Inteview with Covert Action Team
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__________________ __INTERVIEW_WITH__ __BAGGY_TROUSERS__ __________________ Mop / Alcatraz Talented graphicians can also be found outside charts ranking areas. This is the case of Baggy Trousers, a talented and hyper active, 18 year old, German graphician. We believe that most of you have, at one time or another, heard about the magic pixelers duo called Groo & Rufferto, who in the past, were responsible for some astounding graphics for popular productions from Digital and Essence. That intrepid pixeler that used to call himself Groo, is nowadays more known as Baggy Trousers of C.A.T. Some radical happenings have occurred since that rainy November day of 1991, when Baggy discovered the Amiga scene, so our reporter Mop, decided to make another trip to Germany, to discover the hidden secrets that lie in the magical mouse, of this future star... BAGGY TROUSERS OF ESSENCE! - As everyone knows, apart from being a graphician, you also form part of the C.A.T. duo, the graphics subgroup in Essence. When and why was C.A.T. set up? Essentially C.A.T. was born some months ago, during one of those hardcore pixel sessions. Even though both of us knew that it is not very advantageous to change your handle when you start getting more "famous", we did it. You can find the main reason for all this in the beginning of our cooperation work. - In the not so far past, you were most known as Groo of Groo & Rufferto fame. Under that label you contributed to various Digital and Essence productions with some stunning graphics, not to mention the fact that you also reserved a good place in the various charts. Then, all of a sudden, you decided to change your name. Why was this move so necessary for you? When Rufferto joined Addonic he had already been pixeling for 2 years, and so he already had a lot of experience. He used to teach me for a while and so we decided to cooperate in drawing graphics. Years passed and so we got better and better. Finally we founded Essence, and we recognized that we were not the old Groo & Rufferto we used to be. We became a real cooperation and we developed our own style. So we were forced to change our handle as well. And due to those internal developments we thought about taking a real TEAM name and so we did; Covert Action Team was born! - It's not every day that we see 2 graphicians working so closely and always being responsible for the same graphics. How much time do you usually dedicate to your pixeling activities, and especially how do you divide your work with Rufferto? Usually I dedicate a little more time to our pictures than Rufferto does, which does not mean that I draw a bigger part of the picture. In fact Rufferto mostly draws the bigger parts of a picture, because I draw much more slowly. Nevertheless it is always different from picture to picture. Sometimes I start to draw a picture and Rufferto finishes it; Torso, from ASS, is a good example. Sometimes Rufferto starts it and I finish it and sometimes we even draw a picture or a logo all alone; Ambush from the PARTY 3, was all done by Rufferto while S.E.X., also from the PARTY 3, was totally done by me. But usually we draw in cooperation. Normally someone gets an idea for a new picture and then we meet and try to draw it together. The advantage of cooperative drawing is that both parts of the cooperation can specialize on certain parts of a picture (Rufferto on bodies and backgrounds, and I on faces and hair) so you can easily divide the work. That does not mean that Rufferto is unable to draw faces or that I am unable to draw a body; in fact both of us prefer certain "parts". It's quite difficult to say how many hours we spend on our pictures, but for all I know it is much longer than other graphicians. Torso took us about three weeks (it was our first medium resolution picture); Android about two weeks and S.E.X. nearly one month! - What do you mostly like to draw: pictures, logos or fonts? Usually I prefer large pictures, but sometimes I like to draw a logo or a font because on one side it is much easier and it does not take half as long, but on the other hand it is some kind of holiday. - Do you think that a graphician who only draws logos and fonts can be still considered as a capable graphician? Yes. Look at Color or Angeldawn for example. These graphicians used to concentrate on logos only. In my opinion full screen pictures are harder to do than logos, even if you do a complex logo. Anyway, these days there are so many talented graphicians, that all of them are capable to paint harder things, but today's graphics are more based on good and innovative ideas and I think that one needs a good idea to do a good logo. For example graphicians with brilliant ideas have my highest respect, even though they have never done something really hard. - It would be a real treatment for all us sceners, to hear you comments on the following logo styles, all of which can be classed as being very original. Well, the SANITY logo in INTERFERENCE by COUGAR is a very detailed one, and in my opinion it's even too detailed. Cougar spent a very long time on it, and I do not know wether "normal sceners" (non graphicians) can recognize its true worth, because all those details he drew, all those different styles and tremendous techniques he uses... it's nearly impossible! I guess that FACET wanted to do an innovative logo, with his one in LEGALISE IT 2. Sure, the hand is well done, but somehow there is no sense in