Some of you may remember my original email. Unfortunately, I was unable to collect questions as this was not permitted on Sonic Retro unless it was done by official Sonic Retro staff. I decided to ask my own questions and make it my own interview. Well, Craig got back to me and was very generous with his time. The interview is rather lengthy and features some very interesting info! It's obviously not as mind-shaking as IceKnight's fantastic interview, but it's something! Here are pictures of our email correspondence: Now, onto the questions! What was the main theme or motif you wanted to create with Hidden Palace Zone (or was this suggested to you by other members of Sonic Team)? Where there any inspirations on Hidden Palace Zone? I remember right, the actual art/look of Hidden Palace was left up to me. I was given a map, but it was just laid out as rough blocks and paths. I can't remember if I was asked to make it underground or not. I don't think it even had a name until after I had finished it. If it had I probably would have made it more 'Palace' like. The one thing that was just a given was that it had to match the general look and feel of the Sonic Universe. I wanted to d0 something a little different. Back then you were REALLY limited by how much unique art you were allowed, and how may colors you could use. 'If' I remember right, I was allowed 256 8x8 pixel blocks and probably only 8 colors on any given screen (there were ways you could fake more colors, I.e. the underwater color shift. These 8x8 blocks where then put together to make larger tiles (I believe 8x8 if the 8x8s... but I can't remember exactly) ]I wanted to do something 'crystalline' in nature. The color palette was left up to me. The crystalized look did not have anything to do with gameplay or story. All the 'power crystal' stuff came after I was no longer working on Sonic. The big problem was creating a crystalline pattern that would repeat without looking too much like wallpaper. Also I needed to come up with a way of doing the classic Sonic loops and slides. Made even more complicated since some of them needed to have running water. I can't remember what the 'super tiles' were really called, nor do I remember how many of these 'super tiles' I was allowed, but it was not very many. Fortunately you could flip and rotate the tiles for 'free'. Back in the days of 'cartridge' based games, it was all about memory limits! I'm trying to remember what I used for inspiration. I believe I saw a stylized painting of geometric rocks/shapes and the was 'springboard' for the general look of the gold colored rock. By far the hardest part of that level was the far background. I don't remember how many backgrounds I tried but it was a lot. Color and size limitations were REALLY tight on the background. Plus Sonic, the enemies, and everything else had to stand out. I'm never was completely happy with the background I ended up using, but I was out of time. The Zone that has been recently released is very similar to what I built back in 1992. A few changes were made. The biggest one I noticed was the addition of the boss screen/room. This is something that was not on the original map I was given. One of the most die-hard rumor/myths about the level was the giant crystals that Sonic has to smash in order to gain access to tubes and other areas. Various forums were full of people convinced that these were somehow related to the 'Chaos Emeralds' found in later Sonic games. When I made the Hidden Palace Zone, the concept of Chaos Emeralds did not yet even exist. They were just meant to be a big, interesting way to block Sonic's path. As for why HPZ did not make it into the original Sonic 2... it simply came down to poor planning and a lack of time. The art was done for the level and as far as I knew it was going to be in the game. It wasn't until about 2-3 days before we shipped the game that I found out HPZ had been cut. At the time I was told because there wasn't room on the cartridge. Of course we all know that was not the truth, since an 'unfinished' version of HPZ is in fact on the original Sonic 2 cartridge. The truth is that they did not have time to finish programming and testing the level. Even now, the art I did for HPZ is some of my favorite art I've done for a video game. I was VERY excited that it was FINALLY going to see the light of day. Most all of the Japanese were a joy to work with. One person who never was given the credit he deserved was Hirokazu Yasuhara. He was the lead game designer behind Sonic, and if you ask me Yasuhara was the reason Sonic was the game it was. Naka wrote the engine to move graphics fast, but Yasuhara created a game that made it fun. Without Yasuhara there would be no Sonic, at least not like we know it. Also Yasuhara is one of the nicest guys you can know. Do you remember any levels you worked on/had ideas of that also didn't find their way into the game? You said in a previous interview with a member called ICEKnight that you worked on a circus level? Do you remember anything like this? I was not the only person to have levels cut. Actually, I'm fortunate that mine even made it into the game, even if it was not originally playable. There were several other levels, created by another artist, that were cut AFTER the art was done. I can't remember all of these levels. I know one of them was a forest level, one was a desert level, and I do have some vague memory of a circus level. I know the forest and desert levels