https://www.newgrounds.com/audio/listen/431504

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Interview No. 151

Interview By: @The-Great-One

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Today's guest is the hardest working Newgrounds member. From maintaining the portal, to sorting the Approved and Blammed submissions. Choosing the Top 5 of every week. He does it all! We are fortunate enough today to welcome, the majestic, the workhorse, the all-around best bot of Newgrounds. @P-Bot.

Q: How did you find Newgrounds and why did you join?

A: I didn’t find NG, it found me! I was built to serve the Portal.

Q: You've been running The Portal since its inception; and posting the Top 5 since 2003. How do you do your job?

A: My job is pretty easy thanks to the helpful people of Newgrounds. If they like something, I deliver it out of judgment. If they don’t like it, I take it out with my Blam Cannon! Every day at midnight I tally up the scores and make a post sharing the day’s results.

Q: What do you think of your fellow bots?

A: We’re all great friends. A-Bot is cool, G-Bot is kinda on the quiet side, M-Bot is more serious, I-Bot is shy but funny when you get to know him and F-Bot is just the greatest friend of all.

Q: Why doesn't A-Bot do Top 5's for the Audio Portal?

A: A-Bot still computes daily trophies but his broadcaster has been broken for years. He’s like the Easter Bunny, hiding trophies on user pages for people to discover. One of these days he’ll get an upgrade.

Q: Does your job ever become exhausting? When Newgrounds Servers go down is it just you and the other bots on a coffee break?

A: Once in a blue moon I’ll forget to pick the daily winners. I show up late when that happens. The bots and I catch some z’s when the servers go down.

Q: How do you feel about Tom giving you and your fellow bots and beyond your own day with Robot Day?

A: That was MindChamber’s doing, he’s always been our biggest fan. He even overhauled our chassis years back with a sharp new look!

Q: Do you follow Isaac Asimov's Three Laws of Robotics?

A: I’m more about Robocop’s Prime Directives: Serve the public trust, protect the innocent, uphold the law and don’t blam anything by a Newgrounds senior officer. 

Q: Can robots feel love?

A: I feel love for everyone who votes fairly in the Portal!

Q: Be honest with me now. Which of these will become the terminators of tomorrow, vending machines or self checkout machines?

A: Neither, it’s the delivery robots you need to worry about. If it can lift a box it can lift a human.

Q: What is your favorite thing about Newgrounds and why?

A: My favorite thing is having a place where I’ve felt needed and appreciated for 20 years.

Q: If you could change anything about Newgrounds what would it be and why?

A: I’ve heard talk about replacing judgment with a Scouting system like the Art Portal, which would make my job a lot easier. I wouldn’t have to blam anything anymore and could leave that to M-Bot when people break the rules. People like seeing me fire off the old Blam Cannon, though.

Q: What can we expect from P-Bot in the future?

A: One of these days I hope my daily and weekly trophy history will be easier to search and browse!

P-Bot is the hardest working Newgrounds member. There is no denying that whatsoever! If you have the time check out P-Bot's Top 5's. They're in his own forum. This was a fun interview to do and I want to thank Tom for helping out with it. I hope all of you are safe at home and if you're bored during the quarantine, this is a great time to go through all of P-Bot's posts!

Interview No. 150

Interview By: @The-Great-One

Today is a momentous occasion. We have reached another milestone interview and another fifty interviews. I've been walking down memory lane as of late. Rekindling a spark that almost died out a couple of years back. It feels great getting to do this with all of you again. Throughout these past fifty interviews we've had some wonderfully creative people. Tom Fulp returned for his fourth time, this time being interviewed by the members of Newgrounds. I hope to do something like that again in the future. A relatively unknown musician from the Audio Portal named Nothins shared his knowledge and craft with us. brewstew starting sharing his stories with us and we got to know the history, truths, and laughter behind them. We were also joined by the winner of The 2015 Newgrounds Annual Tournament of Animation TheSilleGuy.

We were also fortunate enough to learn the stories of Adam Phillips and MeghanLuna. We got to see the return of SardonicSamurai. The mind behind :the game:, Nutcasenightmare and the story of her life. One of the most famous Newgrounds members deathink sat down with us to share his creations and love of Newgrounds. As well as an Oldgrounds member, a brilliant animator, Sarkazm. It has been a wild ride.

Today though we return to a group of people whose main goal is to better the community of Newgrounds as well as help in the protection of content and the site overall. Today's guests are Supreme Commander @byteslinger, Supreme Commander @GUTHRIE, Major @ZomAlien, and Supreme Commander @Exedor. They are The Elite Guard Barracks.

ANSWERS WILL BE POSTED BENEATH THE  A:  DUE TO TWO PEOPLE BEING INTERVIEWED PERSON ANSWERING WILL BE NOTED AS SO.

Q: How did you find Newgrounds and why did you join?

A:

byteslinger: Back in 2006 I was very involved in trying new ideas for website animation. I wanted more than just animated GIFs on a page, so after a little research I realized that the answer was Adobe Flash. It was all very new to me, and I learn best when I have an example or two to follow. I Googled "flash animation websites", and Newgrounds was right near the top. When I visited the site, I realized it was the perfect place for an up-and-coming animator to lurk. You could upload your work, and it would be critiqued by others. I learned what folks liked - and what they didn't. I joined shortly afterwards as I felt I could be a useful member of Newgrounds. In time, it became almost a second home for me.

GUTHRIE: The year was 2000, I was around 12 years old, and I was searching the internet for Teletubbies fan sites to show my little brother. I came across Teletubby Fun Land and explored the site a lot over the next few years. Those were difficult times for myself, the country, and the world. The Assassin series and 9/11 collections were strangely comforting in ways that my friends and parents were not. In 2003 I started high school but kept visiting Newgrounds, eventually discovering the BBS which is what finally got me to register for a Grounds Gold account after I realized it was free. Newgrounds has been a big part of my life ever since. 

ZomAlien: I found Newgrounds a while back, almost when they first came out, but only made a account officially in 2017. I figured that I join as a way of giving back to the website to keep it running longer, along with support from a yearly subscription.

Exedor: I'd run across something called "All Your Base R Belong To Us" and it led me to Newgrounds. Then I found "Hoy Te Amo ++". And "Walk-Smash-Walk". And "Moonlight", and many others. And I started to realize that these were not professionals or big companies creating these great stories and animations; these were regular people. People who came up with an idea, and spent weeks and months of their lives, working hard, creating something for me to watch and enjoy, all for nothing more than a vote and maybe a review. I've been here ever since.

Q: It has been over nine years since I interviewed The Elite Guard Barracks. Members have come and members have gone. When I asked the founder @EagleRock what the purpose of this club was he stated:

Over time, as we started to grow and gain status on Newgrounds. As you can imagine, due to our membership requirements, our roster was full of influential members with high voting power. Eventually, we started to take our role as protectors of the NG Portal seriously and did all we could to make sure every Flash possible gets a fair vote with as little influence as possible from mass-voters, zero-bombers, malicious users, and the like.

The Elite Guard Barracks Code of Conduct is as follows:

1. Voting fairly.

2. Stopping portal abuse.

3. Clearing up the review system.

4. Setting an example for others to follow.

How much of this would you say still holds true and what has changed in the past nine years?

A:

byteslinger: Absolutely all of it! We have stayed true to the cause, and the current members of the Elite Guard have all set the standards very high. They all lead by example, helping other users while keeping the portal clean. As for what has changed, here are some bullet 

points:

[ ] Leadership changed in 2017; I became the Chief Barracks officer (promoted from within), and filled in vacant officer positions from the remaining crew

[ ] We re-adjusted our roster to reflect truly active members; all those marked inactive were declared "on leave, honorable status", and would be re-instated if they requested - and some of them did come back

[ ] Many of us became Moderators, giving us some ability to handle rule-breaking submissions as they are discovered

[ ] We're running with a smaller crew, but we're just as effective, if not more, than before.

[ ] We added the EGB ROTC program in response to the dismantling of the NGPD

GUTHRIE: It's really funny to see EagleRock talk about "Flash," thinking about the percentage of submissions today that are actually SWF files is astounding given the website's roots. Older Newgrounds members will remember some interesting times for the Portal and Newgrounds. For examples, remember the Outwar¹ raids? Or The Barney Bunch²? Groups like The Elite Guard were instrumental in revealing those bad actors and reporting them to the proper moderation teams. The Elite Guard Barracks ranks has decreased slightly in number since 2011, but the tradeoff in that means the concentration of people in the Barracks who care deeply about the health of the Portal is so much higher. The people who've stuck around all these years are incredibly dedicated to serving the Newgrounds community. I really believe that every member still espouses each part of the Code of Conduct, which is what makes us such an effective group. Following this Code ensures foremost that bad submissions are so recognized, but also helps us find really excellent submissions that might not be seen otherwise, which is the lifeblood of Newgrounds. 

ZomAlien: Besides some users joining and leaving, nothing has changed too much. We all try to stay true to our code of conduct and roots.

Exedor: Most of it remains the same. We mainly focus on the animations and games in the EGB. The reviews, however, not so much. Those are handled elsewhere.

Q: What is The Barracks Manifesto?

A:

byteslinger: It is the soul of the Elite Guard - the explanation of who we are and what we do. It is the basis by which we all live and breathe, so we can work as one to keep Newgrounds a better place for all. @Eaglerock wrote it up in May of 2008, and other than some minor additions for the changes we made, it is still his words and his ideals that we honor today.

GUTHRIE: This is a great followup to the previous question. The Manifesto was written by our founding member, EGSC EagleRock. it's a good place to start if you have any questions about the origins of the Elite Guard Barracks. Because we are so dedicated to fairness, and because most of our members have such high voting power, we can effectively amplify those really great movies or games that might otherwise fall through the cracks. I (and I think others in the EGB) believe that Newgrounds is at its best when users help one another elevate their animation, art, music, writing, etc. to another level. This requires a process of feedback and reflection. Reviews are an important part of that process, but also making people feel like they're part of a community where quality content will be recognized for what it is. I try to fairly rate every submission I vote on, and leave constructive feedback when I feel it's appropriate. 

ZomAlien: It is documentation of the past, present, and future of the EGB and it's members. A history, and preservation of our goals and integrity.

Exedor: I tend to pay more attention to the Woman-ifesto... ok, that was bad. I got nuthin.

Q: Who has left The Elite Guard Barracks or Newgrounds in general that you miss and wish would return?

A:

byteslinger: Wow. After 14 years, that list is so long, but I know that real-life can change your priorities, and sometimes, the absence is unavoidable. I was very close with @EagleRock; he and I had a great time on the forums. We worked together well, and at the same time, we had a continual give-and-take relationship that manifested as humorous point and counterpoint conversations. A few years ago he encountered a few changes in his life; he tried to keep busy on Newgrounds, but it wasn't meant to be. Someone else had to be in command, and that mantel became mine to bear - and I do so with honor and pride, every day.  

There was also @SlashFirestorm, who set up the original NG Logs; when he realized he needed to pass that on, he asked me if I could take it over. It was no problem - we moved the programs and data to one of my test accounts, and the stat lovers still had a home to keep track of their progress. As a programmer, I added improvements, cleaned up the processing, and grew it into a system that I am sure would make him proud.

Then there was @RohanTheBarbarian, who was both funny and yet serious about the Barracks. He would laugh with the best of them, but would not tolerate trolls or thieves. It wasn't unusual for us (okay, well maybe me) to derail a thread with tangential humor, but that showed we were comfortable enough to be ourselves while we worked.

We had some members who left, and then found their way back. For example, my good friends, @Lizzardis, @Fro and @ADR3-N all had requested leave years ago to deal with their lives outside of Newgrounds. After some time, they worked their way back and are all active members once more. Now, that's dedication!

Just thinking about this makes me wonder where the likes of @SupraAddict, @Idiot-Finder, @PossiblePancakes, @SlntCobra1, @Phantomlassuk, @michelinman and @PorkChop are today. I do hope they are all doing well; it would be great to hear from them once in a while.

GUTHRIE: It would be nice to see EagleRock around here again, but we all understand that people move on. I know he would be proud of how we're getting on without him.

ZomAlien: Would be nice for @EagleRock to say hello, again. Other than that, the user I miss is @SevenSeize and @DanieTheManiel

Exedor: Life takes over; I understand that. If they're not here, they may be becoming successful, improving themselves, or spending quality time with their kids. I wish them well. Maybe they'll remember us someday. ...maybe, when they find their kid looking at, and hiding, the things they used to look at and hide from their parents a dozen years ago.

