "The established graphician" Haplo (Olivier Delande)
5. "The established archive-maintainer" Snowman (Christopher G. Mann)
6. "Myself" Zippy (Tommy D. BK)
Notice the totally different views between the Archive-maintainer
and musician on how to deal with mediocre music on the net.
Let's begin!
Interview no.1: "The newbie"
Zippy/Utopia interviews Sanity/Tenth Reality
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Standard Questions:
Q. What got you into the demoscene?
A. Probly the desire to do high end graphics, and to test my coding ability.
I also saw it as a chance to learn a lot.
Q. What would it take to make you leave the demoscene?
A. As of right now? An act of God.. I love it already.
Q. What do you find negative about the demoscene?
A. [UNANSWERED]
Q. What do you find positive about the demoscene?
A. I would have to say it is the help I have recieved.
Zippy has been great.. as have many of the people in #coders.
I also like the idea of parties.
Seems like a great place to meet people with similar interests.
Q. What is currently your most important project?
A. The first demo from Tenth Reality me and Mr. Fixer are working on.
Q. Where do you see yourself in ten years from now?
A. I really don't know. I could see myself as unemployed coding demos
all day long.. but that doesn't seem likely. I think I might want to
get into games programming. or maybe audio programming. Enjoy both.
Personalized Questions:
Q. What computer-related things did you do before you got into the demoscene?
A. Mostly software piracy..I also fiddled alot with ASM and C but it
wasn't till about a year ago that I started to take coding seriously.
Q. Has this helped you in the demoscene? If so how?
A. I would say so.. it helps to be able to know how to program to code a demo.
Q. Who do you look up to in the scene/seek inspiration from?
A. Hrmm.. I guess that would have to be Square.. It was Pulse by
Square that made up my mind to learn demo coding.
-
Editor's (Zippy's) note: I think he meant Square by Pulse ;)
Q. How have you been treated by established demosceners?
A. Wonderfully... Most have been more than willing to help.. I think
this is because some are foreseeing an end to demo coding.
Q. How is it beeing in an american demogroup as opposed to european?
A. It is a bit hard. There are few people over here that are in the
scene so I am mostly having to seek help from europeans.
The other problem is that there aren't really any parties over here
other than Naid and that is a bit far away from my present location.
On the other side, because there isn't a scene.. I am able to find some
decent people who have never seen a demo and are totaly in awe of it
and are willing to sign up right away.
Interview no.2: "The established coder"
Zippy/Utopia interviews Statix/Psychic Link
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Standard Questions:
Q. What got you into the demoscene?
A. the music - I heard mods first on an atari ST at school, and I'd been
looking for a cheap (free) way to make computer music. I was inspired to
write a tracker, and from there, I gradually came into contact with demos...
Q. What would it take to make you leave the demoscene?
A. at the moment, it wouldn't take much to make me leave. in fact, since the
party 97 I've been pretty out of it, it can take up so much time! it's
something that is done for love, and only when the resources are available.
but I think that so many people who "leave" will for many years be watching
and keep some links and friends...
Q. What do you find negative about the demoscene?
A. there is a lot of "I'm so cool , I dont need to talk to you" sort of
mentality, people who disrupt parties by using toasters and microwaves,
and vote-cheating. it's quite hard to get accepted initially,
but I guess if you do something good, the great thing is that people
WILL notice... mainly, its a very friendly, creative "place"
Q. What do you find positive about the demoscene?
A. the friendship - making a demo on your own is pretty cool in terms of
having no communication problems, but making a demo at a party or with a
bunch of nutters is just something incredible. great fun! and people are
willing to help/be nice etc etc in a way which you dont often find in
"real life".
Q. What is currently your most important project?
A. my university exams, my game-programming job and my "real" life.
hmm, damn, where did demos come there?
Q. Where do you see yourself in ten years from now?
A. in an asylum for the mentally deranged
Personalized Questions:
Q. Why do you think there is such a lack of english demosceners?
A. there's a big hacking scene here, and a lot of people who want to start,
but the whole ethos in this country is against it - in schools etcetc. its
not a very "cool" thing to do either, and not easy to meet other interested
people. with the net, it helps. I mean, you don't need to work with other
guys in your own country like in the old days... countries are no longer a
barrier.
Q. Is there still a Psychic Link, or is it basically just you now?
A. yes, in the demo scene, its just me. but s-cubed is somewhere out there,
I met him in a supermarket the other day! he's coding... just not demos.
in fact, he showed me a demo about a year ago, never released,
that was very very cool.... pity he never released it.
and skywalker is now a dj, but he still tracks.
you never know, we might get back again...
