Dev Blog 6: "A Medal. A Body Bag. Or Both." -- Recruiting Ben
In an earlier dev blog ("Leaking Secrets -- EoE's Format Exposed"), I explained how I finally cracked the format that could bring Engines of Extinction to life. However, with that epiphany came the major caveat that I was going to have to somehow find a big-time talent capable of delivering the visuals I would need to execute that vision.
In late 2012, I started pouring over the internet in hopes of locating just that person. I checked out a number of concept art sites and started to compile a list of people who might possibly fit the bill. However, it wasn't until I happened across the (now defunct) website CGHUB.com that I became confident that the sort of artist I was hoping to link up with actually existed and might just be interested in contributing his or her talents.
But that renewed optimism was still very far removed from actually convincing one of them to come on board. To do that, I would need to effectively communicate that this was a project worthy of their attention, that I was an author worth collaborating with, and finally be able to negotiate terms that were agreeable to both parties.
I'm not sure exactly how long my list of dream artists got to be before I decided I should probably move on to the next stage and start fishing for bites. Certainly, it was at least thirty or forty names deep and probably a whole lot longer than that, each name ranked in order according to who I felt was best suited to the gig. With the list in place, I started the long process of filling the position.
Well, it was expected to be a long process, anyway. I figured sooner or later, I'd reel an artist in, but it might take a while. There were a number of extremely talented artists to choose from, so I told myself not get discouraged if tracking someone down with the requisite interest, time, and talent didn't happen overnight.
The first email I fired off to a potential Engines of Extinction collaborator went out on Saturday, Jan 5, 2013 at 7:44 a.m. I introduced myself, gave a bit of background on the project and what I was seeking, and hoped to go from there.
It opened in the following fashion:
"Hey Ben,
"I'd like to discuss the possibility of hiring you to do some work on a project. First, let me say that I'm tremendously impressed by your ability and probably more excited than I should allow myself to be, seeing how closely your sensibilities appear match up with mine.
"…I've had a 'secret' project in the works for a couple years now that I'm really intent on moving on in a big way in 2013. It's a fictional military/intelligence sci-fi series that borders on proto-cyberpunk. It has been deeply researched in multiple areas and is thoroughly intermeshed in real-world history and current day technological and political developments. I'm super excited about the concept, and looking at your work and reading your comments, I think this would be right in your wheelhouse…"
That's right -- 'Ben' was Ben Mauro. I've been extraordinarily fortunate to have teamed up with the very top name on my list of potential collaborators.
And working with Ben has been a genuine pleasure. It's been a thrill for me personally whenever I've been on the receiving end of an email delivering new work he's produced for Engines of Extinction, and it's tremendously exciting to think about what's still to come. It's going to be great fun to share that with the world in the coming months.
While Ben was already fast on the rise before I reached out to him in early '13, his career trajectory has only accelerated in its rapid ascension since that time. You've no doubt seen a number of his ideas translated onto both the big and small screen in recent years. He's worked on Chappie, Lucy, Elysium, The Hobbit, Call of Duty: Advanced Warfare, Man of Steel, and a whole lot more with a huge amount still coming down the pike.
And he's still just scratching the surface; I have no doubt he's going to be a real megastar in the years to come.
However, it wasn't that impressive resume that originally grabbed my attention. When I came across Ben's work, I saw an artist who happened to have sensibilities very similar to my own. Digging in further and reading his descriptions of his work only underlined that fact. It's kind of humorous looking back, but when I read one of his explanations of a particular design he had created, I saw he wrote, in all caps, "NO GLOWING LIGHTS," and I knew this was the right guy for the job.
There wasn't any one piece that sold me. In fact, there wasn't any preexisting work that I could point to that completely nailed the aesthetic I had in mind for Engines of Extinction. However, he demonstrated an ability to effortlessly work out concepts both further and less removed from today's technological realities than what I had envisioned for EoE. It was simply a matter of providing the proper direction so he could really dial it in.
Since we've started working together, he's shown himself to be continually upbeat, hard-working, creative, skilled, and professional.
It's no surprise. Ben studied industrial and entertainment at Art Center College of Design before heading off to the other side of the world to work for the widely-acclaimed Weta Workshop in 2009 and has already established himself inside the concept art community as one not just to watch but admire.
His work speaks for itself, but he also readily provides career advice for others looking to follow in his footsteps. And that group includes not only aspiring artists but well-established veterans as well who have enviously watched as Ben's courage to step away from the safety of working for a big design studio like Weta and take more direct control over his career has really started to pay off.
While Engines of Extinction is not on the same sort of public stage as the blockbusters I rattled off above -- you certainly weren't going to see an advertisement for EoE air during the Super Bowl last month, for example -- I think Ben agreed to join the project because he recognized a common vision and saw its potential. I really wanted to find a creative partner -- not just a hired gun -- and that may have made it more attractive as well. It also probably didn't hurt that I was willing to be flexible and find ways to fit into the gaps of his very full schedule in contrast to the typical day-to-day life of a concept artist that is commonly dominated by extremely tight and rigid deadlines.
Whatever it was exactly, Ben came on board and that's a very exciting prospect for the project. I'm fully aware just how lucky I've been to landed my number one choice to help make Engines of Extinction a reality. That only increases my motivation to come up big on my end as well.