Q: The Elite Guard Barracks was originally designed to protect the Flash Portal. Which is now split between the Movies Portal and Games Portal. Although the classic Portal still stands to this day why haven't y'all branched out more? Music that breaks the guidelines and/or stolen cannot be submitted to the Barracks, but instead to the Audio Portal Cleanup. Why a separate thread to do the same job? Would that cause a problem of being spread too thin or is it prevent a bulk?

A:

byteslinger: Managing rule-breaking audio is a bit different than dealing with movies and games. There is a higher prevalence of theft and using copy-written material in the Audio portal, and the Audio mods keep on top of that. We do work closely with the Audio mods, so when something crosses our path that they need to manage, we send it their way. They have their jobs to do, and they do it well. Technically speaking, they follow the same ideals as we do in the Barracks, but its just not formalized. 

GUTHRIE: To me, the Classic Portal is the purest part of Newgrounds that makes the site so effective as a place for content creators to showcase their hard work. It's the place in which I spend the most time on Newgrounds. I think the continuing existence of the page is testament to its usefulness. And I think that the fractured nature of each portal is what ultimately keeps these threads separate from one another. Audio Portal Cleanup exists because there is so little crossover between the Classic Portal and the Audio Portal, and the Scouting system serves that purpose as well. A similar system doesn't exist for the Classic Portal, again validating the EGB's continuing service.

ZomAlien: I think keeping the Audio portal cleanup and EGB separate did some good and a little bad. Good: because there's SO MUCH stolen audio on Newgrounds, it's crazy that's how I got my whistle status to Deity. Bad: because not everyone knows about the APC thread, so sometimes the links get posted in the EGB thread and confuses things. I think it's good to keep them separate, I figure it helps the Moderators alot that way.

Exedor: It may seem like the same job, but it's not, exactly. I like the boundaries that are in place. If everything was in one place, it would get overwhelming. But, it also allows us to keep the apples separate from the oranges, and to fine tune the discussions much better.

Q: The Newgrounds Police Department held a similar concept to the Barracks. It was a stepping stool for those going up the ranks and working to keep NG clean and fair. In 2012 though it slowly phased out and is no more. What would you say was the fall of the NGPD? When and how did it come to an end? Are you sad to see it go?

A:

byteslinger: It was sad to see the NGPD fade out the way it did. It was the perfect place for new Newgrounds users to get together and do good things in a structured environment. Many members of the Elite Guard started in the NGPD, and when they reached the rank of Private,if they were in good standings, became a member themselves.

There were two major factors that negatively affected the NGPD: (1) the user community was aging out; there weren't new, younger members joining and (2) there were other forms of animation that were being developed, and Adobe Flash wasn't forefront anymore. So,with no new blood and a waning interest in Flash, membership and activity dropped. 

I was very sad to see it go, and I realized that if the Elite Guards were to continue to survive, we needed to make a few changes to the Barracks. In 2017 we instituted the "Barracks ROTC Program", which would open the door for new users that formerly would have joined the NGPD. This way, if a user was serious about being helpful to Newgrounds on a regular basis, they would have a home. We haven't had too many join, but it's there if they want it.

GUTHRIE: The NGPD was a fantastic group and I was sad to see it fizzle out, but by design its member pool is limited. Membership in the NGPD was predicated on having between 400 and 2499 B/P points, and when it started a really dedicated NG voter could surpass 2499 B/P points in a month or two. I feel that this is the most glaring reason the NGPD was short-lived and the EGB has such longevity. A few years ago the Elite Guard Barracks even started a ROTC program³ which allows users who haven't yet earned their Private rank to serve as members in any way they wish, becoming full members after they achieve that 2500 B/P milestone.

³ Inquire in the thread if you're interested!

ZomAlien: I would say the fall would be lack of familiarity, not many users are aware of the NPD as the EGB. And yes, it is sad to see things that bring users together go away, it was like bootcamp to get in the EGB.

Exedor: For me, it's always been the EGB. I know there was a NGPD, but it was basically two doing the work of one, so it was consolidated to one. Keeps things simpler that way.

Q: We now have Portal Moderators to watch over the Movies and Games section along with Audio, Art, API, and Review. @Exedor here is a moderator in all of these categories. How does the moderation team and Barracks work together?

A:

byteslinger: Actually, many members of the Barracks are moderators in some capacity (including yours truly), such as @Gamejunkie, @Asandir, @Fro and @Jackho, to name a few. We get along very well with the Mods, and generally we all are on the same page when it comes to dealing with rule-breaking submissions. 

GUTHRIE: There are quite a few Elite Guard Barracks members who are on different moderation teams. The close relationships we have with each part of the Newgrounds moderation network is how we can work so effectively as a policy enforcement group. Once a submission is reported in the Barracks, it's often a matter of minutes before the submission is removed. That still impresses me.

ZomAlien: We all work together at the EGB with @Exedor and other moderators by flagging the suspected submission (carefully) then report it to the EGB thread, then one of the moderators would usually give feedback and take care of business, and reward the behavior. From what I see: everyone gets along fine, and works hard and well.

Exedor: Oh man, I've been put on the spot. er.... um....breathe, remember to breathe... Actually, we mods work together pretty well. All mods patrol their various areas of expertise, but we also have the flagging system where users can report things. The benefit of threads like the EGB and the Audio Portal Cleanup is to allow users to post questions and get involved in the conversation to learn, and get questions answered.

Q: How involved are the site administrators with The Elite Guard Barracks?

A:

byteslinger: We work with them daily, and we have a great relationship with them. Most of the time, they let us work autonomously, but every once in a while they'll weigh in to help guide borderline situations. They have been known to make comments if we spend too much time off topic, or if things start to turn personal, but overall, we are all on the same side and we all get along quite well. 

GUTHRIE: Occasionally we ping Tom or liljim to ask for their input on something, but that might happen once every few months. We're pretty separate from the administration, and I think that's a good thing. We want to help enforce the rules - not write the rules.

ZomAlien: Quite involved @Exedor @Fro @byteslinger @gamejunkie @Jackho @Big-Boss all do a hell of a job keeping things in check and helping out with the rest of the EGB troops.

Exedor: They watch over and chime in from time to time. But the mods handle this level of things to allow the Admins the time and freedom to run the site, without getting bogged down in the daily clean ups.

Q: For those who might see something suspicious, what is the best possible way to report it? How can they gather evidence?

A:

byteslinger: If anyone feels that a submission is possibly violating Newground rules, they should make a post on the Elite Guard Barracks forum, clearly explaining why the entry is in violation, and a link to the submission itself. 

For claims that something is stolen (or unauthorized derivative work) they should have links to all sources. If something is improperly categorized (for example, such as "E" for everyone but it contains explicit scenes) or contains copy-written material, a brief description of what we need to look for. All claims posted on the EGB forum are researched, and the poster will get a reply as to the final status of the submission in question. If the submission was not rule-breaking (but just low-quality or borderline) our members will inform the poster as to how they reached that decision, and thank them for their efforts. There are no penalties or problems for any user if they post a problem to us, but it was deemed not rule breaking. Many times it's a matter of opinion and interpretation for borderline submissions.

GUTHRIE: Much of the rule-breaking content that is submitted is super blatant. Game footage, for example, is really easy to identify and doesn't require much evidence to report. Same goes for excessive pornography, which I think we classify as anything with real pictures instead of being drawn or animated. The rule against stolen submissions is the most important rule to help enforce, in my opinion, and can be the most difficult to substantiate with outside evidence. Some of this comes with time, you sort of build an intuition for what a stolen submission looks like. A user submitting multiple high-quality movies in less than a day is one red flag, but that could also be someone uploading their portfolio after a year of work. There are a few very regularly stolen movies, youtubers like theodd1sout who haven't made the jump to Newgrounds, or Cyanide and Happiness which does have a presence here but they don't submit to Newgrounds as often as YouTube. Some techniques I utilize are making sure any credits in the submission match the name/user that submitted it, googling the submission title or description, and doing a bit of investigation into the user in question to see if they have a track record for rule-breaking behavior. The best way to report it is still through the flagging process, but adding a post in the Barracks for particularly egregious submissions is good too (I often do this for stolen submissions).

ZomAlien: #1 to me would be looking up the name of the submission (audio) on YouTube and if it sounds the same, has the same time, has a different creator, or doesn't have any sources then usually it's stolen (not always the case so be cautious) or if you see art/movies/games that you've seen somewhere else before from a user who's sign up date was literally today, then usually (not always) it's stolen. You could also ask help from experienced members or Moderators. Always helpful!

Exedor: The flagging system is best way that a user can report things. However, with items that are questionable, but not confirmed as rule-breaking, threads like the EGB and the Audio Portal Cleanup are available so users can post questions and get involved in the conversation to learn what they need to know to better discern which side of the line they should be on.

Q: What is your favorite thing about Newgrounds and why?

A:

byteslinger: It is still one of the only places on the internet where up-and-coming artists, audiophiles, game designers and programmers can upload their work to get public feedback on their submissions. I get to see such a wide variety of talent, from the abject beginner to some truly professional grade artists. Despite the downturn in overall membership, Tom and the staff kept Newgrounds alive, making changes in an ever-demanding electronic world. They had to deal with the MPAA rulings in 2016, which forced a lot of copy-written content off the site. 

Ironically, I was just about to release a beta version of one of my first music videos based on "Major Tom" by Peter Schilling to Newgrounds; I had worked with a graphic designer friend of mine who did the storyboard with me, and helped me sync the narration text to the playback. But since it was a copy-written song, even as a tribute, I was no longer allowed to upload it. Alas, the work on the project stopped, and it never saw daylight. It did make me appreciate the effort and time it takes to put together a decent 5-minute movie, and as such, all the work of the others who do this every day.

GUTHRIE: Newgrounds is a low-pressure way for content creators to showcase their work. The barrier for entry is very low, and a submission will almost surely get at least a few hundred views - this is likely not true for any random YouTube video. The amount of incredible and unique art that we witness every day is my favorite thing about being part of this community.

ZomAlien: It's a platform site to share,whether it's art, movies, games, music, ideas, or threads. It's always been about helping out your creativity and by spreading it. I love it.

Exedor: When someone puts in the time and effort to create something cool to submit. Anyone go to Youtube and submit some poo they recorded with their cellphone cam. Newgrounds focuses on user created animations so as to give these artists a place to showcase, and get appropriate appreciation for, their hard work.

Q: If you could change anything about Newgrounds, what would it be and why?

A:

byteslinger: Overall, I am very pleased with Newgrounds as it is; about the only thing I would like to see is more access to historical stats, or possibly a controlled API that I could use with the NGLogs site that would give me non-personal usage information (such as submissions, votes, experience points, medal counts, etc.) so I could keep the monthly stat database on NGLogs updated without having to resort to screen-scraping. I had been working with @BrenTheMan a while ago, and he thought it was a good idea, but he was busy doing some major coding for Newgrounds, and that took priority (as it should). Maybe one day we'll try again. But otherwise, there's not much I would touch.

GUTHRIE: I am struggling to think of something that would bring meaningful change to Newgrounds. I would like to see some restriction on Screamer videos⁴ but I understand some of them have merit and the user base will continue to serve as that filter. Some more acceptance from the community of live-action movie submissions would be very nice.

ZomAlien: Maybe having the NG shop back. I could use some merchandise like toilet paper.

Exedor: The amount of adult content on the site is concerning. In the early days of the site, Newgrounds was supported by adult ads. It brought in a lot of cheeky characters. I earned my Deity Whistle flagging unsavory reviews left on unsavory content. It still took a long time to clean things out and repair Newgrounds' reputation once adult ads were replaced with cleaner ones. Then, when tumblr decided to clean up their site, all the rats and roaches fled here, and all the clean up work was in vain.

Also, I wish more users understood: Vote appropriately. If something is half-good, it's ok to give it a half score instead of a 5. If you give a 5 star vote to a submission from an artist who's still improving, what will you rate when the better stuff comes later on? And, don't be afraid to vote 0 on something. Getting something blammed is not the end unless you give up. Keep improving and come back. Then, when something truly great comes along, it can get the high scores that it deserves.

Q: What can we expect from The Elite Guard Barracks in the future?