Q. Do you feel influenced by working at Bullfrog? If so how?
A. they taught me a lot, in terms of confidence, and coding;
there are lots of cool guys there with interesting ideas and they're
always 3 months ahead on hardware (which is useful :))
I keep them separate from demos really, but, well, it was my first demo
that got my job there in the 1st place. so, demos are useful for something!
Q. Will you be supporting 3D-cards in your demos soon?
A. hmm, top secret....
yes, maybe.
DAMN!
Q. What is your opinion regarding 3Dfx?
A. a nice card, but why is the gamma turned so fucking high?
ugh, I hate those DACs. and it creates as many (more?) problems than
it solves. so its just a whole new problem to overcome.
by no means does it massively "help" a demo to look cool
(quite the opposite). it always takes time for new hardware to be fully
used by coders (check what the c64 scene is doing these days!
jeez! if they did that 10 years ago...)
Q. What is your opinion regarding Java?
A. interesting, it could be great. it's just a new platform really, isn't it?
and an interesting one... again, a different set of problems to overcome.
after all, that is what demo coding is - pushing limits and breaking
boundaries. a friend of mine wrote some byte code texture mappers and they
run quite fast... so, some interesting possibilites! complex's latest
effort was absolutely a first rate demo, java or not.
Q. Which of your previously released demos/intros is your favourite?
A. hmm! headache,paper and 303 are the top 3, but the precise order changes.
it was fun to make them all, each had different problems,
and different god parts... but an "artist" is never happy,
so you'll have to wait and see what I do next (I'm watching you...)
-
Editor's (Zippy's) note: For the record my favourite demos by Statix are:
Square,headache,paper, in that order.. juice coming third. act1 coming 4th,
and 303 5th... in case anyone's interested.. :)
Interview no.3: "The established musician"
Zippy/Utopia interviews CjTrack/Kosmic
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Standard Questions:
Q. What got you into the demoscene?
A. A few years ago (in the height of the amiga scene) a friend of
mine was making music on Soundtracker V1.0 and I was interested
in doing the same - I was pretty impressed with the Amiga's
4 track stereo audio!
Q. What would it take to make you leave the demoscene?
A. If I lost interest in writing original music (which is unlikely) I
would drop out of the scene. Really I'm only in the scene because
it's there, and I can let others hear my tunes.
If the scene didn't exist - I would still write music - I'm not otherwise
involved with the scene greatly.
Q. What do you find negative about the demoscene?
A. I think there are some people who try too much for an image in the
scene. Sceners should just make their contributions and accept peoples
opinions of their work (whether good or bad) and not be concerned with
popularity. The scene exists because people want to spread their own
work and hear work of others - its not there for popularity and ego.
Q. What do you find positive about the demoscene?
A. It's a great way to hear other people's music and let others hear
your own as well as receiving feedback.
Q. What is currently your most important project?
A. Right now I've just set up a new system and am trying to achieve a
better sound overall in my new songs. I'm using resonance filters
to give an extra level of depth in my new songs.
Q. Where do you see yourself in ten years from now?
A. Ah...ten years from now... Hopefully I will have found some work
somewhere in music production or perhaps even as a freelance composer
of music. But if not, I'll settle for composing music as a hobby!
Personalized Questions:
Q. What are your current plans? Are you going to sign
up with a label and get a record-deal or are you going to aim at
making music for computer-games?
A. At the moment I'm looking at making contacts and networking.
Last year I did some music for a short film that won a
national award (not for music unfortunately) and its that kind of
thing I'm after. I will probably get some airtime on student radio
here in adelaide, South Australia and maybe get some contacts!
Q. What do you find positive/negative about Impulse Tracker?
A. I think there are too many positives of Impulse to name
(but then, I am a good friend of Pulse (Jeffrey Lim)
and probably biased - I did have some influence in the making
of the tracker). Apart from the outstanding technical features,
I think Impulse is excellent in its ease of use and common
sense features. I believe it is the most powerful tool for
controlling nearly all elements of the sound in a composition.
The only real negative I can think of is the lack of an inbuilt
sampler - but there are plenty of these about to choose from!
Q. What do you think about General MIDI as opposed to modules?
A. I am very inexperienced in General MIDI and can not make many
useful comments. I do like the clean crisp sound produced in
MIDI applications but I believe that trackers can just about match it!
Q. What equipment do you use when you make your music?
A. One must begin with samples. Although I do use others' samples
(I don't see a problem with it if I give credit for them)
I do like to sample original sounds.
A microphone, line-in jack, keyboard, cdROM are commonly used!
When tracking, I sometimes use a keyboard for MIDI but not often.