the way the logo glides through the hand. It is not a bad one, but I am not as astonished of it as others are. The TRSI logo in WICKED SENSATION by PEACHEY is based on a funny idea with all those figures building the upper parts of the letters. Too bad that the T looks like an I! Then the colours are very well chosen in my opinion. Anyway, it could have been a bit better anti aliased. I think that it was HOF, who drew most of the logo, in the ROMANTIC demo from MELON. Of course this is also a fascinating logo, featuring several tremendous "Hof techniques", but still I think that it gets a bit over rated. Cougar's logo, for example, is, in my opinion, much better, because Hof's logo is drawn in high resolution which is much easier. Besides that Hof only uses one color (grey) which is also easier than drawing a very colourful picture. The INTERPOL logo by RA is really not from this world, just like his SCOOPEX logo! It is for sure the most brain blasting and tremendous logo, which has ever come under my eyes, just like the brain bending SANITY logos in ARTE. Today most of the famous and liked logos are respected, because they are combined with little pictures, which sceners like, like the work from Cougar of Sanity, but this one is a REAL logo in its classic sense: to style a certain word in a unified way. It is very hard to do this today, because almost every kind of logo has already been seen. RA dared to invent an absolutely new kind, and he was successful. My personal rankings would look something like; 1. Interpol logo 2. Sanity logo 3. TRSI logo 4. Melon logo 5. Decnite Klantro logo 6. Anarchy logo - Until some months ago, we could easily say that Deluxe Paint was the best non-24 bit paint package. It seems that nowadays with the release of Brilliance, most graphicians have decided to change to this excellent drawing programme, although it is much more expensive than Deluxe Paint. What does Baggy think of Brilliance? Personally, I do not like Brilliance very much, because if you have spent a very long time drawing in Deluxe Paint, then it becomes very difficult to get used to the different functions, function keys and so on. article continues... ...continued from previous article - Usually most demo graphics are drawn in low resolution. But is this really the best preferred working resolution for the graphician, or is such a resolution only used just because of the various limitations often set by coders? Well, it is much more difficult to draw a good picture in Low resolution than in high resolution, because in Low resolution every pixel and its color are very important for the whole picture. For example, try to draw two big circles, one in Low resolution and the other in Hi resolution. Which one looks smoother without anti aliasing? Besides that it is also much more difficult to draw small details in Low resolution than in High resolution, simply because you have less pixels for the same space in Low resolution. - Some graphicians tend to start a picture and continue painting non stop until it's finished. Others prefer to have a sketchy start and then progress slowly. What's your opinion about such working strategies, and in what way do you proceed to work after you have started a picture, for example ATTAQUE from the Party 2? It depends on the motivation. If I am really satisfied with a motif or an idea I try to finish it as fast as possible, but usually I draw quite slowly. About Attaque; We started it in the middle of December 1992. Both of us were quite happy with the motif as a competition picture, so we did it quite quickly. Anyway, finally it was a real hurry. The same goes for S.E.X! I started it some weeks before the W.O.C. show, but I could not finish it in time. So I thought about releasing it at the PARTY 3. But still I was too lazy to sit several hours in front of my monitor and finish it, and as a result of this it was not finished until the deadline. The version shown and spread at the PARTY 3 is a PREVIEW; the finished version will be released in our forthcoming cooperation slideshow between D-sign and C.A.T. called, ATMOSPHERE This slideshow is based on some totally new ideas. So watch out because it's going to be well wicked. Furthermore it will feature once again several anti scan proves for all those "still non believers" out there! - Some graphicians like to use a little piece of naughty hardware called a scanner, and then work up the picture a little bit. In the past we've also heard some not-so-clear rumours about you. Do you think that it is fair to accuse graphicians without any basic evidences, and how can such accusations effect the graphician's moral and career? I think that it is very UNFAIR to accuse graphicians for using a scanner, especially when the evidences are as ridiculous as in our case! Nevertheless some well known or "famous" graphicians often use a scanner to improve their abilities, but this accusation must not be seen as any kind of revenge from our side! Besides that, a very fucking friend of ours, Mount, who accused us of scanning, and who also wrote that in several disk magazines, has already withdrawn his accusations. But still those accusations affected our moral and also our career in a very mean way. It is quite hard to hear comments like "Scanner Rules" on a competition when you have constantly been pixeling the last 10 hours to finish a picture before the deadline. So, well done Kid Frost of Arise! But it seems that most of those who used to accuse us have already recognized that they were wrong. And