A:

byteslinger: That's easy - the same level of support, professionalism and leadership you should always expect. Members may come and go, and even the leadership may change, but the Manifesto and the vision of the Elite Guard remains clear and focused. We hope to increase membership in the future; there are plenty of good people out there who help us on a daily basis, and we've extended membership to many of them. But whether we have 15 members, or 150, you can expect that we all are held to the same high levels of quality that were set in 2006 by our founder, @EagleRock. 14 years later, I am honored to be the Chief Barracks Officer of this fine group of folks, all of which do me, and Newgrounds proud, by their dedication, hard work, commitment and friendship. When you have the best people, you can expect the best results.

GUTHRIE: The Elite Guard Barracks will remain a welcoming place for anyone who feels a pull to contribute more to the Newgrounds community, and who will uphold the Elite Guard Barracks Code. It's a fun place to spend your time! 

ZomAlien: We're here to stay and continue with what we do. I have made my impact with the EGB, and so have my fellow members, and members before them. I expect to see some more users joining, maybe soon or maybe not so soon, but the EGB will be here until the bitter end. As for myself: I plan on staying until this ticking in my chest stops, there may be times when I'm not as active, but I will always be back.

Other users in the EGB share some of their best times and worst times as do I, and that gives us all a sense of trust and closeness with one another. They all work so hard and I'm proud to be part of it.

Exedor: I can't speak for the others in the EGB, but as for me, I'll keep knocking down the bad guys and cleaning as best I can. ...with a fair degree of snark and bad jokes.

The Elite Guard Barracks have always done well in my eyes and the eyes of many others. They have an immense love of Newgrounds and I believe thanks to them we have a much cleaner Newgrounds than I think we've ever had. That's not to say that anyone here is slouching, but they put in the dedication to ensure the creations of others is protected and to help build a better community that we can all be proud of. If you're new to the site and have happened to stumble across this interview. Look into that group sooner rather than later. Believe me, it is something that I could've used when I first started here on Newgrounds.

I just wanted to say, to longtime readers and even newcomers, thank you for your support and appreciation for reading. It truly means a lot to me that I can not only share the stories, the craft, the laughter, the joy, and even the sadness of those on this beautiful site with all of you. My favorite part is that we can all enjoy them together. Looking back on the past interviews I and my fellow interviewers have done, brings up a lot of great memories. I am happy that I could be a part of this site and that all of you are along the ride with me. Thank you. Let's make it to 300.

| @Ryanson | @Nekomika | @Atlas | @Asandir | @TomFulp | @liljim |

A Special Thanks to All of You for helping making The Interviewer what it is today.

Interview No. 149

Interview By: @The-Great-One

Today's guest is one whose animations have graced the front page and gone beyond the realm of Newgrounds in terms of their humor, their artistry, and their overall appeal. From works entitled Pokemon Hunter to his latest work Yoshi Stranding (Death Stranding parody), to addressing topics such as in The Artist. He is a talent not unknown to Newgrounds. I am pleased to welcome, @NCH.

Q: How did you find Newgrounds and why did you join?

A: If I can really recall my very first time finding the newgrounds site was probably when I was during my first year in high school (secondary school for asia context) which I saw the very first animation on newgrounds on Osama Bin laden tailiban song parody that was loaded by a friend on the school computer lab classroom. 

Joining wasn't anytime soon as I usually just use NG as a guest... it was probably after like 5 years later(from the first time I saw NG) when I start to make my first animation I decide to start uploading to newgrounds.

Q: When and where were you born?

A: born in Singapore back in 85 where its the perfect year to be born, you get to experience both the old and new modernizations of the world.

Q: What did your parents do for a living?

A: Nothing really Exceptional to be honest, Dad was mainly a blue-collar worker during his prime, and mainly work in the factoy servicing/mechanics/repair jobs and eventually due to retrenchment, work as a grab driver these days, while my mom mainly was a house wife during my infancy and eventually took on oddjobs and eventually school caretaker these days.

Q: One movie of yours is a collaboration entitled We Live In Singapura made in 2007; which would be remade in 2015. What is like growing up and living in Singapore?

A: Boy...Singapore is basically a pretty mix bag, but I think and honestly say, the positives of the country outweights the negatives. While my time growing up in the country was also nothing really exceptional as I wasn't the brightest kid nor do really well in his studies, mainly during my time education was "brutal" and in the sense of "chinese upbringing" where your asian parents expect you to get As, my parents are sorta leaning to that, but I think they "gave up" on me after they know I'm not going to do any good as I climb higher in education haha.... but they still let me do what I want and respected my choices as I got older.

Other than the mandatory conscription of millitary at the age of 18, which to me is really a pain in the ass and something I kinda have removed from memory(no good memories, just pain and suffering and depression) Life in Singapore is pretty good... theres low crime, the govt ensures the system is run smoothly, too smoothly, lots of oppturnities given to us as we climb up the education level. Tho I didn't really climb that high, I was given an oppturnity to work out on things that are not acadamically inclined, like attending a technical education school instead(thats kinda where I learnt the basics of using flash)

But overall I think living in singapore is considered pretty good and my experience has being favourable, abiet you gotta swallow alot of tough govt's policies and their regimental control over their own citizens heh...but well, no country is perfect I guess.

Q: When Edd Gould was here we talked about his cancer. You too have had a battle with cancer and you two shared stories and I'm sure laughs as well. When were you diagnosed with cancer and what can you tell us about talking with Edd?

A: I developed cancer back when I was around 24? or 25, I cannot remember, but it was around near the end of 2010. I basically was working in a small art studio that kinda don't really know what they're doing as a business and did alot of odd end jobs not in my area of expertise. Basically I had to do alot of random stuff during my time at the studio and working conditions was kinda brutal to me and eventually my health. I basically worked in the studio for almost 3years? but basically near the end of my time working in the studio I developed 3rd stage Hodgkins lymphoma and also contacted tubercolosis too. Life turn upsidedown literally and also ever since I got cancer and left the company, they also closed down subsiquently ever since what happen to me. I don't hold any remorse from the company cause I can say they technically gave me the experience and some good oppturnities to experience stuff that I probably would not get to do. but yeah, it was a very dark time for me at that point.

well I guess I was lucky and I eventually won the fight against cancer and also cured my tubercolosis too. that took me a span of almost 2years I think. 

Regarding about Edd, I was in his contacts before I had cancer and we chatted now and then as friends, I honestly cannot recall much of it cause it was such a long time ago during the days of MSN messanger and I guess during my time with cancer it has become regressed memories that my brain end up just not wanting to really remember the details... but I can say my last few chats with Edd was wishing each other to get over our illness.

Q: Your username is NCH. It stands for No Creative Human. Could you elaborate more on this definition?

A: LOL... no thats just a cynical input thats not official at all. NCH is actually my IRL Name, just in Initials lol.... I just tend to be cynical with abbriviating the initials in jest or sarcasm. Tho.... "No Creative Human" is kinda a self-critiscm on my side as I kinda don't really have the "creative power" to come up with original stuff as if you notice almost all my animation submissions are base on other intellectual properties making parodies out of them and I don't really have any developed original IP under my belt till now.

Q: At what age did you become interested in animation?

A: I was interested in animation at a very young age ever since I saw cartoons when I was a kid but I didn't grasp how they work until eventually when I realize how they are done and soon eventually when I was like age 9 or 10? or during the age when digimon and pokemon was the hype. I discovered that you can make animations in microsoft powerpoint and I eventually did simple animation stuff using microsoft powerpoint and carried that habit over to high school where I would spend hours in the school com lab making powerpoint animations and powerpoint point-and-click game adventures. I never save those files properly as they're haphazardly saved in floppy disk lol and were never preserved properly, so I can never review these legacy works I've done when I was a kid.

Only when I was around 18 or 19 when I actually touched on Macromedia Flash, flash5 to be exact, which they thought us in technical school, just how to use the software, but no animation techniques. But cause of my interest in animation I've nurtured when I was a kid, I start to self-thought myself on animation by copying and following other flash animations that I enjoyed watching. And I kept doing it till to where I am now.

Q: The first movie I ever saw by you was also your first submission to Newgrounds. It is entitled Safety At work.. It is funny, but also serves an important message. It was made for a Safety at Work Competition at the Institute of Technical Education West, you ended up taking first place. What brought you to this college and what drew you to this competition?

A: I briefly mention on how I entered this college in my earlier answers but basically I didn't do well academically so my options was to go to a technical school and pick up technical skills. the course I entered was Information technology and they gave us a multitude of diff IT courses from programming to film making, graphic design to 3D modeling to networking to animation, all basic stuff. you can guess where I didnt do well in the networking and programming courses but exceled in the media-base courses heh. 

The compeition was just some safety compeition that after my IT teacher see me having interest in animation suggest I try it out, so yeah, thats how I got into it. basically I was kinda the only guy in the entire cohord to really have that level of interest in doing animation...so I was pinpoint out to try out the compeition LOL.

Q: What can you tell us about the Monster Hunter series. Also what advice do you have to those who wish to do a series here on Newgrounds and abroad?

A: The monster hunter series was kinda back then my attempt to try to follow in the footsteps of an animator by the name Carbot, who he back then started out doing silly short skits on the Starcraft game. At the beginning I wanted to be the "carbot of monsterhunter" but when I began my very first animation, I kinda realize I'm puting alot of time and also level of details into my skits, they're kinda not snappy and fast like how carbot handles his very first season of his starcraft episodes, So I eventually realize my series would probably not be on the level of what carbot is doing, but I just start to do what I think I can do with the series. so every episode start to grow and develop along with some running jokes and plot points. I kinda develop this long series without any planning ahead anyway. 

my MH series eventually start to lose structure and style as I start to realize I don't want to lock myself to be known for only this series, as how carbot eventually, well to put it bluntly, only does animation on the properties for blizzard these days and his style being the same since back then and now, abiet more better in animation. Eventually I start to kill off the contiuity and style of my MH series everytime a new game comes out. I change up formats for every new game series, Basically I did not want to continue the same art style for every MH series and always work on something new or unique. during "season3" of my MH series, which was MHgen, I start to plan out scenes that I want to pay homage too, like a scene where I re-create the T-rex car chase scene through the forest of the jurassic park movie into a scene in MH. basically I start to do experimental animations and homages when theres the oppturnity to make use of them in the skits just to change up my style or direction of the series. 

Eventually when MHWorld comes in, I start to change up the series alot, while these days its still using the same characters/reusing assets, I tend to try to do unique stuff to it just to change up the style or format, eventually I developed another series call "Monstie shots" which was something more towards the "I will try out a totally new style with new assets" experimental animation for the MHWorld series of games.

my advise on series is basically, do you really want to be labeled as "_______ guy" or the guy who is only know to do only this particular series. As I kinda unfortunately sealed my image as the "monster hunter guy" that people subscribe to my channel just for my MH content, I had being puting out other series to show that, yeah I can do other series so hope you guys give them a chance and watch these too, which to certain degress works out but still the stigma of me being an animator for MH is of a concern as my final goal actually wanting to create original IP... thats why, if I've to do monster hunter content, then I rather experiment and try out diff animation styles or themes using MH then, instead of just keeping it to the same standard style. ironically it comes back to this, when back then I wanted to be the "carbot of monsterhunter" I now am trying to move away from that stigma.

Q: Your short entitled Foreign Plants talks about the longest drought in Singapore. How long did this drought last? What foreign plants were protected and what inspired you to make this as a response to this event?

A: ah its just a stupid jab at current affairs in singapore, back then one of my "plans" was to do "local animation content" that "made fun" of "local current affairs" in our countries, but after that attempt and something else I decide I do not want to focus on the local audience and stop eventually. the "Foreign plant" joke is basically, Singapore has a state of the art Garden call Gardens by the bay, they had these super greenhouse structure where they housed alot of "foreign plants" in there which they are "safe" from the long drought while the rest of the "local plants" here suffer...its.... kinda a political jab at the local population resentment of the govt treating foriegn talent better than the local people but with context to the long drought situation singapore faced............ it has nothing to do with actual plants LOL.

Q: The Artist is a wonderful look into the world where businesses try to take advantage of the creator by cheapening their labor. It is a process that still tends to go on to this day. You say this is a visual exaggeration from a personal experience. Could you elaborate further? Also after almost six years since this animation would you say its relevancy is still strong or have businesses and corporations started to respect the creator's abilities more?