As far as playback goes, I recently bought a NAD 312 amplifier and some
KEF Coda 7 speakers (that's serious HiFi!) which matched with my
GUS ViperMAX soundcard (thanks to the MC5 sponsors) produces a
satisfying sound! I put my tunes onto tape with a recently purchased
Marantz deck. I have been spending up lately :) .
Q. Do you think there is a remedy for the growing number of mediocre modules
on the net? If so what?
A. Ah..I think that there must be room for anyone who wants to release
songs, but there is the problem of finding the quality ones.
All I can suggest is much listening and trying out new songs,
but no tracker should be ignored due to one eagerly released tune
that might not be up to standard.
Q. What's your advice to musicians starting out in the demoscene?
A. New trackers should try out new things as much as possible and
spend plenty of time analysing and listening to their favourite
tracks of others. That way they can pick up ideas and develop
them into original techniques which is what the scene needs.
Q. What's your advice to musicians aming past the demoscene (games/CD's)?
A. For trackers who want to go further, I think the emphasis should be on
quality, not quantity of releases. Every song should be extensively
edited to gain subtleties and depth that separate the outstanding from
the good. This is what I try to do, although I don't know with how
much success! I know I still have not achieved the kind of sound
I'm after in my tunes.
Interview no.4: "The established graphician"
Zippy/Utopia interviews Haplo/Pulse
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Standard Questions:
Q. What got you into the demoscene?
A. ah that was a long time ago, something around the late 80's.
i got the luck to meet a ST-addict at college who btw was also one of
the founders of the cracking group Zuul on atari.
there wasn't some real demoscene back then because the real business was
cracking, but well i did see my first crack intros and i turned weird about
these hundreds of colors (yes rasters!) and hypnotic synthetic melodies!
i particularly remind one raster-full intro from the Replicants that they
did put on International Karate+.
the first demo i saw was probably the Union Demo which remain still today a
classic of the ST way. it was produced by all the major bands of the time
and featured a game-alike main menu and lots of terrible screens with weird
scrolltexts, parralax backgrounds and even realtime flat 3D !
"cracking, creativity, pleasure" was the mottom of the Union and i was
lucky enough to live my first scene adventures in this special athmosphere.
all my first pictures were used into crack-intros and/or menudisk-intros.
A few years later it turned into real "demo"-oriented stuff.
-
Editor's (Zippy's) note: I'd like to take the oppurtunity to remind
everyone (once more) that we are not the Union that Haplo is talking
about here, this is one of the reasons we changed our name.
I'd also like to remind the _other_ group called Union out there
that _they_ aren't that Union either, and really don't deserve the name! :P
Q. What would it take to make you leave the demoscene?
A. well i guess it will come slowly. i'm already contributing less and less to
the demoscene, and at least it's taking me less time.
due to many factors, the fact i have a job for example
(my student years were my more productive scene times!).
i was mostly inactive during 1997, except at the end of the year because
Statix offered me the opportunity to work on a common project
("Square", that is) and i must admit it's now 3 months since i
tuned Deluxe or Photoshop in.
but i still have some serious projects with great people around.
let's say we'll focus on less projects and will try to show something else,
something less demo-obvious, maybe even non demo-oriented.
Q. What do you find negative about the demoscene?
A. i regreet too many people show narrow mindedness.
the scene tends to work like a close system.
scene people take their references within the scene itself and most
productions finally have the same feeling,
the same visuals and similar rythm.
i guess it's also related to that pseudo star-system in which the whole
demoscene is floating. people get completely disconnected from the rest of
the world and show, in my opinion, too little attention to what they can
see in books and tv, movie theatres and magazines.
that's where's real inspiration.
again close system when you think that almost no demos are supporting
windows95. i don't really like that idea of underground that is often
defended by scenepeople. in my opinion it doesn't sound elite to have
config.sys and autoexec.bat modified and midas set up every time i want
to run a demo. i don't like the idea of making demos for a panel of
200-300 people around who themselves are making demos.
it's as if advertisers were only working for their fellows,
and movie directors showing their films to others movie directors
and not to the public.
demo people need to think broadcast.
all the more so if they intend to work from the talents they can show in
demomaking, like programmers who have an opportunity to work in
game companies and graphicians in web/tv/mag design.
Q. What do you find positive about the demoscene?
A. lots of things.
there are interesting and talented people with different backgrounds and
something to tell/share. there are true friends too.
people who don't talk to you with the underlying motivation of profit and
interest. mmm at least there is less of that kind of people.
and people with whom you can live some project making like you'll never
find elsewhere, may it be at school or at work !