were all but finished when they were cut. The Circus level I can't remember much about. I can remember doing some concept drawings for it, but I can't remember much else. It's been too long Are there any things you would have done differently to how they worked in Sonic Team? What would I have done differently. That pretty much goes back to what I was saying about Yasuhara. I don't know what I really would have done, but I would have done my best to make sure Yasuhara got the credit he deserved. On the other hand, Yasuhara is a very quite and humble guy. He may not have wanted the attention, I don't know. The thing I definitely would have done differently is how the transition of Sonic to SEGA's new platforms was handled. Then again, at that point, SEGA was releasing new platforms so fast it was impossible to make games to support them. Did you prefer your time working on Sonic 2 or Sonic Spinball? Which game was the more rewarding to work on, so to speak. Although Sonic 2 was a blast to work on (I was very fortunate to have two levels make it into the game, IF you count HPZ... Oil Ocean is also mine). So it was very exciting to be working with people like Yasuhara and Mark Cerny (actually, Mark is who originally hired me in 1990 for SEGA) But back to your question... the two games were rewarding in different ways. Sonic 2 was a HUGE game, and the opportunity to work on it was incredible... but it had it's down sides. While Sonic Spinball was rewarding because I had a little more say in what was going on. I don't know if there was any 'direct' influence from working on Sonic to working on Spyro or Ratchet, other then just experience of what worked on screen and what didn't. Back in the days of Sonic, an artist, to a certain extent, placed EVERY PIXEL you see in the game. By the time we got to Spyro or Ratchet, there were still limits, but you just painted textures. Memory and frame-rate were still issues, but noting like the limitations you had during the era of the 8-bit systems. That's not to say a LOT of time was spent optimizing art for Spyro or Ratchet. Not so much so it would 'fit' on the disc... but so that the game would maintain a steady frame-rate. Finally, I noticed that you haven't been credited on a game since Ratchet and Clank: Deadlocked in 2005. Have you decided to leave the video game industry? Deadlocked was in fact the last game I've worked on. When we made the first Spyro game (which I consider 'my baby' since the initial concept/design was mine), we made the game with about 6 people. By the time I left Insomniac I had almost 20 people under me and there was something like 165+ people at the company. I love to work with a small group, where everyone bounces ideas off each other. Right now.... I'm still taking a break. I doubt very much I'll go back to making games, unless I can find the right people working on the right game. Although I my degree is actually in Art Education, so if I had my way, I'd love to teach art to kids between the age of 12-18 years old. Probably because it was an art teacher when I was 17 that really did change the course of my life. I would have never seriously considered going into art with out her support. I asked Craig for permission to use this interview, he was very generous, allowing me to post the interview in most of its entirety, and even gave me some extra info! Hello Laura! I'm glad I was able to help with your questions. Actually... let me tell you a little more of the story. You can add it in as Question #1b - or 'Why was Sonic 2&3 made in the United States. When I started at SEGA, actually, 'technically', I worked for "SEGA Technical Institute".. part of SEGA of America, but we had a certain amount of independence. The group was started by Mark Cerny (now well known as one of the video games greatest designers/programers/Producers, and most recently for his role as the lead architect in the creation of Sony's PS4. Mark wanted to create a group in the US, but one that made games the way he wanted to make games and bring into that the skill and style that made all the Japanese games (at that time) far more successful then American made games. STI was SEGA's first design group on US soil. Mark's plan was to bring over a handful of artists, designers and programmers from Japan, and at the same time, send over artists, designers and programmers from the States to Japan, so that we could learn from each other. Unfortunately, the 'exchange' only ended up going one way, with Japanese coming to the US. (I was really hoping for a chance to live and work in Japan for a couple of years. I did get to visit for a week, but no one was ever transferred over there to work. But there were many Japanese sent over to STI. The first game STI did was Richard (LOL, the filter blocks it) Tracy on the Genesis. The first game I worked on was Kid Chameleon, STI's second game. SEGA was looking for a 'mascot' (like Nintendo's Mario). Mark, and the rest of us a STI, hoped that Kidd would be that game. At some point we got this very early version of a new game called 'Sonic'. It was rough and unfinished. Great character, great background... but it just wasn't fun. Everyone spent a couple of minutes 'playing' it and then handed the controller to someone else. Then some time later, we received what I am guessing was the beta of Sonic. The first version did not have the rings scatter when you were hit. This version did, and it made all the difference in the world. Now people were lined