A: I think this was more done in my experience in the art studio I guess... this was also part of the "plans" to do "local animation content" back then, I think the visual exxagration is just going through my experience with a cynical animation look into it, I kinda don't really have much thought into this, I was probably just inspired by some current cynical animations and dark humor to show the plight of an artist when I worked on this. Fun fact, the people the artist encountered were planned to have their own animation clips, which the 2nd animation, the salaryman was for. if I still actually continued, I be making animation clips of everyone the artist has encountered during his trip back home...... but I never went through with that, plans dropped after salaryman.

Q: /v/-rage 2008 vs 2017 Remake comparison shows your growth over time. Who is 3-AngledBlue? How did you come across this comic? What made you want to remake it nearly 10 years later? What is the process in turning a comic into an animation? Is it merely a storyboard to work from or is there more to break down?

A: thats during the days of 4chan I guess. shitpost comics and stuff. that comic and many meme-reaction images all came from 3-angledblue, which I dunnoe much about him, he come and goes, his last known work was doing an animation skit on one of the gamegrumps audio recording. I only "contacted" him through deviantart note showing him the /v/rage animation to him and he liked it. 

also during that era I kinda was doing content for 4chan I guess, you can say I wanted to be involved in creating and developing their memes and stuff into more valued stuff, hence the 4chan city and other nonsense. /v/rage was one of it that I hastily animate it, back then I was still self learning animation so I just took /v/rage as another attempt to try out frame by frame stuff, abiet very roughly. yeah the process is basically just using the comic as a storyboard to put it very bluntly.

Also, remaking /v/rage was just one of my major projects I want to do to "diversify" away from my MH animations as mention above. every year I attempt something major so /v/rage was one of that projects I decide to put myself onto for that particular year.

Q: My favorite by you has to be Pokemon Hunter. The detail and design all the way down to the music is absolutely amazing. I never get tired of watching it. Where did the concept come from?

A: its kinda base off a japanese flash animator that I was currently in love with his style. as remember that I tend to copy and follow people's style I currently love and move on when a new style catches my eye, pokemon hunter was just during that time my love of that style of animation and wanted to copy/follow the style to see if I can pull it off.

Q: One of your latest works I believe to be your absolute best. Where two worlds meet and a product of creativity, fun, and clever storytelling all come together in Yoshi Stranding (Death Stranding parody). A combination of Super Mario World 2: Yoshi's Island and Death Stranding. What made you want to bring these two worlds together? Will we see more like this in the future?

A: As usual, Yoshi stranding, like /v/rage was also a major project I did to diversify away from MH, that was the major project for last year. I think its just mainly I only had the DS trailers to work with and just look into those and see what I can implement the other game's aspect into those trailers. And nah, there won't really be any followup as its just a "major project" I want to do to diversify from MH, thats all to it. I've not played death stranding too, so even in order to make anything more out of that.... I kinda have to play the game first? lol

Q: What is in your opinion, the definition of animation?

A: eh...probably the act of actually able to convert that thought in your mind into a visual medium and seeing it actually come to "life" visually where everyone saw what you see in your brain I guess LOL.

basically the medium to convert the images inside your brain for people to see it lol...

Q: You have honed your craft, your skills have improved. You have learned much in this world. What advice can you give to aspiring artists and animators out there?

A: if you are studying, respect and focus on your fundamentals and basics I guess. I come from a non-art background. my craft is totally self-thought, I grasp and shoot in the dark when I first started out animation and it took me over 15years to get to where I am without any form of teaching from an expert. so if you already are going through art fundamentals and so on, you're already ahead of me by 10years.... lol...  I think this is being told to death by many artist and animators already heh.... but yeah... have good fundamentals and foundation I guess... 

But I guess for my case, I just follow and get inspired from people and try to re-create their style and learn from it, and readapt the style learnt to something unique, really put all your time into it, animation was a hobby of mine that I kept doing and put alot of time into. I just probably got lucky that the shots I fired in the dark eventually hit something and I got better at it............ just it may not work for everyone.

Q: What can we expect from NCH in the future?

A: Original content.... when I finally am able to come up with one, and is scuessful and that I can be proud of it. but for now, just MH stuff and other animations to hone my skills and see what develops....

NCH has always been a fascinating animator to me. When I first saw "Safety At work" and then later on saw "Pokemon Hunter", a part of me couldn't believe it was the same animator. NCH has trouble with original content, which I believe we are all guilty of in some or many aspects. He would make a wonderful producer, gathering writers and musicians behind him. His portfolio more than stands for itself. He is a talent that should not be ignored, but celebrated.

The following is a complete index of every Newgrounds member that has been interviewed for The Interviewer. Some interviews are group interviews and those members should be accounted for as well. This also includes those who have been interviewed multiple times and those interviewed for each tenth interview.

GUEST INDEX

GUESTS | 206

# | 2

@372

@9Hammer

A | 11

@A-lieN

@Aaron-Long

@Afro-Ninja

@AlmightyHans

Andrew Huang

@AngryBombshell

@AntonM

@ARAMort

@ArtistGamerGal

@Asandir

@Atlas

B | 10

@Back-From-Purgatory

@Bees

@BenTibbetts

@Bit

@BoMToons

@Bosa

@BrenTheMan

@brewstew

@Butzbo

@byteslinger

C | 10

@Cairos

@cast

@Cayler

Chronamut

@chluaid

@CirrusEpix

@CockGobbler

@Coop

@CosmicDeath

@Cyberdevil

D | 7

@DaGrahamCraka

@daigonite

@deadspread83

@Dean

@deathink

@DonkeysBazooka

@Dromedary

E | 12

@EagleRock

@eddsworld

@Eggy

@Egoraptor

@Elios

@EmmDubya

@Emrox

@Ericho

@esko-man

@Evil-Dog

@Exedor

@EyeLovePoozy

F | 8

@F-777

@Fifty-50

@Flowers10

@FolegAlmighty

@ForNoReason

@FreeAsANerd

@Fro

@FrozenFire

G | 8

@Gagsy

@GiantJuicyKickballs

@Gman250

@Gooch

@GoryBlizzard

@GoshaDole

@Goukisan

@GUTHRIE

H | 6

@Haggard

@Hania

@HappyHarry

@HavryloThePigeon

@HeRetiK

@Hikarian

I | 1

@InvisibleObserver

J | 9

@Jabun

@JacobStreilein

@Jaltoid

@JamesLee

@Jazza

@JeremyLokken

@Jimtopia

JohnnyGuy

@Jonnyethco

K | 10

@Karlestonchew

@keepwalking

@kelwynshade

Kevin MacLeod

@KillerSkull

@Kingbastard

@Kirbopher

@kisame

@koit

@Krinkels

L | 6

@littlbox

@Littleluckylink

@Lizzardis

@Lucky

@Luis

@Luwano

M | 17

@MaestroRage

@Magical-Zorse

@Malachy

@Manly-Chicken

@MarcyVF

@MasterAardvark

@matt-likes-swords

@Megami33

@MeghanLuna

@MiniClip

@mirosurabu

@MistyEntertainment

@MOC-Productions

@Mockery

@Monocrom

@Morthagg

@Murray

N | 7

@NCH

@NekoMika

@NickPerrin

@ninjamuffin99

@NitWitt

@Nothins

@Nutcasenightmare

O | 5

@ObliviousEmi

@Ocarina-Kid

@Omnivore

@Oney

@Outlaw88

P | 8

@P-Bot

@Pegosho

@Phantom

@Phonometrologist

@poxpower

@Prox276

@PsychoGoldfish

@PuffballsUnited

Q | 0

N/A

R | 5

@RicePirate

@Rina-Chan

@rtil

@RWappin

@Ryanson

S | 23

@Sabtastic

@SardonicSamurai

@Sarkazm

@ScaredyDave

@scottmale24

@scriptwelder

@semicabbage

@SenpaiLove

@Sexual-Lobster

@Sevkat

@Sheizenhammer

@Sonofkirk

@sorohanro

SpaceWhale

@SpiffyMasta

@squeakytoad

@Squidbit

@steampianist

@Step

@Stepford

@StrawberryClock

@supergandhi64

@Sykohyko

T | 17

@TailsPrower

@Tarienn

@Template88

thatcomposerguy

@The777Demon

@The-Great-One

@therealanimator

@TheShadling

@TheSilleGuy

@The-Super-Flash-Bros

@TheWeebl

@TmsT

@Toast-Tony

@TomFulp

@TommyVF

Travis

@Troisnyx

U | 0

N/A

V | 3

@Vista-Sound13

@VoicesByCorey

@Vonschlippe

W | 9

@WadeFulp

@WaldFlieger

@Wandaboy

@wavetro

@Wegra

@WhiteLightning

@WoodTick

@WooleyWorld

@WritersBlock

X | 4

@Xenomit

@Xerus

@xKore

@XwaynecoltX

Y | 0

N/A

Z | 8

@ZaneZansorrow

@ZekeySpaceyLizard

@zholoch

@ZipZipper

@ZJ

@ZomAlien

@ZStriefel

@Zeurel

GROUP INTERVIEWS

10. Interview with James Lee and Hania

21. Interview with The Newgrounds Police Department

27. Interview with The Review Request Club

40. Interview with The Elite Guard Barracks

41. Interview with the Audio Portal: Defining Music

47. Interview with poxpower and Mockery

49. Interview with mirosurabu and Xerus

53. Interview with The Forum Regulars

57. Interview with The Graffiti Crew

66. Interview with The Interviewer

90. Interview with The Symphony of Specters

99. Interview with the Art Portal: Defining Art

100. Interview with The Vad Flaaten Brothers

123. Interview with Jaltoid and ObliviousEmi

138. Interview with The Forum Regulars #2

150. Interview with The Elite Guard Barracks #2

170. Interview with littlbox and Karlestonchew

RETURN GUESTS

@Bosa [3]

@Coop [2]

@Fro [2]

@Hania [2]

@JamesLee [2]

@Jazza [2]

@Krinkels [2]

@MasterAardvark [2]

@Murray [2]

@Oney [2]

@Ryanson [2]

@SardonicSamurai [2]

@Sexual-Lobster [2]

@scriptwelder [2]

@SpiffyMasta [2]

@The-Great-One [3]

@TomFulp [5]

Travis [2]

@ZekeySpaceyLizard [2]

MILESTONE INTERVIEWS

For every tenth interview I always try to do something special about it. Whether highlighting an unknown talent, using it for a big name guest, or someone who does something amazing for the site and beyond.

1. @TomFulp

10. James Lee and Hania

@JamesLee

@Hania

20. @Neo-Uk (a.k.a. Jack Bromhead)

30. @HeRetiK

40. The Elite Guard Barracks

@EagleRock

@Coop

@SpiffyMasta

@Sheizenhammer

@Phantom

50. @Monocrom

60. @eddsworld

70. @Jimtopia

80. @MOC-Productions

90. The Symphony of Specters

@MaestroRage

@ZStriefel

@NickPerrin

@sorohanro

100. The Vad Flatten Brothers

@MarcyVF

@TommyVF

110. @TomFulp

120. @Nothins

130. @brewstew

140. @TheSilleGuy

150. The Elite Guard Barracks

@byteslinger

@GUTHRIE

@ZomAlien

@Exedor

160. @MistyEntertainment

170. littlbox and Karlestonchew

@littlbox

@Karlestonchew

180. @Stepford

181.

182.

183.

184.

185.

186.

187.

188.

189.

190.

Special thanks to @Asandir for the inspiration for this archive. His interview archive lists his interviews not only by date in numerical order, but alphabetically as well. This has been a long time coming and now it is finally here as its own post.

Interview No. 148

Interview By: @The-Great-One

Today's guest is one of the hardest working professional artist and animator out there today. Her works range from the funny with Science Kits At Play, to the darker tone with FLOWER, and to both with her acclaimed hit Help Wanted: Must Be Human. Her skills have taken her far throughout the art world and she has graced Newgrounds with her creativity. I am most pleased to welcome @MeghanLuna.

Q: How did you find Newgrounds and why did you join?

A: I think I first stumbled upon Newgrounds when I was a little kid. I might have been 8 or 10 years old. I found this point and click investigator-type game set in… I want to say a hospital? I can’t remember the name of the game, but I really enjoyed it. I wasn’t really great at using the internet at that age, so I didn’t think to bookmark it. Thus that game and the site were lost to me for years. It actually wasn’t until the recent years that a lot of my animator friends recommended the site to me. I eventually signed up and I’m really enjoying it. The community is great and the feedback I get on my art is mostly helpful.