if there are still any non believers out there, Steckt euch die Finger in den Arsch und pult so lange drin herum bis euch die scheisse unter den Nageln klebt! - Is it easy for the experienced graphician to detect and spot the scanned pictures from the moused ones? As already mentioned quite a lot famous graphicians sometimes use scanners to improve their pictures. Sometimes they correct it very well so no one will ever think that this picture was scanned. Other graphicians are not that clever. When you, for example, see a picture of a semi nude woman who has little snakes on her head instead of hair, and another day you see the one Boris Vallejo drew, you look at the snakes and you recognize that EACH of the tiny snakes and even their teeth have exactly the same position as the Amiga version! So you start wondering how the graphician, who put this picture in a slide show which is told to be totally mouse drawn, does not feel ashamed, especially when he accuses other people of scanning! - Artists are strange beings... they never seem to be satisfied by what they do, still I would like to dare to ask you if you have any particular picture, which you are completely satisfied of? Well, Torso from ASS, is the picture that both of us are quite satisfied with and in this case it is even a kind of praise to be accused of having scanned it, because if someone says so, he must like it very much and he must think that it is too good for two graphicians, who had never entered the Eurochart, at that time. - We sceners often forget about the professional game producing scene, which also has it's own share of talented graphicians. Can you maybe mention some graphician from this field, who's work you highly appreciate, and who is not active in the scene? Most of the games are really poor, when it comes to graphics. Those game playing kids just don't care about perfect pixels. Anyway, I am always astonished by the graphics of the Bitmap Brothers games, by Mark Coleman. - Have you ever done any graphics for commercial releases, and do you think that drawing game graphics has more restrictions, and is thus harder than doing graphics for a demo? No, I have not yet drawn any game graphics, but nevertheless I do not think that drawing game graphics is much easier than drawing a usual fantasy picture. Anyway, I will hopefully get some experience in drawing game graphics in the near future. - Design is often associated with graphicians. Do you believe that graphicians are really the most appropriate ones to handle this job? This is quite a difficult question really. Anyway, I would say NO. Look at Laxity for example. He showed us once again that coders are not only horn-rimmed glass wearing mathematic geniuses. So it does not depend on what you are, but on what you can do. - Andromeda, just like Melon have developed their own style and design. How important is the actual design in a demo, and do you think that it is still possible to come up with a totally new design, in today's scene? Design, is in my opinion as important as code, music or graphics in a demo. But it is getting more and more difficult from day to day to come up with a totally new and innovative design, but nevertheless some groups sometimes show us that nothing is impossible. article continues... ...continued from previous article - Can you comment on the following pictures? JOKER (RAW 4 title picture) by FACET is an over rated picture. The motif is good, but the technique is just standard. COUGAR has done it once again, with his TRAIN (INTERFERENCE title picture). This is one of the best pictures ever drawn on the Amiga! Each pixel seems to be perfect. The same goes for his latest picture, from the PARTY 3, called DragonSun! Really kicking pixels! Unfortunately, the skin from SHERYL LEE by PEACHEY, looks a bit wooden, but apart from that it looks great, especially for the contrast! Still I do not know how he drew the hair; that is, if he really drew it! Anyway, Peachy introduced a new kind of pictures, namely photo realistic screen filling portraits. The GREMLIN in GUARDIAN DRAGON 2 by RWO is another graphological masterpiece! This is also due to the fact that, the original he copied his one from, looks quite awful and contrast-less. QLOUN (Live 3 Title picture) by RA has some great contrasts. It looks very realistic due to the fact that the colours RA chose are quite dark and the reflections are very bright. I must admit that RA is one of the best graphicians. This can be clearly seen in his EINSTEIN picture from the PARTY 3. Unfortunately when it comes to his personal character he is only a small, egoistic creature. I cannot remember the CHIT CHAT 9 title picture by TITAN very well, but as far as I do, it was quite good. It shows, that he IS capable of doing something more besides his great 3D logos. Personally I do not like the SPLASH pictures by SCUBA. On one hand they were mostly drawn in High resolution and on the other hand they look very similar to each other. Well, they actually look nice, but they are not as hard to do as most think. I think that JADE's COMPETITION PICTURES are the best ones. It's very detailed. Besides that I have to admit that he is one of those graphicians, who REALLY tried to be original. The same goes for his picture from the Party 3! FADE ONE is one of those graphicians who will surely be quite famous in the near future. Even though this CHIT CHAT 11 TITLE PICTURE is not his best one it looks nice. So watch out for his forthcoming pixels! Once again we can see an organizer faking through the NOT COPIED PICTURE FROM THE PARTY 3, by DEVILSTAR! Fuck that crap! My personal rankings would look something like; 1. Train by Cougar 2. Qloun by Ra 3. Tankard by RWO 4. Chit Chat 9 title picture by Titan 5. 