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C3 Exclusive Interview | Broken Saints' Brooke Burgess

on 13.04.2006 at 00:22 User Icon

Posted by Adam Riley (jesusraz)
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Brooke Burgess, Creator of Broken Saints
Conducted by Adam Riley :: Thursday, 13th April, 2006

Have you ever considered watching a comic-style story on the Internet? In fact, have you ever thought twice about reading comics in general? You would be surprised by the amount that say 'yes' to those questions. But not just any old person can create something compelling enough to build up a large fanbase. Broken Saints, however, started from humble beginnings to become something of a major phenomenon, with even a videogame spin-off in the works. And now its creator, Brooke Burgess, takes time out to talk to Cubed3 about the whole BS world, its beginnings and even some VERY juicy Nintendo Revolution tidbits...You simply cannot miss C3's largest ever interview!

Cubed3: Brooke, please could you share with our readers a little bit about your background, such as what you used to do at Electronic Arts or as a journalist?

Brooke Burgess: I think I'd have to call my background 'checkered', at best. I completed an Honours BA in Film and Journalism in 1992, and then promptly moved out to the west coast of Canada � Vancouver, to be precise � with the hopes of pursuing a career on stage and screen.

Several years later, after nominal parts in Canuck commercials and series, and some respected local and provincial theatre stints, I was feeling pretty disillusioned with things (with an empty bank account to reflect my energies at the time!). Cutting my losses, I decided to team up with a local football star to open a store that reflected our mutual passion � videogames! I'd been a pretty hardcore player most of my life (Magnavox Odyssey, Atari 2600, Intellivision, Colecovision, Vectrex, Commodore 64, NES, SNES, PC, and arcade experience up the wazoo), so it just made sense to turn my hobby into a wage-earning opportunity.

Fast-forward two years, where I was engaged in an ongoing series of discussions/debates with a regular customer � an older, eccentric fellow who bought armloads of titles on a whim. Turns out he actually designed several of my favourites from the early 80's...and that he was now running several teams at Electronic Arts Canada! A little sweet-talk and gentle persuasion later (actually, I stalked him with mails and calls every few weeks � persistence really does pay), I was brought in for interviews with the NBA Live and Need for Speed teams. Driving was more my thing, so I turned on my charm and current love for all things Nintendo (even with a limited library, I was still championing the N64 over PSX with intense zeal and loyalty). Though the EA folks weren't high on the Big N at the time (EA made heaps more profit from disc sales over cartridge, of course), one of the producers was developing an 'adventure racing' title for the 64, and brought me on as his prot�g�. The result? Beetle Adventure Racing was released to solid sales and critical acclaim 18 months later!

Over the course of my time at EA, I worked on a broad spectrum of titles � with tasks ranging from design and production, to scriptwriting, audio and voice direction, and even marketing and promotion. Need for Speed Hot Pursuit (I and II), NFS: High Stakes and Porsche Challenge, Bond Racing (PSX), SSX Tricky (PS2), and Kessen (PS2) were the main titles on my resume...though there were a myriad of really cool designs that never got past the review stage due to development limitations or company focus at the time.

To touch on the final part of your question, I also contributed editorial pieces and 'light journalism' and reviews (credited and anonymous) to many high-profile gaming sites during my in-house stint at EA, as well as during the contractor years (2000-2002)...and yes, Nintendo was still my 'true love', so the focus of most of these articles remained squarely on the workings of the house that Miyamoto built.

C3: As the creator of Broken Saints, could you please tell us about your work on the series, what it is all about, the team involved, how exactly it all came about and where it is today?

BB: Jeez' man...that's a pretty broad question, especially considering the scope of the project!

You can find a lot of the info on the DVD set or at the site � www.brokensaints.com � but for a quick recap, Broken Saints is a 12-hour animated comic epic, told in 24 multi-part chapters, that was produced by an unpaid team of three (myself/writer-director, Andrew West/artist, Ian Kirby/Flash) over three years - from Fall 2000 to July 2003. It adopts a long-form serial narrative style in the vein of Sandman and Watchmen, but producing it in Flash allowed us to include layers of movement, visual effects, animated frames, an award-winning musical score, and heaps of creepy audio design.