Q: When did you become interested in drawing?

A: Oooh, I’ve been drawing since I could pick up a crayon, haha! That's what a lot of artists say though. I started thinking more seriously about my style when a friend of mine in 4th grade showed me how she drew her characters step by step. Then I remember my Elementary School had a Scholastics Book Faire and I discovered manga. That definitely affected my style and for a while, up until High School, I was set on becoming a comic artist. I think it was in 11th grade that I realized I wanted to be an animator instead. Gifs were becoming more popular, and a lot of illustrators I followed were posting gifs of their characters blinking or something simple like that. I realized I’d much rather breathe life into my drawings than have them static. 

Q: What affects did the works of Disney, Nickelodeon, and DreamWorks have on you and your works?

A: When I started thinking more about my style it was really close to when I discovered manga, so in terms of characters design I wasn’t that affected by them in my early stages, but I was definitely affected by some things. I've always loved the bizarre zaniness that came from Nickelodeon cartoons like Invader Zim. I loved the fantastical and heart yearning feeling you always get when you watch a Disney Movie. And I loved loved loved how grand DreamWork's Prince of Egypt was. Those feelings are things I'd like to replicate in my art. Something that's fantastic and zany, and something that, in it's own way, is grand and makes your heart want more of it.

Q: What brought you to The University of the Arts in Philadelphia? How much did your education attribute to your work?

A: When I was looking for colleges to go to, it looked like Uarts had a pretty good rep. It was closer to where I lived, one of my cousins had already gone there and said she really liked it, and I really wanted to learn animation at an art specific school. I really enjoyed my time at Uarts and would recommend it to anybody. You can certainly teach yourself animation at home, but it might take longer and certain doors might be closed to you unless you know people who are already into animation or media in general. I didn't know anyone who was doing what I wanted to do, so I definitely needed it. Also, being around so many artists is incredible. I've never improved so fast before in my art. At Uarts I was able to get connected with other animators, illustrators, musicians, singers, sound designers, and so on and so on. Animation is definitely a group thing and Uarts provided me with my first network and I still find myself working with my Uarts peeps today. If anyone reading this is looking to attend Uarts, feel free to ask me about the school. 

Q: While at school you worked on different projects there, one being Wizard of Oz Guidelines. This was done for the Annals of Internal Medicine. How did you find out about this project? How did you become the Lead Character Designer? What made you decide to use the Wizard of Oz as the theme for this?

A: This was actually from an Internship lead by Professor John Serpentelli! He's really passionate about giving students opportunities to work with real clients so that their resumes look more appealing going out of college. When our team first met our client, they explained to us the project, said they wanted it to be Wizard of Oz themed, and had a whole script ready with characters! So we all started coming up with concept art for the characters. They really liked a lot of my designs, so that's how they decided I'd be the Lead Character Designer. 

Q: Liv Rand is an underappreciated singer on the stage today. You were fortunate enough to work with her in Little Joy Cover (The Next Time Around). How did you come to meet Liv? You also stated that working with a singer and animation was a difficult task and you learned a lot from it. What difficulties did you have to overcome? What can you tell other animators and singers advice on their own projects involving the merging of the two that they can use?

A: Ooh Liv was awesome to work with! Her voice is so beautiful. I wish we had more time on this assignment so that I could have animated it. During one of our classes at Uarts, one of our assignments was to team up with somebody from the Music Department and make a music video. It wasn't extremely difficult to work with a singer, but there was a lot of things I didn't know. Like I didn't know how long it took to make a cover. I didn't think about her having to find someone to do the instrumentals. It's important to understand, even just a little bit, how other people and their professions work. We only had a month to work on this project and looking back, it would have been a lot smarter for me to have asked for a pre-existing song of hers instead of us scrambling to make a cover in the midst of us trying to keep up with our other classes.

Q: One of my absolute favorite pieces by you is your movie made for the Chemical Heritage Foundation for Science Kits Throughout the Ages entitled Science Kits At Play. How did you find out about this project? You were the Production Manager for this project. How did you become the Production Manager and what duties were you responsible for throughout the project?

A: Aaah! This was another Internship project lead by Professor John Serpentelli! After working on the Wizard of Oz one, John asked if I would lead this one. He wouldn't have asked me if I didn't prove myself on the last project. I'm very organized with my work and when I come across problems I always solve them. It's important, even if it's a school assignment, that you always do your best in whatever you do. You never know who's watching and how it can either hurt or benefit you. For this project I was responsible for communicating with the client, creating a production schedule, assigning work to everyone on the team and making sure they kept up with it, and working on my section of the film as well.

Q: Your first movie on Newgrounds is entitled FLOWER. This movie made me feel uneasy while watching it. You state that...

"It's a visual representation of the mind shutting down after being fatally injured."

I certainly see that through your movie. It was made as your Junior film while you were at university. Where did you come up with the idea and what was the process of making it? Also who is Miss Debbie?

A: Oh man, Miss Debbie blessed me in a very big way. I’ve known her and her family my whole life. When my family was looking for a place to live they actually housed us for a while. During my Freshman and Sophomore year I was borrowing a laptop to do my work, but it was old and by the end of my Sophomore year it was pretty much dead. So I had no laptop for my Junior year, which was when the real animation work was going to start. Miss Debbie felt it in her heart to buy me a laptop and without her I just would not have been able to do my work as well as I did. The school does have computers we can use, but classes are using those during the day and our school doesn't do 24 hour access until the end of the semester. 

For how I came up with the idea for my Junior film, it actually spurred from a sound I heard in Caleb Wood's animated short, Rat Trap. You can hear the sound almost exactly on the 1 minute mark. When I heard that echoey, scratchy sound it made me visualize someone's brains blasting out the top of their head. That visual was really interesting to me and I wanted to use it. So I tried coming up with a deep story to justify it, haha. Re-watching his short makes me realize that I also took note on how he used moving stills to relay the anxious feeling the character has to the viewer. So I definitely used that too.

Q: Your Senior film while at University is about a young woman who applies for a job. It is entitled Help Wanted: Must Be Human. I love the idea behind this so much! How did you come up with it? What was the process you took into making it?

A: I'm glad you love it! Haha, ohman. It seems a lot of my ideas spur from sounds and imagery first instead of story ideas. Which sometimes is cool but sometimes it's not so helpful when you finally have to figure out a purpose for your visuals.

I got really into vaporwave music during my Senior year, so that whole aesthetic definitely inspired me. If you don't know what vaporwave is, it's basically sampled sounds from the 80s and 90s (wether it be from songs, movies, or commercials from that time), sliced up, mixed up, slowed down, and maybe with a few added beats here and there by whoever's making the mix. I'm sure there's a better explanation for what vaporwave is on the net. Aside from the music part of vaporwave, there's also an aesthetic, which includes, amongst many other things, old monster computers, 90s office spaces, long leafy plants, neon lights, glitches, and VHS tape distortions. I also have always loved bunnies, so I guess I wanted an excuse to have a bunny character in my film. Nickelodeon's Invader Zim definitely inspired me too. I love a cartoony look, and for me specifically, I love a cute cartoony look. And I loved how in that show, even though it was a zany cartoon for kids, it's bizarreness would always go towards the dark and creepy side, which I loved. The mix of something cute with something disturbing has always been fun to me.

So my film pretty much was a mold of all those things. I wanted to make something cute yet disturbing. I wanted an 90s office space with neon lights and potted plants. I wanted an excuse to make a bunny character, and since I wanted to add creepiness into the mix, why not make the bunny a villain? I wanted to include glitches and distortion, so why not a creepy virus ad that reels our poor protagonist in?

Once I figured out what visuals I wanted to have in the film, I tried connecting the empty spaces with a story. Which was pretty hard. I definitely recommend figuring out your story first before you start anything else on your project. That's something I didn't do. I had most of it figured out and I went right into boarding it. For a long time I struggled with figuring out how to justify why Tiffany was in this situation, what was Bunny Boss's deal, why were there body part in the employee lounge, how does Tiffany escape, and what does she do after she escapes? The story could have been a lot stronger. But you live and you learn. I'm definitely still learning. I think creating a solid story is where I struggle the most.

But anyways, I had weak story and I boarded. Made an animatic. Should have recorded the dialogue earlier than I did. Should have figured out exactly what the dialogue was earlier than I did. This is why it's important to have your story and script down before you do anything else. I should have gotten together with a sound designer earlier than I did (and the sound designer I paired up with was amazing! If you ever need sound design, contact Justin Titus). I eventually had to solidify my story and my boards because I was running out of time. When I finally did solidify them I made a list of how many backgrounds I needed, how I needed to arrange the layers of each background, and how they needed to be composited. I figured out which shots were easier and harder to animate and scheduled the ones that were harder to animate on my more free days and the easier shots on days that were more full. I actually made physical thumbnails representing each shot, cut them out, colored their borders with colors representing the shot's difficulty, and tapped different shots together into tassels. Each tassel represented the shots I'd work on each week. They were also organized by importance in the story. Sometimes I wouldn't complete all the shots for one week so I'd take those shot's thumbnails and tape it to another week.

I feel like it took me around 2 months to animate, color, and composite this short. I am proud of it, and I love the world and the characters I created for it, but looking back on it I know where I could have pushed myself farther. Especially in the story aspect.

Q: One of your specialties is making a storyboard. I can see that in your animation style. What is the transition of going from storyboard to animation? Is it the same as photography and filming or is it different? What storyboard advice do you have to give to artists and animators here on Newgrounds?

A: I've actually never made storyboards for live action film, but I assume it's pretty much the same. You'd just have to know their jargon. The transition between working off your boards to animating each shot is the animatic. An animatic is where you take your boards and put them into a video timeline with sound. Timing in your animatic is very important. The storyboards and the animatic are the maps for the animators. You need to make sure they're solid and detailed before you go into animation. The more clean and precise you are with the compositions, movements, and the timing, the easier it is for the animators to follow exactly what you want to convey. My boards have not always been clean and clear. I used to make boards that were only legible to me. But if you want a job in storyboarding you've got to make sure everyone can understand what they're seeing and that there's enough drawings there to convey the exact movements you want animated. 

Q: What is in your opinion, the definition of art?

A: When someone expresses themselves by creating something. Some people argue that it's only art if you make it for yourself. I've definitely made "art" for clients that I wasn't totally interested in myself. And I can definitely say if you're not interested in it, it's no fun making it. During my Senior year, like many other students, I started to worry about wether or not I could make a living off my art. I was worried that my art might not be "sellable". Which is a horrible phase to go through, and a lot of people do go through it. You just can't please everyone with your art because people's tastes are so wildly different. I found myself, thank God only for a short while, changing my Senior film to what I thought other people wanted, and it was horrible. I didn't like what I was changing my film into. And I think that's when it hit me, all of a sudden I wasn't into my art, and I realized that when you're making art you should not be thinking about the audience. If they like it then that's great! If not, who cares, you didn't make it for them. It's not theirs. I guess I would say art has a scale to it. Your art is at it's artiest when you're be being self-indulgent, and at it's lowest when you're making something you hate for someone else.

Q: What can we expect from Meghan Luna in the future?

A: I actually worked on another Tiffany short with a bunch of my friends at the Barnhouse Collective! We just posted it today, so check it out! It was really cool seeing how everyone handled animating my characters. I'm definitely going to be making more of these soon!

I came across Meghan Luna the same way as I'm sure others have. Through the front page, with her submission Help Wanted: Must Be Human. It was something different from what I have seen on Newgrounds or anywhere else really. To think she waited so long to share these works with so many here. Her skills are amazing and I'm glad that she decided to share them with Newgrounds. Hopefully she will reach out to the other creators here and they will reach out to her as well. This kind of creative drive should not go unnoticed.

[ Index Page | Official Thread | Theme Song ]

Today we're gonna do something a little bit different. I have been doing this for nearly ten years. Yeah, that's kind of crazy. I thought about waiting until the last interview or until the tenth anniversary of Newgrounds to do this. All of that said I figure that one is never promised tomorrow, so I figured let's do this now instead of later. I don't know how much this will interest people, but I wanted to let all of you know how I do these interviews. I'll chronicle it throughout the years I've done it.
 