3D Demo pictures by JADE 6. Sheryl Lee by Peachy 7. Chit Chat 11 title picture by Fade One 8. Splash by Scuba 9. Joker by Facet - Do you have any special favourite Amiga graphicians, especially from the past? I think that UNO is the best and most innovative graphician ever. He invented so many new styles, techniques and different kinds of logos, like the often imitated glass logo! And apart from that, he is the only graphician I know, who did such big improvements on the pictures he copied. Besides that, he drew pictures in the past, which are still "up to date" today. My most favourite actual graphicians are without any doubt, Cougar and Ra! As I already wrote before RA's logos are the best; Just look at Arte! - Do you admire any artists in real life and do you prefer fantasy artists more than others? I USED to like Boris Vallejo in the past, but I think he has been copied too often by Amiga graphicians, especially his fantasy work. Anyway, his science fiction work is very good in my opinion and you can expect some of it copied by us, soon. Concerning fantasy art, I prefer people like Frank Frazetta or Ken Kelly. Their pictures have a real style. Boris' art is just based on realism. Of course it is easier for graphicians to copy those pictures, but qualified graphicians should consider copying more stylish fantasy art. Most of Boris' work is in my opinion too static. There's no life or no movement in his pictures. Well, what else do I like? Maybe I should list some names like Andy Warhol, Luc Tonnerre, Krueger, Leonardo da Vinci and comic artists like Todd McFarlane, Sergio Aragones, Tex Avery, Marc Texeira and Sam Keith. - Most of the popular graphicians have developed an own pixeling technique, and this enables one to immediately recognise his favourite graphicians' work. What are your favourite shading techniques? Or are you one who always likes to experiment with new pixeling innovations? I think that every graphician tries to develop an own shading technique but only few will succeed. Facet did, (Jow Martjen and Funky Bivas rules, eh?) somehow! We also try to invent new techniques, to take over foreign ones or simply to improve them. I think the most difficult "technique" was totally improved by Cougar; that is to create shapes and depth on a very small room, only by using colours of very much contrast. This is also very difficult to explain. Anyway, if you place two pixels side by side, you usually choose quite similar colours, but to achieve the aim of a high grade of detail you have to consider EACH pixel's contrast. Furthermore it really depends on what you paint when it comes to choosing a certain technique. There are generally two kinds of dithering; The ordered one is achieved by setting pixels in some kind of chess pattern, and the non ordered one, which got famous through Hof's work. But I think that it is not fair to say, that someone has stolen Hof's technique, if he uses this kind of dithering as well. Just look at our A.S.S title picture. It is also dithered in a non ordered way, but this was the only chance to make it look a bit like skin. If we had used the other technique, it would have looked like wood. - You have also tried your hand at doing graffiti. I think that everyone especially remembers your Essence logo in ASS. Do you think that graffiti graphicians do really deserve to be called artists? What do you think of the various graffiti renditions that have appeared on the Amiga? Well, I have to admit that I personally do not like computer graffiti very much. Still we tried to do one, but I think we failed. I think groups like Jetset should make graffiti demos, but you should not try to copy this style. It is the same when you try to copy the former Melon productions; You CAN copy the recent Melon demos through, because they are just crap! - Many Amiga graphicians tend to re-copy a lot of pictures from famous fantasy artists. These seem to be the most popular ones in the charts too. Do you think that this is fair enough towards the other artists who invent their pictures from their own fantasies? I do not think that ANY graphician does invent a picture at all by himself. Everyone needs inspiration. The question is, who can know the picture you got your inspiration from. If you take a local supermarket advertisement with, a semi nude woman you can be 100% sure that no one will ever accuse you of being a liar when you tell everyone that you invented it all by yourself. The same goes for the pictures Jade draws. I am sure that quite a lot of you, including me, have not yet seen any of them before. Nevertheless I cannot criticize graphicians who draw (copy?) Boris pictures because I did it myself, even though I think that in the meantime I was quite bored to see another Boris picture, because nearly every artist has got Fantasy Art Techniques, Mirage, Enchantment or Trading Cards. I think Boris is the most copied Fantasy artist because he draws very realistically. It is much easier to draw Facet's Hardcore title picture than to draw UNO's Stunner. Have you ever seen Tim White's Stunner? Well, if you did, you have to admit that UNO did a lot of improvements on it, because Tim White's Stunner looks like a piece of shit. Nevertheless, I think that nowadays, famous graphician should start to copy more complex