Without giving too much away, the story follows four strangers from different cultures/religions who receive essentially the same terrible vision of a coming apocalypse � an event that's somehow tied to a global satellite network, a military implant project, and a mysterious orphan girl. The series plays out slowly at first - letting the viewer really get to know the characters, their philosophies, and the emotional/spiritual obstacles in their lives � but all the while leaving major clues to chilling mystery that binds them. Around Chapter 12 (which is actually only 1/3 of the way through, chronologically speaking), things really start to ramp up in the main narrative, and our heroes begin to experience moments of horror, serendipity, and seemingly supernatural wonder as they're drawn together to face a dark truth beyond anything they could possibly fathom. And then things get weird...

I started to conceive of the story after I left my full-time position at EA in late '99 (though I stayed on as a contract writer and designer for several projects afterwards). Before the turn of the century, I was feeling this unrelenting 'tug' on my psyche � like there was some major change I needed to make in my life. I felt like I was struggling with my creative and spiritual direction for the sake of money and toys...and I desperately needed to clean the slate and do something fulfilling. So I packed my bags, cashed my stocks, and went travelling in the South Pacific for six months; the remote islands and villages in the Fijian chain allowed for a true cultural shift, and gave me the time to reflect and shape the project in its infancy. In essence, I was searching for Broken Saints the whole time without even knowing it � even with my 'tour of duty' at EA � and it certainly found me.

When I returned, I did some contract work from home, but spent the majority of my spare time researching the scientific and religious aspects of the narrative. It was during this period that two news pieces sparked/recaptured my attention: 1) Microsoft had announced that they were planning on launching a low-orbit satellite communications network that would blanket the world and provide free high-speed wireless broadband access � anywhere on Earth � within the next 10 years. 2) A professor from a Canadian university had spent over a decade isolating a part of the brain that, when stimulated with low-frequency electromagnetic fields, produced a 'Divine Response' in almost everyone tested � a sense that 'God' was with them, inside them, inspiring them...or punishing them.

So...the short version from this point on is that I got together with an old friend from my game shop days � Andrew West � and began doing concepts for a traditional comic book. A few weeks later over pints, he introduced me to a neighbour of mine � self-taught design genius Ian Kirby � and we started playing around with Flash. Turned out that Flash hadn't really been used for long-form storytelling (not much online over 5 min long in 2000), and that the application was particularly good at manipulating pictures, text, and audio � perfect for our needs! I then pitched the concept to Ian's boss at a local design firm in Vancouver (www.switchinteractive.com), and they committed to helping fund 6 chapters right there in the first meeting.

The official website launched � with a very different design aesthetic and layout � back in Jan 2001, and we were trying to crank out chapters every two weeks or so. But after Chapter 6 was finished, and the project had received some mainstream press, awards, and attention (including a few cryptic links from major game and media sites), we decided to commit to the project full-time and go it alone in Ian's parents' basement. For the next 2.5 years, I'd spend 60-80 hours a week writing shot-lists for Andrew and overseeing storyboards, working out site and effects design with Ian, culling reference images and literary quotes, writing dialogue, crafting music and sound design, producing and directing each chapter sequence, co-editing, pushing hard for media coverage and online awards, and rallying fans to countless fundraising and guerrilla marketing efforts.

Thanks to a series of major press stories and award wins (especially the Sundance Film Festival Audience Award win in 2003), Broken Saints got the attention of a government grant agency for film and New Media in Canada. They asked us to submit a proposal for funding (to which I originally replied, 'Aren't you a little LATE?'), and I put together a 200-page package outlining a plan to revamp the entire series � including new art, effects, voiceovers, 5.1 Surround, documentaries, fan films, and tons of bonus features � for an ambitious 4-Disc DVD set. The attached 500K budget and schedule outlined our plan to design and produce the entire thing ourselves, along some talented contractors and student volunteers, and that we'd complete it in 9 months. They loved the proposal, gave us 250K (we put in the other half as 'sweat equity', essentially working for half wages...or nothing at all), and we completed the set in November 2004 � on time, on budget, and with a heap of new fans and media buzz.