Q. What is currently your most important project?
A. i've several projects running.
we have set up the basis of a new Pulse demo with Ice.
it should be quite an ambitious project including never seen technologies
that may go assembly. but it's a larger project,
including full support of win32, 3DFX and openGL cards,
and introducing of several high-tech tools.
i was also willing to release a Win32 sequel to the "Smoke" slideshow
released under the live! label.
Q. Where do you see yourself in ten years from now?
A. absolutely no idea.
Personalized Questions:
Q. What do you feel should be the limit for high-resolutions,
and colours at compos?
A. mmm i don't like the idea of limits.
we have more and more powerful machines and tools at our disposal and
our vocation as demosceners is to outpass limits.
once again we're falling into the paradox of windows95 and DOS demos.
well if some people think demos must support 486 machines and run
vectorballs and sinus scrollers, they don't live in my world.
i'm fully opened to any amount of colors or any resolution you want.
no matters which technics are used if the picture is good and catchy.
a few old-school graphicians are going 24 bits and their work is really
looking good.
i think graphicians are more aware of the technologic gap between modern
industry standards and traditionnal demomaking, because they have lots of
mature win32 tools and softwares at their disposal.
especially 3D graphicians because of the very advantages of the latest
software which are all win32-compliant, object-oriented and developped in
c++. look, 2 years ago, every graphician was most probably using 3DS4
for his modelling and rendering. now the same graphicians get the
power of Lighwave, 3DSMax or Softimage.
talking about bitmap, i see no reason for not using photoshop,
TV paint or painter.
Q. Why do you think art in the PC-demoscene is so different from art
on the Amiga?
A. i don't think it's radically different.
pc and amiga demos tend to look the same.
people behind pc and amiga demos tend to be the same.
Q. Why do you think artists normally are the most hard-to-find members for a
demogroup?
A. i have the feeling that making graphics for demos today require some real
amount of experience and some culture. it may work different with coders
since it seems there's always an incredible reservoir of new fresh
programmers everywhere.
it's a fact that today's most famous graphicians have all a past in the
demoscene, most often on another machine. you may have photoshop and 24bits
and all, it sounds like an oldschool training is a bonus.
i guess it's because oldschool graphicians know how to teach pixels.
you see, drawing for demos is quite special. it requires a minimum amount
of artistic skills and it requires some very particuliar techniques and
approach that are inherent to the computer.
the same probably goes for musicians.
Q. Should computer-graphics try to be like in 'the real world' or should it
try to exploit the fact that it is digital?
A. i like the idea of a specific digital imagery.
you can choose an explicit approach and explore digital-related only themas
in your pictures. this was more or less the concept of AJT of Pulse
when he tried to make 3d pictures of digital flows and data exchanges.
you have seen some of his works for the hitdemo "Reve" in 1995.
the approach is very interesting but somewhere it sounds a bit too
cyberpunk.
you can also reinforce the role of digital tools in your pictures to
achieve a special and original feeling. one idea is playing around with
pixels. it's one of the reasons for which i really love lowres modes
since you can see the grain of a picture, its very texture.
it gives me the same feeling as touching the grain of a photo printed on a
special paper. reinforcing the role of pixels clearly gives a special
digital touch.
anyway, digital imagery gives you a fantastic landcape of things to
experiment and explore, like mixing rendering and bitmap stuff,
achieving never seen elsewhere palettes etc etc etc..
i won't be making images if i hadn't the luck to work with digital tools
and it's a minimum to think digital.
Q. A What do you think of people who just re-touch scanned images for their
demos instead of making something for themselves? Is this good or bad?
A. it's a tricky question.
we are going towards a big recycle logic in which every piece of pixels,
may it be yours or someone else's, is basically no more than a material.
now it depends on what amount of work and talent you put on the process.
i see no real interest in just touching up an image and making it lowres
acceptable. but it may sound very interesting to achieve a personnal and
new image from different pieces of nothing.
for the moment it's more in the field of experiment but the idea is a
direct follow up to what we were discussing earlier about digital imagery.
we had such a try with the picture at the beginning of "Square".
the picture itself is a rather fast mixing of a photography and
rendered stuff modelled under the direction of my mate Mario.
we had both parts mixed under Photoshop, everything pixel-touched to
achieve an homogeneous feeling and coherent lights and shadows over the
whole screen.
Q. What political meaning, if any, do you put in your images?
A. even if the message is less political than social, i prefer let my images
speak by themselves.
Interview no.5: "The established archive-maintainer"
Zippy/Utopia interviews Snowman/Hornet
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Standard Questions:
Comment from Snowman:
"OK, I'm going to try and be a little bit funny here because I've done so
many serious-like interviews lately."