and innovative pictures. Photos for example are quite difficult to copy... article continues... ...continued from previous articleðn - What's the difference between a scanned picture and a re-copied one? After all, one is always copying directly from an original drawing in both cases. The main difference is that the scanned one is scanned and the mouse drawn one is mouse drawn! Quite logical, eh? Well, if you want to draw a complex picture you have to make a rough proportion sketch at first, and then an outline sketch. After that you have to define a palette and then you can start to draw your picture pixel by pixel. If you scan a picture, you press the power switch, take your video camera, digitize it, fix some bugs and, Fertig ist der Obstsalat! - Most demo lovers and some graphicians are really fed up with all those naked women, dragons and warriors copied out from fantasy books. Do you agree that an original & interesting model is always synonym of a good picture? As already stated I think that those graphicians who are capable to draw more complex pictures should at least try to do it. But, in fact, why should you draw a tree or a car when you know that you won't win a competition unless your picture features several semi nude women. Today's graphicians are forced to draw fantasy pictures or at least pictures of semi nude women just like musicians are sometimes forced to compose pop tunes. The usual scener appreciates them, and the usual scener votes for you, in a competition and in the charts as well. So you can choose between fame and originality. - If BORIS VALLEJO would ever have the possibility to see all his re-paintings on the Amiga, especially your Attaque picture, what do you think that his first reactions would be? I don't know, but I think that he would be surprised that his pictures are so famous that nearly every scene graphician copies them! But after all I do not think that he would appreciate our Attaque. The "Amiga version" of this picture is not half as powerful and meaningful as the original, perhaps because of a lack of colourfulness, brightness and the very low contrast. Maybe Boris would also have a good laugh sometimes, for example when looking at Danny's Forgotten slideshow. Most of the pictures are really awful concerning the proportions. Anyway, Danny is much more qualified nowadays! His parts in the Rink-a-Dink title picture were really amazing! The same goes for his competition picture. - Sceners always seem to turn out to the most popular charts, to decide who is the BEST, in our case, graphician. Do you think that this is fair towards the whole graphicians community, and do you believe that the average scener can really judge how good a graphician is, just by looking at his pictures? In my opinion you have to consider the usual scener when drawing a picture. When you think of a motif you have to weigh whether others will like it, too. It's the same in the "real art business". It's not just art connoisseurs who buy a USD 100,000 picture. Nevertheless I am of the opinion that the average scener is not able to judge well. I think that they do not judge the picture itself without prejudices; they just look at the activeness of the graphicians and that's absolutely not fair. - You have competed in various graphics competitions. At the Party 2, you placed yourself 3rd with your Attaque picture, and at the Party 3 you placed yourself 6th with your S.E.X. picture. Do you think that the party people were fair enough with you, or do you think that maybe, both of these pictures deserved to be placed higher? The ones who enter a competition with big expectations are quite stupid. In my opinion competitions are more like a lottery instead of a comparison of skills. When you do a really great picture and you think "I will win for sure!", it is possible that you'll end on place 33, or similar. The third place at The Party 2 was a big surprise and we never thought of being unsatisfied with it. Concerning The Party 3 we should maybe have been ranked 5th instead of 6th. Not because our contribution was so great, but because Devilstar, who was ranked 3rd, faked the competition, in our very personal opinion! The audience was not impressed at all by his picture and in that case I can tell you without feeling arrogant, that the picture is really a piece of shit! I saw Devilstar running around with a Main Organizer T-Shirt at the Information desk, so it should have been no problem for him to fake. Anyway, no hard feelings! - Would you maybe prefer to see graphic competitions being judged by a selected team of expert graphicians instead of the the usual party people? In my opinion this is not of any importance, because expert graphicians can also fake a competition, if they know a contributor very well. I think a fair judgement by average sceners is alright, especially on big parties, because it is much more difficult to cheat if there are thousands of voters. Anyway, sometimes I wish that the judgements would be done on a computer monitor, because even the best high quality party screen manages to make great pictures look weird and bad ones look fantastic. - How does it feel to see one's picture on the big screen at graphic competitions? It is of course a great feeling, and it's even greater if you feel that the audience likes it, but anyway I am usually quite fed up with a picture if I have just finished it, because if you look at it for such a long time then you discover more and more little mistakes. - In the last time, some party organisers