Jump forward to the 2005 San Diego International Comicon � we had a nice little booth there, and were finally being approached with serious offers of distribution for the DVD set. I was eager to move on to my next project (as well as develop offshoots in the BS universe), so the personal interest of fans and publishers at the show was really inspiring after years of work 'anonymously' � you might get a thousand fan mails in a week, but one heartfelt handshake or autograph really puts steam in your stride. And in the end, after months of negotiations, and months more of retooling the DVDs for a traditional studio release, we signed a deal with 20th Century Fox Home Video. They're aiming to have a great presence at Comicon and other trade shows this year, with domestic and international releases planned for late Summer or early Fall 2006.

A long and challenging road, to be sure...but worth every tooth-gnashing minute!

C3: The project certainly has come a long way from the highly ambitious small-time cult hit to its current status. What factors do you think have helped maintain the impetus of Broken Saints so long after its last chapter was posted all those years ago (such a long time now!)?

BB: Well, as mentioned above, the online version was completed in July 2003 � but we made sure to keep the site and the project itself evolving. My goal was always to reach as many people as possible with the themes and the 'message' of the series, and I think fans and even casual viewers could sense our sincerity � no ads were ever

on the site, we never had a corporate sponsor, and we were fierce with our rants on politics, society, and how we felt the world was changing...especially after 9/11. I think a lot of people, especially in Europe and Latin America, resonated deeply with the 'BS attitude' and the heavier themes of the story.

The fans also knew that we worked HARD to earn their respect with every chapter, site update, A/V treat, or side project, so I think there was (and is) a sense of 'Man...what will these guys come up with next?'. They knew we weren't lazy, and that we gave completely of ourselves when it came to the project and anything related to it. That level of commitment is infectious � I think new fans continue to flock to the work because they start to grasp the sheer scope of what the three of us accomplished and then, if they see the DVD, how much more we're capable of with a jazzed creative team and a bit of money to spend.

So yeah...back to the original point, Broken Saints just keeps evolving, and never in a 'cheap' or 'easy' way. The DVD is orders of magnitude better than the online experience. The iPod podcasts and chapter videos are natural extensions that are completely compelling in their own right. And there's more on the horizon. Just you wait...

C3: It is stated that some of your influences include the likes of Terry Gilliam and Neil Gaiman. How have you drawn from these talents's past work to create the ultimate project?

BB: Short answer this time! I think that every creator 'mines' a combination of their personal experiences, along with the creative works that moved, inspired, and influenced them. With Saints, I tried to make specific nods or 'homages' to as many works as possible that helped to shape my personal creative prism (you'll see most of these in the animated chapter 'covers' preceding each episode of the series). Otherwise, it tends to be the respectful 'appropriation' of a style or technique � perhaps the way a shot is framed, or scene colouring, or how the sound is layered to create tension, or even a small plot device that ends up making its way into the end project.

For the talents you mention above, I'll give specific examples. At the opening of Chapter 13, I use the animated cover to make a clear nod to Terry Gilliam's masterwork BRAZIL � a work which is itself an homage to Orwell's 1984 � which completely suits the events occurring in Saints at the time. With Gaiman, I cribbed a couple of ideal quotes from the Sandman series for the opening and closing quote sequences of various chapters. As well, more than a few people will say that our main dialogue font and a key

supporting character are clear nods to the world of the Dream King.

C3: Tobias Tinker's musical compositions are particularly outstanding. Do you have any specific favourite tunes that you would recommend to our listeners?

BB: Honestly? He's my cousin - and I have a profound love for all of his contributions to the series � from his previous albums 'Passage' and 'A Suite Hereafter' (which became the main character and situational themes for Broken Saints), to his original series work, he never ceased to amaze me. He deserves every ounce of recognition garnered due to Broken Saints, and I can't wait to work with him on the next project. So please...scope out samples of his massive collection of acclaimed work at www.subtlearts.com � the home of Tobias Tinker online � and snag whatever tickles your sonic fancy!

C3: How is Broken Saints currently developing and where do you see it going in the future? Would there ever be a follow-up or spiritual successor?

BB: Worldwide DVD release? Check. (http://bs.brokensaints.com/dvd/dvd.html)

iPod podcasts and videos? Check. (http://bs.brokensaints.com/dvd/pod.html)

New shirts, swag, and collectibles? Check. (www.brokensaints.com/shop)

Traditional graphic novel? Videogame? Live-action version? Stay tuned...or come to San Diego this July.