Rest assured that there will be some very cool work from Ben for you to check out when Episode I launches on March 10th. And know that it will only serve as a small teaser for what's to follow.
In late 2012, I started pouring over the internet in hopes of locating just that person. I checked out a number of concept art sites and started to compile a list of people who might possibly fit the bill. However, it wasn't until I happened across the (now defunct) website CGHUB.com that I became confident that the sort of artist I was hoping to link up with actually existed and might just be interested in contributing his or her talents.
But that renewed optimism was still very far removed from actually convincing one of them to come on board. To do that, I would need to effectively communicate that this was a project worthy of their attention, that I was an author worth collaborating with, and finally be able to negotiate terms that were agreeable to both parties.
I'm not sure exactly how long my list of dream artists got to be before I decided I should probably move on to the next stage and start fishing for bites. Certainly, it was at least thirty or forty names deep and probably a whole lot longer than that, each name ranked in order according to who I felt was best suited to the gig. With the list in place, I started the long process of filling the position.
Well, it was expected to be a long process, anyway. I figured sooner or later, I'd reel an artist in, but it might take a while. There were a number of extremely talented artists to choose from, so I told myself not get discouraged if tracking someone down with the requisite interest, time, and talent didn't happen overnight.
The first email I fired off to a potential Engines of Extinction collaborator went out on Saturday, Jan 5, 2013 at 7:44 a.m. I introduced myself, gave a bit of background on the project and what I was seeking, and hoped to go from there.
It opened in the following fashion:
"Hey Ben,
"I'd like to discuss the possibility of hiring you to do some work on a project. First, let me say that I'm tremendously impressed by your ability and probably more excited than I should allow myself to be, seeing how closely your sensibilities appear match up with mine.
"…I've had a 'secret' project in the works for a couple years now that I'm really intent on moving on in a big way in 2013. It's a fictional military/intelligence sci-fi series that borders on proto-cyberpunk. It has been deeply researched in multiple areas and is thoroughly intermeshed in real-world history and current day technological and political developments. I'm super excited about the concept, and looking at your work and reading your comments, I think this would be right in your wheelhouse…"
That's right -- 'Ben' was Ben Mauro. I've been extraordinarily fortunate to have teamed up with the very top name on my list of potential collaborators.
And working with Ben has been a genuine pleasure. It's been a thrill for me personally whenever I've been on the receiving end of an email delivering new work he's produced for Engines of Extinction, and it's tremendously exciting to think about what's still to come. It's going to be great fun to share that with the world in the coming months.
While Ben was already fast on the rise before I reached out to him in early '13, his career trajectory has only accelerated in its rapid ascension since that time. You've no doubt seen a number of his ideas translated onto both the big and small screen in recent years. He's worked on Chappie, Lucy, Elysium, The Hobbit, Call of Duty: Advanced Warfare, Man of Steel, and a whole lot more with a huge amount still coming down the pike.
And he's still just scratching the surface; I have no doubt he's going to be a real megastar in the years to come.
However, it wasn't that impressive resume that originally grabbed my attention. When I came across Ben's work, I saw an artist who happened to have sensibilities very similar to my own. Digging in further and reading his descriptions of his work only underlined that fact. It's kind of humorous looking back, but when I read one of his explanations of a particular design he had created, I saw he wrote, in all caps, "NO GLOWING LIGHTS," and I knew this was the right guy for the job.
There wasn't any one piece that sold me. In fact, there wasn't any preexisting work that I could point to that completely nailed the aesthetic I had in mind for Engines of Extinction. However, he demonstrated an ability to effortlessly work out concepts both further and less removed from today's technological realities than what I had envisioned for EoE. It was simply a matter of providing the proper direction so he could really dial it in.
Since we've started working together, he's shown himself to be continually upbeat, hard-working, creative, skilled, and professional.
It's no surprise. Ben studied industrial and entertainment at Art Center College of Design before heading off to the other side of the world to work for the widely-acclaimed Weta Workshop in 2009 and has already established himself inside the concept art community as one not just to watch but admire.
His work speaks for itself, but he also readily provides career advice for others looking to follow in his footsteps. And that group includes not only aspiring artists but well-established veterans as well who have enviously watched as Ben's courage to step away from the safety of working for a big design studio like Weta and take more direct control over his career has really started to pay off.
While Engines of Extinction is not on the same sort of public stage as the blockbusters I rattled off above -- you certainly weren't going to see an advertisement for EoE air during the Super Bowl last month, for example -- I think Ben agreed to join the project because he recognized a common vision and saw its potential. I really wanted to find a creative partner -- not just a hired gun -- and that may have made it more attractive as well. It also probably didn't hurt that I was willing to be flexible and find ways to fit into the gaps of his very full schedule in contrast to the typical day-to-day life of a concept artist that is commonly dominated by extremely tight and rigid deadlines.
Whatever it was exactly, Ben came on board and that's a very exciting prospect for the project. I'm fully aware just how lucky I've been to landed my number one choice to help make Engines of Extinction a reality. That only increases my motivation to come up big on my end as well.
Rest assured that there will be some very cool work from Ben for you to check out when Episode I launches on March 10th. And know that it will only serve as a small teaser for what's to follow.
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