have set out a new rule in graphic competitions, and that is to force graphicians to provide a series of steps for their pictures. Do you think that pseudo-graphicians will still find some ways of making their scannings look real? As already mentioned it is possible to find a way, but I do not think that a graphician of that cleverness and competence is not willing and able to draw a picture by only using a mouse! And if any clever graphician will ever use a scanner to finish a picture quickly or so, no one will ever find out that it had been scanned! But besides that, I think that it is a great idea! - The A1200 is surely a graphician's dream: 256 colours, HAM8 mode, 8 bit planes and various combinations of high resolutions. Some graphicians have already got hold of one, and even produced their first 256 coloured pictures. This can also be seen from the high number of AGA pictures at the graphic competition at the Party 3. Do you think that this will become a standard in Amiga demo graphics? I have to admit that I do not appreciate that Commodore invented the A1200. Next year, or the year after next year, most sceners will have bought an A1200, and that means that those who have not yet bought one, will be forced to do so. So it will be more and more difficult to win a demo competition with an average A500. Look at the C64 owners. Do they need 264249572 colours at once on a 184844 * 293933 pixel screen? No! this is the sense! To achieve great efforts with little means, to draw a colourful picture with a few colours, even though it is not comfortable, you need skill. The same goes for the coding. Perhaps we will see 15 Rgb light sourced Dot tunnels in 1 Frame in the near future, but that will no longer be the good old Amiga scene. It gets more and more difficult from day to day to invent new routines, to create an effect which no one has ever seen before on the good old A500. Remember those sceners, some years ago, who had said that they reached the frontier, that they can't go any further. Did they know that someday, someone will invent a filled vector? Sorry, but I think that the A1200 is just a more or less intelligent excuse for twits, to hush up their incompetence because TALENT AND SKILL WILL NEVER BE REPLACED BY ADVANCED HARDWARE! article continues... ...continued from previous article - You are surely most known for your work in ASS. This demo stunned the whole scene immediately, especially since it was released outside party time! ASS shooted directly into the charts, although it didn't work properly on AGA machines. How long have you been working on ASS, and are you happy with all this success? The original idea for A.S.S. goes back in 1992. We had already joined Digital and we had also thought about a demo called A.S.S. with a nude woman in the beginning. We started to write the design and when we had nearly finished it, we left Digital and joined Delicious Designs. But we did not make the demo in Delicious either, because it was nearly impossible to cooperate with the coder and the musician because both of them were living in the UK! In the spring of 1993 we decided to do a trackmo and started with the demo. But besides the main idea of A.S.S. we did not use anything from the Digital A.S.S. design. So Rufferto had to write a totally new design all alone, because I was fed up with the whole scene because of those already mentioned accusations right after the Party 2 and I was about to quit the scene. But as you can see, I did not! Anyway, the graphics were mainly drawn, Rufferto rewrote the design, Touchstone and Roman started to code and Dascon and WOTW were busy composing. When the design, the graphics, the music, most of the effects and the intro part were ready Touchstone started to code the design, in the summer of 1993, but he had no time to finish it because we originally wanted to take part in the competition at the 680XX Convention. So we got the whole demo ready, without any design, except the intro part, because Touchstone had no time to finish it and as a result of this we released it outside party time, because the effects were getting older from day to day and if Touchstone would have coded the design, A.S.S wouldn't have been released before the winter of 1993. So it is easy to understand that we are not satisfied with A.S.S at all and that we won't finish a production in a hurry, again. - What can we expect to see from you and ESSENCE in the near future? Well, there are several projects running right now. At first there'll be Atmosphere, the graphological galore. Several small Intros will follow, the WOTW ROOLZ Intro, to show that WOTW is not just a lame sample ripper, HOWIE's new pack series, the new Talktime, featuring a totally new design and some new ideas. Perhaps DENTRO OR DIE will be released but I do not think so, because someone deleted Roman's sources at the Party 3. And last but definitely not least the biggest Essence production ever, called DREAMING 2 will be released around Christmas 1994! - Every interview must have an end, and I must really admit that talking with Baggy was a real pleasure. We hope that you enjoyed being our host, and we sincerely wish you all the best for your future, and to have the possibility to show your pictures more often to the whole scene. In the meantime, we would like you to end this interview by putting down your last comments. Jau, ich muss jetzt sowieso essen, deswegen, danke für das Interview und halt ihn hoch... Watch out for Dreaming 2, because it's going to be well wicked!