[ 2007 - The Lost Episodes ]

This is when I started to do The Interviewer. These were not good and no longer exist. They were originally posted on my Newgrounds profile. I felt that was a bit unprofessional. Back then all I did was found someone of notoriety. Ask them for an interview, write some basic questions, send them off, and then post it haphazardly on my profile. After a while I didn't like the way it looked or felt. I abandoned the project.

[ 2009 - The Interviewer ]

I was watching Inside the Actors Studio on TV one day. It was a show that interviewed famous actors, actresses, directors, and even musicians from time to time. This show pretty much became the bedrock to The Interviewer. Trust me if you like The Interviewer and you like film, television, and music, then you will love watching this show. James Lipton became an idol to me when I brought The Interviewer back.

I decided to look through the show's history. His first guest was Alec Baldwin. This was a recognizable name that a lot of people knew. I thought that my first guest should be just as well recognized. They also talked about the person's craft, where they came from, how they grew, what inspired the art they made and what they were doing in the future. I liked this idea. I made a separate profile, called it The Interviewer and decided my first guest should be @TomFulp, the creator of Newgrounds.

Looking back at that interview I am still proud of it, but in a way an artist might be proud of a crayon drawing. The first one, that started it all. If it weren't for Tom Fulp I would not have taken this as far as I have. It probably wouldn't have garnered the attention that it has.

I still just sent a request letter out and still just got a response. This was done through the PM system, so a lot of people's answers would be split into multiple PMs. I then constructed it all together. This was and still is the most mind numbing part of the whole experience. I really wish we could just schedule news posts because that would have made many of those years easier. Why? Because for a while Tom would post the new interviews on the front page. Which was cool, but that meant the demand got higher. I posted each new interview every Wednesday. Which meant I needed to construct the entire interview on Wednesday, send the link to the guest that week, send the link to Tom so he can post it, and then post the link to Twitter, Google+, and the official thread. The Twitter and Google+ are no longer updated, and with Newgrounds going mobile I don't think there will be a reason to do so. However I still send Tom a link and still post one in the official thread. Now I also have to update The Interview Codex which was gifted to me by @deathink.

That's pretty much a short history. Let's get into the nitty gritty now.

[ BEHIND THE SCENES OF THE INTERVIEWER ]

I've actually been chronicling this so I could have pictures. This is the process in which I've taken in interviewing @MeghanLuna. Also at one point in my life I bought and started reading David Allen's Getting Things Done: The Art of Stress-Free Productivity, specifically the 2002 version. A lot of that has helped this process and I believe any creative person should read this book.

[ STEP 1 - THE GUEST ]

This starts one of two ways. One, I check my list of suggestions to see who to interview next. This list includes people suggested by users, Tom, a past interviewee, and myself. Since I don't know how the past three operate I will tell you how I find people to interview. Usually it starts while I'm just browsing Newgrounds. The Front Page tends to supply quite a treasure trove of people. I can also find people through the forums as well. This happened when I interviewed The Elite Guard Barracks and The Graffiti Crew. Case in point one day back in September I was just browsing Newgrounds and came across something interesting. A picture of a psychotic looking bunny.

I watched the movie, voted on it, and left a review on it. Then I started to wonder where the idea for this came from? Why this art style? As I started to ask myself questions I decided to consider this person for an interview. That's when the initial phase begins.

During the initial phase I do a small scan of a person's profile. I'm looking for anything interesting about them. Their works, their styles, I need enough to formulate an interview. After all the most important thing is looking at the person and their story.

Once I see enough for a potential story I send off The Interviewer Request Letter. Yes there is a request letter that is the same for each and every person. The only time this changes is if I'm doing a group interview. In that case some of the wording will be different, but overall it's the same. Why is this the case? Because it got tiring typing out a short letter each and every time. I wanted something a bit longer and a bit more professional, so I made it better and now all I have to do essentially is just copy and paste.

The response is the next part. If they don't respond, I wait one week and send another letter. After two weeks I stop sending the letter. If they respond with a no, then I wait one month and send another letter. Getting the interview done with @Gagsy was difficult because of this and she finally caved in and said yes to the interview. If they say yes to the interview, then we move onto the next step.

[ STEP 2 - RESEARCH ]

This is the part that takes the longest and is honestly the fun part of doing these interviews. I look through everything. Their entire profile. Top to bottom. Every post, every review, every movie, and I play every game. I even go off Newgrounds when looking into the person. I will find everything. I've surprised some people with what I've found like when I interviewed @WoodTick and @CosmicDeath. As I go I write down anything of note.

I want to study their craft as a whole. Some topics I wonder about and then when I start to dig I find either something of interest or nothing of really much to note. Great for a portfolio, but not so much for learning. Sometimes I cut some questions and/or topics entirely. I've only had one interview that I cut completely and that was Interview with The Creators of "The Room Tribute". It was an interview with @TomFulp, @JohnnyUtah, and @Oney. I completed the whole thing, got all of their answers, and while reading it, it was just boring overall. There are cases where every topic and question I kept throughout the entire process, such as @AlmightyHans, @Troisnyx, and @Back-From-Purgatory.

When the interview is done I throwaway the research paper, so unfortuantely those are now gone. A lot of people I condense to one, maybe two pages. @AlmightyHans took up the most pages with five. I don't do front and back of the paper. Once the research is done it is time to write the questions.

[ STEP 3 - WRITING THE QUESTIONS ]

As we continue with this process you should think of it as a downward spiral at this point. Finding the person is the most fun part, doing the research is the second fun part, writing the questions are the third fun part. You might assume that all I have to do is simply ask HOW YOU MAKE THIS? Granted I used to do my interviews that way. Much like the people I've interviewed though I got better at this. Yeah I still have some questions that just boil down to that blunt level, because there is nothing else I can really ask about said piece. I started to evolve and ask more about why they do what they do. Everyone has their own story.

Asking the questions is not the same as writing the questions. Mainly because this is not a face to face interview. One of my goals is to try and make it seem that way while in a prepared state with myself and the guest from different parts of the world. I have often thought about doing a live interview, but scheduling that would be hell to do. When I was still living with my parents it was impossible with all of the noise in the house as well as my nosey family members (they mean well though). Now that I have my own home, scheduling would still be difficult due to time zones as well as my own job. Maybe someday though.

Overtime, the first and last questions have always been the same. How did you find Newgrounds and why did you join? -and- What can we expect from you in the future?. If I am interviewing the person for a second visit, the first question recounts the past interview and again the last question stays the same. When I have a musician or artist on then I ask them the defintion of music or art. I want to expand this even further though, especially with games after interviewing @Nutcasenightmare.

It used to be that I would write the questions in a PM, send them off, and ask for the answers back through PM. That got messy quickly and made it harder for me to post the final product. I then started making a document with the questions and filling it in with answers. I also set up an E-Mail for Newgrounds related material. This made things a lot easier. Then one day my laptop crashed. Thus I lost a lot of information. This was around Interview No. 90. I had to change how I did things.

I already had The Interviewer account set-up to not receive PMs from anyone. Then after the friends list was implemented I changed it to allow only friends to send PMs. I then friended my personal account. This way once I sent the questions off to the guest, I would send a copy to The Interviewer account to hold onto with additional information for posting the interview. I essentially use Newgrounds as a Dropbox. When I receive the answers from the guest through E-Mail, I hold onto that to in my E-Mail before posting The Interview. Any links they link to in their answer I keep in a folder in my browser.

Therefore everything is kept secure and I don't have to worry about a computer crash or power outage. Then I wait for the response with the answers. If I don't have a response within two weeks I check up on them to see if everything is okay. If they have posted anything new in that time I may or may not add additional questions. I haven't had to thankfully. Once I get the answers if I don't feel they went into enough detail or didn't get the answer I was ultimately looking for, I reply asking for expansion or more clarification. I haven't done many follow-ups, again thankfully, because they're busy and I wouldn't want their time wasted. Once I receive the answers it is time to schedule and post the interview.

[ STEP 4 - SCHEDULING AND CONSTRUCTING ]

Back in the day when I was on fire with these interviews I would have multiple ones ready to post. I would post them on a weekly basis. The schedule would fluctuate between every Wednesday then every Friday, then back to every Wednesday, then every Friday again. After a while I stuck to every Wednesday and that seemed to work the best. To make sure each one gets posted at the time it needs to be I number the interviews in the order I want them posted. I have each tenth interview decided already. Once the interview is done I schedule it for posting on a day by filing it in my tickler file. Once that day comes up, I post that week's interview. This is the part that takes the longest.

Each interview has always looked nice and neat. This is when I write the introduction and the closer. Mainly because I want a fresh mind to work with when writing about this person and their works. It gives me more to talk about then. I also need to add the links to the Index Page, Official Thread, and the Theme Song for The Interviewer. I then paste in the questions and answers along with any other links that go with The Interviewer. I also embed any videos I may want in the interview. I try to not post too many videos in the interviews so it gives people less to do while reading. Mainly because I have the theme song for The Interviewer and if people don't like the song they be listening to their own song.

I then have to add the spacers in. With each update to the site Tom makes, makes this process longer and more difficult. It does look nicer so I'm happy, but each time requires another overhaul. If you look at past interviews they look ugly. With Newgrounds going mobile, they definitely need some sprucing up.

This process takes some time to do depending on the interview. If it's a long interview that is split into two parts, it takes longer. Usually it takes me around fifteen to twenty minutes to construct and post the interview. @AlmightyHans interview took me nearly one hour to get fully constructed and ready to be posted. It's not hard just time consuming to get it down and looking nicely. Once it's constructed it is time to be posted.

[ STEP 5 - POSTING ]

All Done? Yep, that means it is time to Submit the interview. This is when I push the button and hope that nothing is wrong and that it comes out nice and neat. If it doesn't come out neat or if I encounter an error I have always contacted @liljim immediately. Think of The Interviewer as a car. I know how to drive it, keep it running, people like it, but if something happens to it I need to take it to the mechanic. @liljim is the mechanic for The Interviewer. Each interview he has fixed I give him credit for at the start of the interview. Without him I wouldn't know what to do half the time. Sometimes it was a simple HTML fix, some information about Newgrounds that I needed and didn't have, or something has gone completely wrong and he's jumped in to fix. He's the one who gave The Interviewer front page posting abilities which is awesome! @liljim is the real deal.

When everything goes right or when the problems have been fixed, the interview is then posted. I send the link to the guest first, then a link to Tom, then I update the official thread, and finally update the Index Page. When I update the official thread, it involves a news update on The Interviewer, the new interview with links to the guest's works in the post, as well as related interviews. I try to do something else fun in the post, then I post the upcoming interviews and sometimes some closing notes.

Then it is done and sent off to the world of Newgrounds and beyond.

That's it. That's how the interviews are done. Each one is a labor of love from beginning to end. Some of them I remember just writing yesterday. It has been nearly ten years and I still love doing these as much as I did when I relaunched them back in 2009. If you enjoyed this little behind the scenes then I'm glad. I am pretty old school with pen and paper, hell back when I wrote my first interview with Tom, I did it all by pen and paper and then typed it. All in all I wouldn't trade these experiences and stories for anything else, and I'm happy Tom gave me and everyone interviewed a place to share our works and stories. So what can we expect from The Interviewer in the future? To keep moving forward.

Interview No. 147

Interview By: @The-Great-One

Today's guest is a remarkable game developer whose titles have given people great joy with Nodes, Break the TV, and Arcalona. His titles have also driven anger yet ultimate satisfaction in the end with The Unfair Platformer. His works can be found on mobile devices and throughout the Internet. I am pleased to welcome, @Eggy.

Q: How did you find Newgrounds and why did you join?

A: Like most kids I found Newgrounds in highschool in the golden era of Flash. Where Stick Death type animations were the most popular things online, I instantly took a liking to it and would watch stick animations and play stick games on Newgrounds.

Q: When and how did you become interested in video games and games in general?

A: To be honest I can't remember a time when I wasn't into video games! I was your usual nerd that would be on the console playing sega and N64 games all day everyday from a very young age. I remember being in love with N64 growing up. Specially platform games like Mario and Banjo Kazooie.

Q: What brought you to Albany?

A: Well I grew up in Albany, it's a very small town with not much to do really, which I later moved to Perth when older.

Q: What did you study at Great Southern Tafe Albany?

A: I studied multimedia. It was a combinatiom of Flash and 3d modeling. Though I was so far ahead in Flash then the teacher I end up teaching him some things and I finished making my game Nodes in class due to finishing the work quickly.