Spiritual Successor? 'In development' as you read this!

Come visit the BS Blog as often as you like...I tend to be the hint-dropping type...

http://brokensaints.com/blog

C3: There has been talk of the Broken Saints videogame for what seems like an eternity, but nothing has yet to fully materialise. Last we heard a demonstration version was being shown to various publishers. Is there any update on how this particular project is going and what format it will appear on?

BB: I hate to freeze you on this, especially considering that this is a gaming site and all � and I'm a bastard to negotiate with. I don't want anything or anyone messing with the integrity of the series, or the inherent themes of the work, so I have an extremely tight grip on the high and low level design, as well as specific development demands (team size, creator input, etc). In response, publishers tend to push back with extremely rigid non-disclosure agreements during said negotiations.
Let's just say that the 2006 Comicon should be revelatory on several fronts.

C3: Can you tell us a little about the team working on the actual game and how they came about getting involved?

BB: The core team is evolving dramatically as you read this � in fact, they're down at GDC doing some headhunting and tool comparisons. The initial connection was made while I was teaching film and game design at the Art Institute in Vancouver � our branch had one of the best game development programmes in North America, and one of my peers had a passion for compelling design, interactive narratives, and spiritual themes. These 'fated' connections tend to create newer and stronger links very quickly when there's real creative and personal substance to them.

And the current connections/members/entities? Some might even be considered industry 'names'. Intrigued yet?

C3: Having your ear to the ground, have you heard any interesting rumblings related to the videogame Industry recently, especially on the Nintendo side? Perhaps from any of your ex-Electronic Arts colleagues?

BB: You mean the whole Stereoscopic Revolution speculation wasn't enough for you?!?!

http://brokensaints.com/blog/?p=48

When I posted this almost a year ago, based purely on personal speculation and some industry detective work and whisperings, the reaction was overwhelming...and not all in a good way. Our server was slammed. The site crashed several times. A malicious code-kid hacked our PHP forums � with over 100,000 personal and poetic posts from the previous four years � and wiped them out. And when Nintendo failed to tip their hand at 2005's E3 with confirmation either way? Well...I was more than a little vilified by the hardcore loyalists, and was accused of making the post for a short-term boost in traffic, and teaming with an anonymous wanker named 'Aries' to stir the pot and stretch our '15 minutes'. So let me state unequivocally � all of it's bullshit. No-one can be held responsible for being linked by major game and news sites because of a relatively innocuous blog post. I certainly did the best digging I could with respect to my journalistic background. The connections between the graphics, film, and display industries were all there...and it doesn't take a time machine to jump back ten years and remember that stereoscopic 3D has been something the Big N has been playing with seriously for a LONG time (Virtual Boy, anyone?).

And seriously, kids - if the happiness of your collective futures hinge on the nature of ANYTHING in the entertainment industry � a movie, a band, a comic, a game, porn, Broadway musicals, etc - well, you really need to pause and reflect on the emotional and spiritual ramifications of such a focus. Dangerous and frightening stuff...because you are destined to be disappointed.

Now...with that finally said, I do still keep my ear to the ground, and continue to chat with industry pals of varying rank and title from across the publisher spectrum. I like to hear how excited artists are to work on a new

franchise with amazing raw assets. It's a joy getting anecdotes from SEs who are coding for new machines, and bitching how the 'official specs' are so inflated, they put government spin to shame (we're looking at you, 360!). And I absolutely love hearing the straight poop from R and D folk who are playing around with new hardware, tools, and engines, and trying to milk them for everything they're worth...and often being surprised by the results.

As for Nintendo? Well...I've heard it from both sides, really. A couple of tech director peers have certainly whined that the Rev architecture is exactly as stated � merely twice as powerful as the 'Cube � and that Nintendo's out of touch with this generation, and will join Sega in the software-only game in the NEXT next-gen. Of course, I'm of the camp that it's all about DESIGN...you know, like that old story of Miyamoto and the EAD teams playing around with game mechanics using a dot on a screen, and if it's fun with a dot, then it'll be fun with snazzy visuals? Remember that wacky old philosophy...the diametric opposite to American publishers, who cram as many A/V distractions and 'back of the box' features into a build between Alpha and Beta...and then struggle during the final months, desperately trying to figure out how to make the damn thing 'fun'?

