G Police: Caught on Tape

There's a whole other area to the gaming industry beyond that of developing and publishing games. It's called advertising.

The following interview and screenshots should provide a glimpse into the world of those whose responsibility it is to bring the upcoming games to the attention of the mainstream public.

Our interview is with animator extraordinaire Peter Chung. His work has graced such disparate ad campaigns as those for Levi's 501 button-fly jeans and Pepsi. Added to his credits is his own animated series on MTV, Aeon Flux. A game based on the show fizzled but has been reborn - as discussed below.

Chung answers questions regarding the creation of the commercial for Psygnosis' multi-platform title G Police, which has recently released on the PlayStation and is due for the PC on November 18.

GS: What's your basic philosophy of animation?

PC: My approach to animation is centered on content. What interests me are events and characters rather than styles of imagery. Animation's greatest power is to give visible physical form to abstract ideas and the world within the mind.

GS: How did you first approach representing something in a visual medium that is already in effect represented in a visual medium?

PC: I was at first daunted by the prospect of animating mechanical vehicles by hand that would hold up beside their computer-generated versions. I decided to concentrate on the people inside the machines, emphasizing their emotions and expressions. Also, the computer imagery was very atmospheric, with lots of lighting effects. I used multiple layers of glows, highlights, and shadows to get the drawn artwork to match the atmosphere of the game footage.

GS: What were the main points of the game that you were trying to get across to viewers?

PC: The game consists of flying a helicopter and shooting at targets. In order to stand out from other similar action games, we needed to convey to the viewer that there is a well-developed back story involving human characters motivated by feelings that the viewer can identify with. I believe that once a player starts playing the game, it is the quality of gameplay that will or will not sustain his interest; for advertising purposes, the strategy is to convince the viewer that there is something more glamorous there.

GS: Did any of the latest animation techniques make their way into the commercial?

PC: Technically, the animation was done entirely using traditional hand-drawn methods.

GS: Does it bother you that multiple cuts of the commercial had to be made for airing and running time reasons?

PC: It would have bothered me had the cuts been made without my knowledge or input. As it happens, I had the opportunity to have a say in the final cut. Unfortunately, the public will not get to see the complete twenty-one-second version of the animation as it was intended.

GS: What are some of your next projects? Might we see a small or big screen return of Aeon Flux?

PC: I'm currently designing an animated series for home video, based on the life of Alexander the Great. The project is being produced at Madhouse Studio in Japan and will combine a Western design sense with the strengths of Japanese storytelling and direction. Aeon Flux is being developed as a live-action Hollywood movie by Paramount. MTV and I plan to create new animated episodes to coincide with the production of the movie.

GS: What ever happened to the Aeon Flux video game?

PC: The Aeon Flux video game was shelved as the project's label, Viacom New Media, was dissolved. The designers at Cryo in France have since revised the look of the project - re-dressing the characters - and are releasing it as a different title, Pax Corpus. Since the original item was never released, this is a new game. MTV, meanwhile, has offered the license to another major game producer , and I believe it is currently in the early stages of being created again from scratch.

GS: Did the experience sour you towards being involved with the production of video games?

PC: I never intended to pursue a career in video games, so the experience has not really affected my attitude. However, I did learn a lot about the realities of game production and was disappointed by how limiting the market is for offbeat, personal work - unfortunately just like the film industry.