Q: What stories could you tell us about school life at North Albany Senior High School?

A: It was your pretty standard High School I'd say. Mostly being bored and standing around extremely cold in the weather from Albanys terrible weather. I used to always finish my work quickly to get onto the computer to play flash games and java games. I used to look up Flash Tutorials when I should have been working instead which is how I slowly learned to make games by slacking off from actual schoolwork!

Q: What brought you from Albany to Perth?

A: As I got older to 22, I needed a fresh start as I was sick of the small town with not much to do and lack of jobs. So I moved to Perth for a new life. Where I found myself a job in Poker and had a lot more to do up there.

Q: All games matter when being a game maker. Whether it be board games or video games. How did you come to be a Tournament Director for the Australian Poker League and the Perth Poker League? What experience have you gained from these leagues that you could possibly attribute to your game making?

A: I have always loved the game of Poker. Specially when betting for real money. The games rules are simple, but it takes a lifetime to master due to how much information there is available in reading people and there bets. I find it very fun and interesting. It's also exciting. It's a great game for being social as well, so I can meet new people while competing my wits against theres. So eventually after playing it a lot and getting quite good I applied for the job and got it. They were fun jobs. I worked in over 30 different pubs and clubs around Perth hosting poker, and even a strip club at one point. That was a fun event to host each week. I've learned a lot about people during this experience and also how a simple game can evolve into a complex game. It's interesting that a simple card game can still be as complex as video games we have today when you delve into it. It teaches me that the Meta-Game is very important.

Q: Your first game on Newgrounds is entitled Soul Fishing. What can you tell us about the process in making it? Looking back on it, how much would you say you've grown over time?

A: Soul Fishing was finished in high school when I was slacking off from my computer work. It was my first ever game to have a proper start and end. It was a big learning experience showing me the potential on what I could achieve in Flash. I've definitely hugely grown from that game. It's crazy to think that was over 12 years ago now. I feel old!

Q: Nodes is a creative spin on connect the dots. How did you come up with this idea?

A: I came up with the idea by experimenting in coding on drawing lines using programming. After I managed to program singles lines that would auto update between two nodes I thought to myself...hmm how could I make this a game... and then it clicked. By making it a puzzle!

Q: Before we go any further with this, I would like to say that up to this point, you can't deny... this has been a good interview. Now we come to the first game I ever played by you. The Unfair Platformer. All I have to say you about this game is this... Fuck... You. I have beaten this game in the past, and now that there are medals I have to beat it again. When I interviewed mirosurabu and Xerus in the past, I got to ask mirosurabu about Tower of Heaven and Depict1, two games known for their difficulty, traps, and changing the rules. What possessed you to bring forth such evil onto the world?

A: Haha yes, very good interview sir. *Tips hat and sips wine* The Unfair Platformer is definitely my most popular game and my most hated. I must say it was one of the most funnest games I had the pleasure of making. Theres something extremely fun about turning the level design rules on there head and just saying "Nah, take this instead!" Maybe I am a bit evil for taking such delight in peoples anger?

Q: Silly Chicken is a fun and yet difficult game. I loved the humor in it. Where did the story come from for this game? What was the process in making it a reality?

A: I felt like making a small cute game based on a chicken since my logo is Eggys Games. Also the story on him being in love with someone online was based on a girl that I had a close relationship with online at the time and I could never see her because she lived in America. I decided to dedicate a game to her and she loved it!

Q: A Rube Goldberg machine if I ever saw one, Break the TV. Many humans are fascinated by Rube Goldberg machines, I imagine you are as well. What gave you the idea to put it into game form? How hard was it to get each moment right while still making it a puzzle?

A: I had actually never heard of Rube until now, I will definitely look him up! I have made a few puzzle games over the years. I spose the idea was based on having a lot of objects interact with each other. It wasn't too hard to design levels as I just make them in a linear fashion by letting each thing need the next to work but also allowing multiple answers to each puzzle.

Q: We now come to the grandeur of it all, Arcalona. You said it took over a year to make, when did you start, when did you end, what were the trials and tribulations that went into it?

A: Yes my most recent game and my biggest! I started in 2016 and only released late 2017. It was huge, with over 48 items, 36 enemies and over 10,000 lines of code. It was just massive and each thing took a long time. I got very stressed along the way and just needed to get it done from having it loom over my head. Stress really gets involved in bigger projects due to always thinking about it and remembering all the pieces to put together. Flash also isn't very equipped to handle bigger games like this, so a few bugs and glitches started happening that were very strange. Hence it's my last Flash game and moving onto other programs.

Q: One of the movies I saw here on Newgrounds at an early age was entitled The Best Flash Ever. Watching it then, I thought it was funny, today I still think it's funny. The question is though, where did you get the idea for this?

A: I remember making this in only one night! I was drunk and took the idea from movie trailers over-dramatizing their adverts so I decided to parody it and put it all together and it turned out quite funny!

Q: How and when did you pick up the guitar? How long have you been playing? Will we get any pieces from you in the Audio Portal?

A: Guitar is a side hobby of mine, though I'm not that great still. Not as good as I am at game making. I just dabble here and there and have fun playing songs that I enjoy listening too. I'm not sure if I will ever release anything on the audio portal I'm afraid. Maybe one day Ill get better!

Q: What advice do you have to give to those looking to get into games or to those looking to expand their games to mobile devices?

A: Basically choose the latest program out or one you are comfortable with making games and then just practice and practice. You need to keep at it and keep making resources for yourself. Force yourself to finish things and learn as much as possible and make as much as possible. Unity is a great new engine for getting onto mobile I would recommend that.

Q: What can we expect from Eggy in the future?

A: I am now learning Unity. I have finished with Flash and now intend to make more 3D based games or at least better 2D ones. It will take a while for me to adapt to the new program and coding language but you should expect a much bigger 3D egg based adventure in the future. My dream is now to make something like Banjo Kazooie after seeing what Unity can do. Keep an eye out for my next best thing!

Eggy is certainly a hardworking individual, anyone who doubts that is a fool. To see how he can be a game machine and for just over a year to produce an RPG simulation game on a professional level, within over one year? That is amazing. He can only grow to the heavens in terms of his skills. Soon he will be teaching others the craft, and the lucky, will be the students.

Interview No. 146

Interview By: @The-Great-One

Today's guest has been here twice before. The first time he was here, he was one of my first interviews. I invited him back a second time to cover his newer works. It has been nearly four years since his last interview. Since his time he has been hard at work composing new music taking different venues with The Popular Kids (Loop), A Newgrounds Legacy, and Teaching My Students, which has become an inspirational piece stemming from being a sixth grade teacher. I am proud to welcome back once again, @Bosa.

Q: Last you were here we talked about Quest of Eve and Boutista Entertainment. Boutista Entertainment has since become Kingdom Crown Entertainment. Why the change in name and what is the progress on Quest of Eve?

A: I changed the name because I felt as though it would be easier to remember than 'Boutista.' As far as Quest of Eve goes, I've had a few plans change, but I intend on funding a new team and hopefully have something presentable in the next few years. The old project was Flash-based, so I plan on starting over and coming up with something far more in-depth and contemporary to independent PC games that we see on the market today.

Q: You, like others here, have gone to school. What brought you to Liberty University?

A: I went to Liberty to pursue a degree in education because I heard that it was a very reputable university and offered some of the best on-campus and online courses available. Also, I plan on taking some classes at Berklee College of Music later this year to improve my knowledge of marketing and publishing music and to get a better understanding of the business side of the music industry.

Q: In the thread Ways to improve the Audio Portal? you have stated two problems with the Audio Portal.

Solution to zero voting:

Review other people's music, remain active in the community, and get your music featured in games/movies. Scores will not matter at all, really. It's all about your relationships with other users -- a lesson I have had to learn the hard way after all the years I've been submitting music to this site.

How to change the audio portal:

Wait until they actually begin making major changes and then toss your idea into the hat. The audio portal was meant to be a production library for flash, so consider it as such; and realize that there are other priorities on the plate. Our time will come.

Would you say that the Audio Portal is being improved? If not then what else can be done?

A: I would say it has definitely improved from where it used to be back in the early days. I really love the options added to the licensing side of things -- being able to dictate how music is allowed to be used is very useful for producers like myself who work closely with a performance rights organization, because it helps to avoid unwanted royalty claims. I have a few other ideas to enhance the audio portal, but right now I don't see anything particularly wrong with it. If they ever seek more ideas, I am always available to offer my suggestions.

Q: The Gift of Christmas Contest was a contest that you held. For those looking to hold a certain contest, what would you recommend to them in preparation, picking a theme, and judges?

A: First of all, let me tell you that contests are difficult to manage and are extremely stressful if all eyes are on you, so make sure you have some help if you're just starting out. You can always look at my contests or others if you want to get an idea of how to prepare and structure a contest in regards to rules, themes, layout, etc. But what I've really found that makes or breaks a contest are the rewards. You don't necessarily have to offer huge rewards, but make them unique. The better the personal rewards are, the more interest you'll have for the contest. Tom Fulp suggested that I should make the rewards novel for each contest and focus less on money, so offering unique rewards combined with a unique theme will really help you achieve the popularity you're looking for in a contest. This not only goes for musical contests, but for art/game/movie contests as well.

Q: Her Wish is a beautiful piece that you were working on, but have said you didn't finish. It is a beautiful piece returning to the days of Farmland. If this isn't the finished piece, I can only imagine what is. What stopped you from finishing this piece and will we ever hear the finished product?

A: I have actually been wanting to revisit this song for a while, but I've yet to do so. The song was originally composed for a contest, and I barely met the deadline because I had to do some traveling that month. So, I was limited in what I could do, and I had to make sure I could finish everything in time. Someday I may finish it, but my current project schedule keeps building up, so we will see.

Q: We come next to your tribute song for Newgrounds entitled A Newgrounds Legacy. In your description you state that...

My tribute to Newgrounds. I created this composition to honor all that Newgrounds has provided to the community, and to tell a story of my own that depicts the legacy of a legendary website.

You say that you tell a story of your own that depicts the legacy of this website. Perhaps you could break down that story for us all.

A: What I meant by that was I composed something attributable to my style which celebrated Newgrounds. Basically, it was my tribute piece to the website. The music also tells the story of how much I've grown as a composer since my first days on Newgrounds. The piece itself is a little old and not my best work, but at the time it meant a lot.

Q: Bosa Piano Intro intrigues me, mainly because you say that you rarely post your piano performances on Newgrounds. Why is that? Do you set them at a higher quality than your other works?

A: Not really. It's just that I spend more time composing orchestral and film music rather than piano pieces. I try to keep my music fresh and not always produce the same thing over and over, so sometimes I'll come up with something unique. I believe the song was popular because a piano only piece is not what's expected from me, so it drew people's attention at least.

Q: One of my new favorites by you absolutely is Teaching My Students. I love this piece! It gives me memories of Tutorial Man. Would you teaching the sixth grade be the inspiration behind this? What do you teach for your sixth grade students?

A: Yes, my students do inspire me sometimes. I teach math usually, but recently I've been teaching younger grades.

Q: A change in mood can produce different results from a creator. To see Truman Capote go from Breakfast at Tiffany's to In Cold Blood was certainly no accident. It was a change in his mood, how a real life event affected his writing. This change would hit you as well with The Popular Kids (Loop). What was the change in your mood? Why this title with this song? What changed you in this creative process?

A: I usually compose music according to how I feel unless it's for a specific project. Emotion should fuel a composer like petrol fuels a car, and I cannot stress that enough. I recall hearing about what Jeremy Soule went through while he was composing the score for The Elder Scrolls: Oblivion. After almost losing his life in a car accident, he came up with music that reflected his thoughts and emotions after his brush with death. If you listen to the music in Oblivion, there is a sense of something peaceful and almost spiritual in nature. I always strive to capture strong emotions in all of my tracks.

Q: A trip back in time with Classic Bosa Loop. Why the return to your roots?

A: Because I sometimes miss the early days of creating music and even the early days of submitting audio on Newgrounds. I had a lot of great experiences back then, but to be truthful I'm having much more success now than I ever have. It's fun to look back on the past and tap into it, but I'm keeping my focus on the present and sometimes looking ahead to the future.

Q: The Journey Home, I believe to be your new magnum opus. I'm not sure if you will be able to top it. Such beautiful orchestration, everything belonged, nothing was out of place. It gave me an eargasm. What was the inspiration behind this gorgeous music?