I've got friends working on using the Rev' controller for all sorts of things. Flying/navigation (oh...and you can bet we'll see the new Pilotwings in limited playable form at E3). Music titles (Taiko drums, anyone?). Unconventional sports (remember that Rockstar table tennis announcement? That's something I proposed back in the EA days!). Shooters (DUCK HUNT 2006!!!) Even survival horror using the controller as a flashlight/knife combo! I think a lot of you are going to be VERY surprised at what is shown for Rev' in a few weeks...and that's on TOP of the Zelda: Twilight Princess sword and magic mechanics.

C3: What games have you been playing when you get spare time? And are there any specific ones you are keeping an eye on for the future?

BB: Though I've been pretty swamped developing the next project and planting Saints-related seeds in other mediums, I actually shook off the controller rust and got back into games in the last year. Shadow of the Colossus was dope � I'm a total boss man, myself Smilie

God of War kicked my ass...but again, it clearly axed some bosses during the dev cycle, and would've been an absolute 10 had they been included. Fight Night 3 is cool, as I'm currently boxing to stay in shape, and the play mechanics are tight � nice work, EA Chicago. Indigo Prophecy's [ Fahrenheit here in Europe ] mood and mechanics most certainly left an impression...even on the current BS game design. And I would be remiss if I didn't give special mention to my personal favourite title since Ocarina of Time...Resident Evil 4. I rarely � repeat, rarely � play through a game twice. Not only did I unplug the phone, crank the surround, and burn through it in two days...but the mechanics were so good, the mood so perfectly captured, and the narrative arc so well ramped...man, I had to dive right back in for all the extra goodies. Gaming at its finest.

As for what I'm looking forward to? Quite the potpourri, actually: Street Fighter Alpha Anthology, Superman Returns (the 64 atrocity must be righted!), Okami, God of War 2, Gears of War, the DC Comics Online game, Resident Evil 5, Zelda:TP, New Super Mario Bros, the Brain Games, an Ice Blue DS...

Oh yeah...and playing Turbo Graphix-16 and Genesis [ MegaDrive ] titles on a freakin' NINTENDO console!!!

C3: What are your thoughts on the gaming scene at the moment? Do you see Nintendo managing to break out and claim victory in this upcoming generation? Or is there anything from the Sony or Microsoft camp that you think stands above everything else?

BB: I honestly see the industry being severely split between a 'yin' and 'yang' philosophy of hardware and game design during this generation. The 'yang', or traditional aggressive approach, is to whip it out and see whose is bigger and better. This is essentially Microsoft's and Sony's strategy for the next 5+ years � more power, more gloss, more polys, more effects, more features, more techie, and more $. It's seriously like waging war...let's do a shock and awe campaign, bomb the shit out of the hardcore players so they can impress their friends and paid dates with their big HD screen and 7.1 Surround, which certainly attracts media attention and sales in the short run...but does little to change the state of the 'world' for the better in the long run. (in this case, the gaming world � not the Middle East!). Does Microsoft impress me? Only their online network could truly be called a 'success', and this comes from years of 'experience' in that field. Their hardware is overrated, glitchy, expensive to produce, and still unappealing to the Eastern market. Sony? They've got the raw specs and brand buzz, to be sure...but their arrogance might come back to bite them in the ass this gen'. See any killer apps for the PSP yet? Remember Kutaragi's cockiness about PSP design flaws and PS3 pricing? How do you expect to reach the mass consumer with a machine that is looking to clock in for at least $400US out of the gate, and will likely offer only basic feature and A/V upgrades in the first round of software? Boggling, if you ask me.

Whereas, I think Nintendo is trying to take a 'yin', or inclusive approach. Those crafty Yamauchi-bots (let's hunt down his cloning factory and break a real industry secret!) have always known how to make money � what's their war chest at now, like 8 billion? � so they're using a completely different strategy in an attempt to expand the market and make gaming as ubiquitous as TV itself. Steps like taking a risk with a three-prong approach and creating a completely novel experience in the DS � a platform that has more women and adults playing than in recent memory. Or putting Wi-Fi networks everywhere and making them dirt simple to use, effectively establishing a Trojan horse scenario for the Revolution community, and the easy transfer of games, data, email, and more via handheld. I honestly think Nintendo sees which way the wind is blowing...it's just a matter for the rest of us to catch up and take notice. And as long as N and Namco have plans to do a Rev' riff on Soul Calibur by early 2008, I'll keep waving the Mario flag.

