Description

About

Published: 08-02-2000
Host: Super Console
Author: Paul O’Connor
Game: Oddworld: Munch's Oddysee
Format: Archived Online

Note

The following article was translated from Italian into English by GPT.

The Designer Diary

The Work Of A Lifetime

One of the harsh truths of the video game world is that you have to work for years to create a product whose "life" on store shelves is measurable in months, if not weeks. With new platforms launching every couple of years and a myriad of titles constantly being released, very few games manage to escape the fad of the moment and be classified as true classics—those games that justify holding on to an old console just to play this or that title.

At the pace at which new products are launched nowadays, it would be easy to forget about quality and simply release a title every four months. That's why Farzad Varahramyan, the Production Designer at Oddworld, is so special: Farzad is not interested in creating something that is here today but already a distant memory tomorrow. "You learn a lot about work ethic and patience by seeing the cathedrals that were built over the centuries," says Farzad, an Iranian raised in Italy, who later moved to the United States and Canada before arriving in California and joining Oddworld Inhabitants. "Only the descendants of the people who started building the structure were able to see the cathedral finished in all its splendor."

Of course, Oddworld isn't about building cathedrals, but we are nonetheless working on a "generational" project, something that goes beyond the life of a single game or system: the creation of Oddworld itself. To create something that has value over time, every part of our game must be like a brick in a cathedral: something that withstands the ravages of time and that can seem unique even fifty years from now, just as it does now. The responsibility of carrying forward the Oddworld brand, something that defines us, lies with the Production Designers of Oddworld.

And this is where Farzad comes in. "As a Production Designer, I am responsible for the look of the constantly evolving Oddworld universe. My main goal is to pass on the 'Oddworld' drawing style I learned from Lorne. Along with three other extremely talented Designers—Raymond Swanland, Gautam Babbar, and Silvio Aebischer—I provide all the drawings, reference materials, sketches, paintings, and sculptures that will be used to create the Oddworld universe. Our art department is more inspired by film studios than by any other software house."

But Farzad's work goes beyond merely creating creatures and environments for Oddworld games. "It might seem strange to most, but we are creating a new mythology," says Farzad. Part of this process involves rethinking the role of video game heroes from scratch. "At Oddworld, I've learned that it's not necessary to make games with hyper-muscular heroes and heroines who have to kill everyone to create a 'fun' experience. As Sherry and Lorne always say, we want our games to also have some 'nutritional value' besides being fun."

The focal point of this approach is obviously our heroes, Abe (the protagonist of our first two games) and Munch (who will debut in the upcoming Oddworld: Munch’s Oddysee). From the beginning, Oddworld titles were designed regardless of gaming platforms. PlayStation was just the launching pad for Oddworld, and the relationship between Abe and the Sony console is identical to that between Mickey Mouse and the device that in 1928 allowed Steamboat Willie to be projected. "We are currently focusing on video games, but other media will follow soon," explains Farzad. "The video game industry is still very young, and there are still many unexplored areas and opportunities available to us." One of the main goals of Oddworld: Munch’s Oddysee will be to capture an audience beyond just video game enthusiasts. It's all about reaching our audience, wherever they are. In recent years, the most spectacular imaginary worlds have been created by movies, but Farzad believes that the situation is changing. "This is an incredible time to work in the video game industry because it is probably the most used form of digital entertainment by a huge percentage of people. You can reach a lot of people with a simple video game. The advanced technology of the latest consoles also allows us designers to create richer and more interesting content, knowing that technology will be able to support it."

But with such a large audience, there is the responsibility to deliver a quality product, whether it’s cathedrals or video games. "When I discovered Oddworld, I finally understood where I could fit in, artistically and ethically," explains Farzad. "As an industry, we have to take responsibility for the content of the products we release, and I was definitely tired of all the violent games I was forced to work on."

It's a huge responsibility, an immense project, too big for one person alone. This means that Farzad has to be a leader, even though sometimes he would prefer to just retreat to his office to draw or sculpt. "Due to my duties, I have to give up a lot of the time I used to dedicate to drawing," complains Farzad. "But this is compensated by what I am learning from the rest of the work. I love being part of the creative development of the Oddworld universe. I also really enjoy working on the 'cinematic' part of our games and appreciate the opportunity to learn as much as I can from Lorne and our technical directors."

It's in the cinematic part that Farzad is having his most recent satisfactions. "We have just finished some of the introductory scenes of Munch’s Oddysee, and they are stellar. As a designer, it's really satisfying to see other artists not only bring your projects to life but respect your design and even make it better than you expected."

It's good that Farzad is satisfied seeing a small part of Oddworld’s projects realized... because the project as a whole, just like Farzad’s cathedral, will be the work of a lifetime.

Paul O'Connor

08-02-2000