Q. What got you into the demoscene?
A. A soundcard, a BBS, and four kilos of cheese.
Q. What would it take to make you leave the demoscene?
A. If there were a new demo group in Europe that started calling themselves
"Hornet" (the name of our group), and every member had an identical
handle to each of our members, and they started getting really popular,
and Snowman / Hornet started sending me regular flame emails,
I'd probably leave the scene.
Q. What do you find negative about the demoscene?
A. The use of signed integers.
Q. What do you find positive about the demoscene?
A. I like that it's a global community. No matter where you live, there is
always someone on the other side of the world who is asleep.
Q. What is currently your most important project?
A. I'm doing some laboratory work right now on color perception -- how the
mind reacts to certain sets of colors. So far the results have been
quite startling. Fortunately, I've been able to apply them directly to
my role as Hornet Archive maintainer. Just last week I removed all of
my web pages with light green text on a bright yellow background.
Q. Where do you see yourself in ten years from now?
A. Well, let's think about this one. Logically, if I reflect on who I was
10 years ago and who I am now, I should be able to draw an accurate
conclusion about who I'll be 10 years from now, right? I guess I'll
probably be about 4m tall, weigh about 250kg, and be able to type about
400 words per minute. My weekly allowance will probably be about 10,000
USD. I'll also be flying the Space Shuttle.
Personalized Questions:
Comment from Snowman:
"OK, now back to serious-mode Snowman."
Q. As the head of the biggest demoscene-archive in the world,
what do you think is needed to stop the constant flow of mediocre
modules to the Internet?
A. I've said it before and I'll say it again. Harsh ratings and accurate
feedback would help to curb the influx of unpleasant songs. Do music
record labels sign on everyone who buys a synth for home and records a
drum-loop onto DAT? No! Similarly, we should not be obligated to
provide archive space and bandwidth for junky tunes. Your music is your
music. Just remember that your artistic liberty doesn't extend into
other peoples' ears.
Q. You shocked the demoscene right at the end of 01 March with you
statement about winmoes. Have you seen any direct developments as a
result of this?
A. Not directly. Not yet. However, I CAN feel a little buzz... a little
hummmmm, grumbling up from the bowels of the community. It hasn't
surfaced yet, but when I does I would expect a community burp of
unparalleled magnitude. We have several kick ass Winmoes online, and --
in cooperation with The Black Lotus -- are striving to provide solid
Win32 documentation for scene coders who want to make the jump.
Q. We've recently seen the addition of a voting-section to Hornet.
Are there more additions in store for the archive,
if so any hints as to what they might be?
I'd like to suggest a web/java-chat.
A. We tried the java-chat thing (surprised?) about three weeks ago.
I designed a pretty web page around it and we set the default channel to
#hornet-chat. Then we all hopped on and just kinda sat there. Uhm.
So like... yeah. Hmm. And that was the end of java-chat. :)
There aren't a whole bunch of future enhancements I still want to do.
There has been a long-running TODO list of things for the archive and
I've already TODONE most of 'em. Here are a couple things I still want
to accomplish:
1. Hornet Archive zip headers with information about the production
embedded in the zip file.
2. Music ratings! So help me, I will have these back someday.
Q. If you were to pronounce one demo the best demo of the Archive,
which demo would it be?
A. IMHO, Drift by Wild Light. Superior design, code, and music, with a
careful eye given to themed patterns and color consistency.
All snuggled down into a tiny 64k bundle...
the efficient and optimized virtues of the PC demo scene, embodied.
Interview no.6: "Myself"
Zippy/Utopia interviews Zippy/Utopia
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Standard Questions:
Q. What got you into the demoscene?
A. I slumped over a party-report from TG'94, and decided to get hold of,
and look at, a few demos.. From then I was hooked. First I was primarily
a spreader, then I started easing myself into coding around 1996.
Q. What would it take to make you leave the demoscene?
A. I suppose if Drew Barrymore was persuasive enough... :)
Q. What do you find negative about the demoscene?
A. That a lot of people take on the attitude that all newbies are lamers.
Q. What do you find positive about the demoscene?
A. Most things. The general environment.
The blend of 'nerd-ness', and 'cool-ness'.
The DEMOS. The people (most of the time). The 'underground'-feeling.
People who actually admire other people for their brains.
Q. What is currently your most important project?
A. This program of course! And also a demo I'm working on with the rest
of Utopia.
Q. Where do you see yourself in ten years from now?
A. Ruler of the universe, naturally!
Too hard to give myself any personalized questions, so I won't!
that concludes this section, so I hope you've enjoyed it.
I think this was the section wich was most fun to make.
[EOF]