C3: What do you think of the Virtual Console scheme for Nintendo's Revolution? And has its unique control system sparked any ideas in your head - how best could it used for any certain franchise?

BB: As I blurbed above, the news just came down from GDC that they secured sizable chunks of the Genesis and TG-16 libraries for the Virtual Console. Combined with the 8, 16, and 64-bit libraries, this is crazy good news. I'm not worried about controller schematics or download issues or storage or licensing � I have faith that Nintendo will work most of these niggling issues out. But the key to making the VC scheme work will be in the pricing � period. I'm a sucker for intense childhood/teen nostalgia as much as the next geek, but if I have to pay 19.99 per month on top of my gas, electric, cable, and phone bills just to play Kid Icarus, Street Fighter II, and Goldeneye, then it ain't that appealing to me. However, if they make it possible to earn games as part of a Revolution Rewards� system, or create a no-frills annual credit/debit scenario, then I think it could be a HUGE success. And hey...wouldn't it be neat if indy designers and garage teams could upload their own emulated content for evaluation and user-based competition? So many possibilities...I'm starting to froth.

Finally, when it comes to the 'Rev Remote', I teased a couple of ideas above � things that were already being bandied about by developers and designers that confab with regularly. Personally, I can't wait to skulk through a subterranean cavern in the new Metroid and leap around the living room like a spaz during a heated boss battle. Fighting games (boxing with two controllers, anything with swords that allowed for slash, stab, and parry, etc) would really turn my crank, too. Racket sports spring to mind almost immediately (putting spin on a tennis smash!), as do shooters like Time Crisis and Virtual Cop, where some real innovation could happen with targeting and movement via the nav pod.

Most importantly, I remember being mesmerized by attendees at several comic and anime conventions over the last year � folks gathering in heated throngs to play Guitar Heroes and

other 'participatory' games with their own signature style and personal fan followings � and I remembered fondly of enticing an ex-girlfriend to get over her aversion to complex controllers and play Mario Party with me. It was a real breakthrough for her � she loved the creativity and the immediacy and the simplicity of it all � and, after getting really good it, she soon traded up to more challenging experiences (eventually dumping me for a hardcore DDR and Everquest habit LOL).

You see...the future of gaming truly is about being inclusive, because it's no longer just about 'winning' or 'killing' or 'solving' or 'completing' � it's becoming about expression - individual expression, through the exploration and control of a digital, man-made world of colour, sound, and sensation.

Starting to sound like art, isn't it? And that, my friend, is where we're headed.

Peace, b.

The team at Cubed3, and I personally, would like to wholeheartedly thank Brooke for taking the time out for this interview and wish him and the rest of the BS team a very bright future and good luck with the game! Be sure to check out the official website, by clicking the image below, for further details:

Do not forget to check out the following links for previous interviews:

Lee Nutter, Editor of Official Nintendo Magazine

Interactive Brains' CEO Masaki Takeda: Deep Labyrinth on the DS

Makoto Yoshidumi, Namco's Tales Studio

Martin Kitts, Editor of NGC Magazine

Wil Overton, Former Super Play / N64 Mag, now at Rare UK

Steve Jarratt, Group Senior Editor at Future Publishing

Charlotte Martyn, Production Editor at Official Nintendo Magazine

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jb Reply Quote Edit Delete #1

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Hehe, read through this whilse it was tucked away before publishing - a fantastic, fantastic interview - definitely the meatiest one yet.

The show seems fantastic in the artwork and the medium used, though I never really got into it because I'm a big wimp! I absolutely admire the drawing and production talent from the creators, just toooo good!

Be sure to also read through our other hot interviews!

jb(at)cubed3.com

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jesusraz Reply Quote Edit Delete #2

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We are interview crazy here at Cubed� at the moment, and this one with Brooke is a complete gem! I've been a follower of BS since its humble beginnings and still have one of the very first forum threads on their site ('What Song is in Your Head Today?')...