up to play, and it was hard to find time when someone was not playing the game. There were also lots of technical aspects of the game that had even Mark impressed. Unfortunately, we also now knew there was a very good chance that Sonic would become SEGA's mascot, and Kid would be just another game. At this point STI was located miles away from SEGA of America... but SEGA wanted us to move closer, so Mark finally gave in and we moved to Redwood City. But let me back up a little. Before anyone knew that Sonic was going to be the stellar success it was, Yasuhara had already finished his work on Sonic 1 and was in the US working at STI. So the lead designer and the lead programmer were both at STI, which is why Sonic 2 was done in the US. Everything to do with Sonic 3 is a bit more complicated, and I was not on the 'inside' on that one. One funny story.... We were busy making Sonic Spinball while they were making Sonic 3. We finished Spinball first and were having a 'wrap party'. Everyone was partying, eating and drinking (while Spinball was playing in the corner). Yasuhara asked us how we got permission to use the original Sonic theme music. We didn't understand what he meant... until he explained that SEGA did not own the rights to the music!!! It was done by some band in Japan, and SEGA had paid them to use it JUST in Sonic 1 and then for Sonic 2. Between Sonic 2 and 3, the band became very successful in Japan, and they wanted a lot more money for the SEGA to use their music. SEGA refused to pay, so the Sonic 3 team was informed that they could not use it and needed to come up with their own theme. No one ever told the Spinball team this! We found out because Yasuhara happened to hear the opening scene music to Spinball... the DAY BEFORE we were scheduled to ship the finished game! Our sound guy RAN from the room and started composing music as fast as he could so he could swap it out in time to still make out deadline!! He did it. I wish there was a good way to prove that I am 'the' Craig Stitt. Here are some simple graphics from Kid Chameleon. The first 'character' is ME. (the entire STI team is seen as these little avatars, either at the beginning of the game or at the end). The others are some of the first characters I did. All the other digital art I have from Kid or Sonic I've pulled off the internet. Back when those games were made, there was no good way to 'copy' the art, and I didn't have a computer of my own for several years to come. I don't know if this would constitute 'proof' that I am who I say... but the license plate on my car reads "GO SPYRO", and the plate on my motorcycle reads, "GO SPARX" (and yes, the same motorcycle I laid down and busted up my shoulder. I can take pictures of the plates if you want. Or I could take a picture of me wearing the very limited edition 'STI' jacket... or the Sonic 2 denim jacket that I believe was only given to team members. A few months ago, I did an interview with an individual who is writing/publishing book on the early years of the Genesis, and told him much of the same that I have told you. Not sure when it's set to be published. I believe he was in the U.K. as well. I guess if people believe, they believe, if they don't... they don't. (although a while back, I did have someone on FaceBook pretending to be me!??) Which reminds me of a few quick stories... Kid Chameleon had JUST hit the stores, so I went to a game store to see it on the shelf (kind of a rush the first time you see something like that). But better yet, they had a kiosk where you could play the game. I walked up to it and there was this +/- year old kid playing the game. He was literally banging against a wall, trying to jump over it. I watched for a moment, saw he wasn't getting anywhere, so I leaned forward and told him how to get past the wall. He looked at me, said 'What do you know about games" and went back to beating his head against the wall. Little did he know who I was and that the level he was on was one I had done the art for. A few years later the whole STI/Sonic 2 team was in New York City, for a big press conference/release of the game. The day of the event, I went down to the waiting limo. When I got in I noticed that Jonathan Taylor Thomas (from the TV show 'Home Improvement') was in the car. (SEGA had brought a handful of kid celebrities to play the game for the cameras). When I got in the car, he asked me if I was security. I told him I was one of the artists on the game. He then asked for MY autograph! Ever since then, any time I see him in something I think that he asked for my autograph. On that same trip, one of the other kid celebrities was a kid named Dustin Diamond. He played a character named 'Screech' on a TV show "Saved by the Bell". That night a few of us had dinner with him and his father. When we got back to the hotel, I went to my room and turned on the TV. By pure coincidence, 'Saved by the Bell' was playing, and there was 'Screech'. It was a rather surreal moment. Well, I hope this helps. If you come up with a good way to verify my identity do you readers, just ask. Of course I've aged 'a bit' and sometimes I have a beard and sometimes I don't. Actually, I've had a beard for the past couple of years, but just shaved it off since trimming it with only my left hand was getting to be far too much work! Take care - Craig I hope you enjoyed this interview. I would like to take this opportunity to say how gracious and friendly Craig was. He deserves all our thanks!