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About Me

My name is Scott. I've been playing video games since my hands were big enough to hold a joystick. I started with the Atari 2600, and graduated to the Atari 800 computer where I taught myself how to program in BASIC. I eventually got a NES, and later a Game Boy. The first summer I ever worked, I was a CIT at the day camp I attended. I worked all summer long to save up enough money to buy the SNES the very day it came out.

I attended college at the University of Pennsylvania. I was introduced to the internet my freshman year in 1993, and I fast became a console pirate, purchasing a copier and downloading ROMs off of IRC channels. Good times. In my senior year, I purchased the N64 as soon as the street date was broken, and skipped classes for the next three days to play Mario 64. I also bought a used PSX the same year.

After I graduated with a degree in Computer Science and a degree in Psychology, I was accepted to Digipen. I was part of the very last class that attended the school in Vancouver, before they moved the campus to Nintendo of America's HQ in Redmond Washington (across the street from Microsoft). After completing the program, I got my very first job as a programmer at Ubisoft.

I lucked out with Ubisoft because they were actually opening a studio near my hometown in NYC, so I actually landed my dream job and got to live on the east coast near my family. I worked on Batman: Vengence. I met a number of cool people, but the only one I still keep in touch with happens to be a buddy of mine who was the lead designer on "Army of Two." He is without a doubt, the greatest game designer I have ever had the privilege of working with.

The studio in NYC didn't pan out for Ubisoft, and they decided to fold the team up to Montreal. After living in Vancouver for a year and a half, I decided I had enough of Canada, so I stayed in the NYC office, which transformed into GameLoft. I stayed there until me and the buddy I mentioned landed a job at 3DO. We both moved out to Redwood City and started working there.

3DO wasn't a great company, but it wasn't terrible, and I met a crew of people who became some of the greatest friends that I have ever had. I worked on Dragon Rage, which was being led by Kudo Tsunoda. He told the execs that it was going to be an Army Men game with an art asset swap, and it would take 6 months to complete. The truth was we were building a new engine from scratch, and it would really take a year to get it done right. When the six months were up, the execs asked for the game, and we weren't even close to finished, so we had to do 12 hours days, 6 days a week until the game was finished. 3 months later, nobody cared about it anymore, and it went straight to the budget bin.

3DO closed down very shortly after. While I was at 3DO, I got to know two people who amazed me: Howard Scott Warshaw and Tod Frye, two of the original Atari 2600 programmers. Getting to meet them and talk with them about "the good old days" at Atari was an amazing thing to me. (I totally recommend visiting Howard's site, Once Upon Atari and ordering his DVD about what those days were like.) I still run in to Howard infrequently at retrogaming conventions and it's always a delight.

After 3DO, I worked for a THQ studio that used to be called (oddly enough) Pacific Coast Power & Light. It's known as Locomotive games today. I was put on the WWE Crush Hour game, the game that was designed to mix the WWE up with Twisted Metal. I created the game's shell and character selection screen. It was actually a pretty cool game, but THQ's love for WWE had cooled down when the game was close to finishing (right after WWF became WWE, the ratings started to tank), so they rushed it and laid off the whole team.

Wishing to return to the east coast, I applied for jobs that I could find there, and actually lucked out with a job opening at Firaxis Games in Hunt Valley, Maryland, home to Sid Meier. When I got there, they were toying with the idea of remaking Pirates, and were prototyping a lot. The results were mixed, and Sid decided to get involved with the development personally. They knew they wanted to make a console version, and they put me on the small team responsible for porting the game to the Xbox. I had doubts about the game, and I wasn't enjoying the tasks I was being given (such as working on the in-game glossary), and things didn't work out. I made a lot of good friends there who I miss working with.

By this time, I had been with four companies in six years, and my girlfriend at the time was in the middle of going to school to get her degree, so I did something drastic: I grew up. I ended up looking for any available programming job, and accepted a position with a UPS owned software company as an algorithm designer. I've been there since 2005, I get paid more money, and work fewer hours than I ever did as a game programmer. But I really miss the creative environment and working with people that I have a lot in common with, i.e. a love and passion for video games.

I am currently own and operate StrategyWiki, which strives to become the best online source of video game guides and walkthroughs anywhere in the world. I am now living in northern Maryland. Welcome to my blog.

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Gamertag: ProcyonSJJ

Following (8)

Aigina no Yogen Procyon | 1:03 PM on 05.06.2008 1 comments

Well, it's finally finished. The StrategyWiki guide for Aigina no Yogen: From the Legend of Balubalouk is complete. This guide took me a lot longer to complete than I had anticipated. I kind of lost interest in writing about the game about halfway through because all the walkthrough really consisted of was descriptions of room after room of largely the same points. If you've never heard of this game, don't be surprised at all. It was only released in Japan, and even though it's pretty much playable by non-Japanese speakers, the gameplay is some of the most unintuitive around. I'm not sure what inspired the designers, but attacking the enemies is like a mutated cross between the original Mario Bros. and Bomberman without the bombs. You see, in order to attack the monsters, you have to jump up and smash certain platforms with your head. That makes a bi-directional weapon appear on the platform. Then you have to jump up and stand in front of the weapon. When an enemy gets in range of where you're standing, you jump up, triggering the weapon to fire to the left and right. Once you get the hang of it, it's not that bad. And you will get the hang of it, because you have to kill 8 or 10 enemies in order to escape from each room. There are other items that help, but this is how you'll deal with most enemies. Other less-than-intuitive aspects include the fact that in order to pick up an item, you must press down while pressing the A button. This one throws a lot of people because they can't understand why they managed to unlock a treasure chest, but they can't collect the contents. A speed run of the game takes only 33 minutes, but this particularly funny video of a player with a particularly bad microphone, demonstrates how some people just don't get the game: Since this is my second blog post, you may be wondering why I bothered to write a guide about this game at all. Well, it's because I am a Chronogamer. That is, someone who obsessively plays through every game that is made for a system (or systems) in chronological order. Since I just happened to have finished a guide for Moero Twinbee, better known as Stinger in the United States, Aigina no Yogen was the game that I was up to. Now, I don't write a guide for EVERY game, but I try to write them for a majority. The only reason I will skip a game is if it is pretty much unplayable if you can't read Japanese, if it was a particularly bad license game, or if the game is just terribly bad to begin with. My definition is terribly bad is pretty narrow, so I may end up writing about games (like Aigina no Yogen) that others probably would have skipped. But I figure, there's got to be someone out there would would like to figure out how to play the game, so at least the guide is present and done with. Coming up next, Mappyland.