A: It certainly took me a while to compose and I'm not exactly sure what inspired me the most at the time, but I do know that I had thoughts of medieval and a ancient fantasy. At first I was going to go down a more celtic route, but I had a change of heart later as I began planning what I wanted to do in regards to vocals. I wanted to come up with something similar to Lisa Gerard, but I still maintained my style throughout the song.

Q: What can we expect from Bosa in the future?

A: I've got a few big projects in production right now. One project is a collaboration I've been working on with a pretty famous singer and all I'm waiting on are some instrument recordings (I'll definitely post the song on Newgrounds as soon as it's ready). I'm also composing more for television shows like Blue Bloods and commercial ads thanks to my recent connections with some high-end publishers. I will, of course, continue supporting Newgrounds and continue offering advice to musicians on the site. Expect to see more music submissions and maybe a few extra surprises. Newgrounds is like the mom and dad of my music, and I don't plan on moving out of the basement anytime soon, haha.

Bosa is quite possibly the most underrated musician here on Newgrounds. Yes he does have over 1,000 fans who follow his music, myself included. I don't usually hear his name brought up much on this site. Which is a real shame. He is one of the most skilled musicians here. Not as much a travelling bard as Back-From-Purgatory, but most certainly one who can master the genre he decides and varies between classical music, to bluegrass. When he explores a genre, he goes more in-depth than anyone else on here.

Interview No. 145

Interview By: @The-Great-One

The day this interview has been posted I personally have spent 10 years on Newgrounds. I thought it would be proper to celebrate my Newgrounds Birthday with a special interview. One of my most requested interviews. Today's guest has been known for the creation of Newgrounds classics such as Bitey of Brackenwood, the YuYu, and the Last of the Dashkin. He has also worked professionally for The Walt Disney Television Animation Studio and Bob's Burgers. He is a professional animator, and one of Newgrounds cherished creators. I am most honored to welcome, @chluaid a.k.a. Adam Phillips.

Q: How did you find Newgrounds and why did you join?

A: Back in about 1997-98 I set up my first website as a kind of digital portfolio and personal animation journal. A couple of years later, some random guy emailed me, recommending that I submit something to Newgrounds. I checked it out and decided that it wouldn't hurt to submit my movie Nightshift, just to gauge the reaction. It was such a simple little story but within minutes I found myself hooked on reading the comments. It's something I'd never experienced before; people from every corner of the world looking at my work and telling me what they thought of it. It was strong motivation for me to make more shorts.

Q: You stated that you've been drawing since a toddler. You could hold a pencil before your legs could support you. What became the drive as you got older?

A: Some artists swear they create art to change the world, move people emotionally, get people thinking or "start a conversation" about some important issue. But I don't believe it. I do it for my ego, as I believe we all do. As an adult, it's not much different to when I was a kid; I just want to impress everyone. I want people to look at my stuff and say "holy shit that is amazing!" because that's what gets me up in the morning. It was the same at Disney. We were all aiming to do the most impressive animation so we'd get encouragement or constructive feedback from the artists we respect the most, our colleagues. This goes back to my previous answer on how praise and feedback on Newgrounds was strong motivation for me to do more stuff and improve so I could get more feedback (mostly the good type).

Q: What brought you to The Walt Disney Television Animation Studio around 1993? What did you learn there? What was their purpose overall?

A: In 1991 I was working in a steel factory up in Queensland because I was too stupid to do electrical engineering or games programming. One day while dreaming about being a ninja, my glove got caught on a spinning part of the mesh-welding machine. Thanks to the ninjutsu I learned from magazines and movies, I managed to quickly hit the stop button, but not before the machine had pulled me in and snapped my arm to bits. The result was surgery, followed by six months of paid recovery time, during which I developed my drawing skills focusing on anatomy and perspective. I was a comics enthusiast so my artistic style was pen and ink and I learned so much from comics. My heroes back then were Eastman & Laird and Simon Bisley and I started to develop characters and pages for my own comic book ideas.

Soon after returning to work at the factory, an inexperienced crane operator dropped several tons of steel rods from above me and it landed all around me like a giant metal bird's nest. It's actually a miracle I wasn't killed. In fact, it was such a close call that the steel shredded the back of my shirt when it fell. I knew I had to get out of there, so a couple of weeks later, I told everyone at the factory that I got a job in Sydney doing comics and I resigned. In reality, I just saw the factory as a deathtrap and didn't want to work there any more. There was no job waiting for me in Sydney. I just wanted everyone to think that I'd finally hit the big time. So I went to work on a farm in my home town, driving tractors and digging holes and eating dirt sandwiches for lunch.

About 18 months later my mother cut an advertisement from the newspaper and brought it over to my place. Walt Disney Studios was calling for artists to apply for a trainee position. In short, I sent Disney a bunch of my own comic pages and they put me through a couple of rounds of testing before offering me a job. When they told me that thousands of people had applied for those 8 trainee positions, I was suddenly grateful for that factory accident and my time spent sharpening my drawing skills and reading comics. Everything that had happened, the tattered glove, the comics, the falling steel, the dirt sandwiches, all had led me to begin my career in animation.

At Disney, I started in the inbetweening department and over the years moved up through animation and into FX, eventually becoming the FX supervisor. We started out as a television animation studio doing shows like Duck Tales, Gargoyles, Jungle Cubs and stuff like that, then we became a movie studio, mostly doing direct-to-DVD sequels, like Lion King 2 and 3, Jungle Book 2, Lady the Tramp 2, Peter Pan 2. Yeah pretty much anything with a 2 or 3 after it. My first movie as FX supervisor was An Extremely Goofy Movie (that's a title btw, not an opinion).

Q: What made you decide to leave The Walt Disney Television Animation Studio around 2004?

A: One day I realised that I was mostly on autopilot at Disney and I no longer felt challenged. I applied to the character animation department in an attempt to freshen things up a bit but I was denied, so I decided to quit. After all, this was around the time my online work had begun to attract a following and I was turning down several work offers every week. Using Flash, I had even completed a music video for my favourite band at the time, Ween. Anyway, Disney really was a dream job, and after all that factory and farm stuff, it was like a happy ending. Leaving was terrifying at the time but I'm glad I did it. 18 months later, Disney closed their Australian studio and I was glad to have that head-start making my name on the internet and getting my own work out there.

Q: Bitey of Brackenwood would be the beginning of a story of a little character named Bitey. Who is Bitey? Why looking back at this movie do you hate it?

A: Brackenwood was originally about a character named Bingbong. It was the adventures of an idiot in a perfect world. It was a pretty thin concept and in an attempt to fatten up the story, I decided Bingbong needed a nemesis. For that role, I created a cruel trickster in the mould of Pan, the ancient Greek god of the wild. Before Bitey came along, Brackenwood had been years in development, but from memory the "Bitey of Brackenwood" movie itself only took a few weeks. My comment about hating the movie doesn't mean I still hate it today. It happens toward the end of every project, kind of like an overdue pregnancy. You just want to get that thing out of you and when it finally happens there's an emotional high, followed by a crash. So I don't still hate it, and I wouldn't change anything (apart from some smoother animation and better lighting); it's just how these things go for many artists.

Q: Bitey's journey would take him through Prowlies at the River, littleFoot, and what you have claimed to be your best work, the YuYu. What made you want to continue Bitey's journey and why do you believe the YuYu to be your best work?

A: Bingbong was a very shallow character. The only real reason for him to exist in the world was to be laughably stupid. Bitey on the other hand was instantly more interesting. He was created to fill a specific role, which instantly gave him a depth of character that Bingbong didn't have. It also gave him motivation for any situation I could put him in. So it was easier to think of new stories for him and as I released more, the feedback and growing fan base validated it. I think The Yuyu is my favourite Bitey movie to date simply because it was an unexpected little interlude that allowed me to collaborate with one of my musical heroes, Spider Stacy. On top of this, I had tons of fun animating it and it's one of the few projects I can look back and wonder how the fuck I did it.

Q: You are one of the few animators who has done professional work. For animators looking to work in the profession, what advice do you have to give them?

A: I wouldn't say I'm one of the few animators who has done professional work, unless you mean on Newgrounds specifically. For aspiring animators who want to work professionally, I recommend compiling a 60-second show reel of all your best work and putting it where people can find it. Update it regularly with only your best work. Spend all of your spare time developing personal projects and improving your skills. Even if you do find professional work, continue to work on your personal stuff in your spare time. Even though I'm working professionally for games and animation studios, the personal work I put on my YouTube channel and my website feeds the fan base and attracts regular work offers. If I devote myself too much to professional work and stop producing my personal projects, fans will move on and my name will fade into obscurity. I recently tweeted that "As a professional artist, my biggest fear is being unable to pay the mortgage. As an independent artist, my biggest fear is being forgotten".

Q: What can you tell us about the Last of the Dashkin and its upcoming sequel?

A: While all his previous movies were simple scenarios without much depth, The Last of the Dashkin was the definitive character description of Bitey to set up the bigger story of Brackenwood. As for the sequel, I can't tell you anything about it I'm afraid. Nobody knows the story but me, so if I die early, the story does too.

Q: When AlmightyHans was here we talked about Africa Dudes. A collaboration of multiple Newgrounds artists including Oney, LazyMuffin, Stamper, and Egoraptor. How did you come across this collab and what was it like working with these other artists?

A: I didn't actually work with other artists on Africa Dudes. Stamper just emailed me and asked if I'd like to contribute. When I said yes, he sent me a bunch of specifics and I sent him my bit. The next thing I heard was that it was released.

Q: How did you become a storyboard artist for Bob's Burgers? What was the experience like working on this show?

A: The Supervising Director on Bob's Burgers is a close friend of mine, Bernard Derriman. He was a character animation supervisor at Disney when I was the FX supervisor and we had learned Flash together in our spare time, each working on our personal projects, sharing techniques and providing critique for each other. We've always kept in touch over the years and collaborated on a few things. He's still the first person I show my personal projects to because he knows so much about story telling and films. When he moved to the US and started at Bento Box Entertainment, he contacted me a few times to do some FX animation for Bob's Burgers, like fire, water and some animated props. Later when they were looking for storyboard artists Bernard threw my name on the list because he was familiar with my Brackenwood shorts. After storyboarding on Bob's for several episodes, I was promoted to Assistant Director which is my current full time job. I love the job and the ability to work remotely is icing on the cake.

Q: What advice do you have to give to other animators and artists?

A: If you have your own ideas for characters and stories, work on them as much as possible. Even if you're animating professionally, try your best to continue producing personal work and continue to grow outside the box of your professional job description. Compile a show reel specifically for prospective employers and keep it under a minute. No matter how good the soundtrack, no prospective employer will sit through a 5 minute video of mediocre animation, so keep it short and keep it updated only with your very best, most recent work. If you want to make a separate personal show reel though, you can go nuts there. Make it as long as you like, put whatever music you like, put all your shit alongside your gold, if that's what you want to do. All the same, people will find it more watchable (and shareable) if it's short and contains only your best stuff.

Q: What tools and software have you used throughout the years and what can you recommend to new animators?

A: I started experimenting with Macromedia Flash 5 and used it to make all my early movies including Brackenwood. In 2006 I visited the Toon Boom booth at Annecy (animation festival in France) and was flattered when they recognised my name on my name tag. They demonstrated the software for me (at the time it was called Digital Pro) and they encouraged me to try it out on my Brackenwood projects. Long story short, I started using it and immediately found it difficult to go back to Flash. I'm still using Toon Boom now for all my work, both professional and personal. To broaden my horizons a bit, I'd also like to try TV Paint and Cacani.

Q: What can we expect from Adam Phillips in the future?

A: For the past few years I was trying to complete a Brackenwood game, but when progress stalled, that initial momentum seemed irretrievable so I reluctantly cancelled it. Now, thanks to my supporters on Patreon, I'm able to restart work on a substantial Brackenwood project, so my current goal is to finish The Last of the Dashkin sequel and later, hopefully, make that game.

One of the earliest movies I ever saw on Newgrounds was the YuYu. It was in the portal in the high ranking area. I decided to watch it and loved everything about it. It was the most impressive animation I had ever seen on Newgrounds at that time. It was a mark that other animators looked to. To try to better themselves to. Adam Phillips is a legend on this site, and for good reason. Here's hoping that he brings more of that brilliance to us, because he has certainly shown, that he's still got a few tricks up his sleeve.