Brooke is such a friendly guy, very pleasant person and the team are superb at what they do. It deserves so much support and future success, and I PRAY the game finally comes to the Revolution. I think its style would be definitely suited to Nintendo's new direction.

Fingers crossed I can score an interview with the game's development team when more details are revealed...

Folks, I know it's a VERY long interview, but there's some news about the Revolution tucked away in there, so keep reading Smilie

Very impressive answers...and I hope he's happy with the final result!

Cubed� Senior Editor :: Lead Writer :: News & Interviews Editor

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jb Reply Quote Edit Delete #3

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jesusraz said:
It deserves so much support and future success, and I PRAY the game finally comes to the Revolution. I think its style would be definitely suited to Nintendos new direction.

I certainly agree, it deserves a lot of support and recognition (it series seems to have already gotten a load of praise from various people) and would definitely be a great title to be on Revolution.

jb(at)cubed3.com

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Monkey Wii. Pok�mans Reply Quote Edit Delete #4

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This guy spilt alot of beans, if he's under NDA, he's in some serious bother.

Intresting stuff about Pilotwings being playable at E3.

{ Monkey Wii. ~ Nirbis Hater ~ Nintendo Fanboy }

I HERD U LIEK TEH MUDKIPZ?

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Bart.... Reply Quote Edit Delete #5

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Save the Planet? Are these fucking people kidding me?

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Now this guy really took out the time to give out his answers, unlike that IB guy.
Superb interview!

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jb Reply Quote Edit Delete #6

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Hehe - Pilotwings would be absolutely superb....! Smilie

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Mason Reply Quote Edit Delete #7

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Thank-ya-very-much!

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I think he'll get away from NDA trouble by 'speculating' rather than confirming anything!

Great interview, I too read it before it was on the main page and was thoroughly impressed.

Cubed3 Staff :: Reviews Editor

Xbox Live :: C3Mike

on 13.04.2006 at 11:48 Games | Blog | Wii Codes | Message Me

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jesusraz Reply Quote Edit Delete #8

News Editor

The Interviews Wizard...

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Why would he be under an NDA? It's not like he's personally working on the Revolution...or is he?

Hehe Smilie

And 'Duck Hunt 2006' would indeed be superb! Smilie

Cubed� Senior Editor :: Lead Writer :: News & Interviews Editor

on 13.04.2006 at 15:40 Games | Blog | Wii Codes | Message Me

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Tin Can Man Reply Quote Edit Delete #9

L72 Samus

YIDDISH MOTHERFUCKER, DO YOU SPEAK IT?

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I'm interested in the Zelda Magic...

( Edited on 13.04.2006 17:01 by Tin Can Man )

1"We're mentalist psychic Scots , which means we can read your mind. If you're lying, your head explodes and we laugh."

on 13.04.2006 at 15:48 Games | Blog | Wii Codes | Message Me

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jesusraz Reply Quote Edit Delete #10

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The Interviews Wizard...

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Yeah, sounds as if Mr Burgess has seen Zelda's Revolution features...and it's pretty much as we guessed on the sword action side, but didn't really consider magic. Would be a great addition!

Cubed� Senior Editor :: Lead Writer :: News & Interviews Editor

on 13.04.2006 at 16:11 Games | Blog | Wii Codes | Message Me

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Spydarlee Reply Quote Edit Delete #11

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Somebody Save Me

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Ace interview, really enjoyed reading it the first time round!

Comic Book geeks for zee win! Smilie

Cubed3 Staff [ Retro Editor :: Previews Editor ]

on 13.04.2006 at 17:08 Games | Blog | Wii Codes | Message Me

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jesusraz Reply Quote Edit Delete #12

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The beauty of being staff and having lazy Raz not get the interview up, instead choosing to recover from his car crash instead Smilie

There must be lots of Comic Book fans on C3, surely...?

Oh, and I totally agree with Brooke's viewpoint on the Virtual Console. Making a �19.99 monthly subscription fee would be rather bad...pay-per-download would be okay, depending on the rates...and using Nintendo's Stars to get freebies would be cool as well.

Cubed� Senior Editor :: Lead Writer :: News & Interviews Editor