What I Did

Privateer II: The Darkening was my first venture into game development, and it was an incredible experience from the start. Working with Nick Elms and Philip Mellor in a small room, often late into the evenings and on weekends, we were a team driven by pure passion and ambition. Our goal? To create a trailer that would impress EA enough to secure $3 million in funding—a substantial sum, especially in 1990. At the time, this budget was even more than the cost of producing a James Bond film, which was fitting since, years later, the game’s live-action scenes would be filmed at the iconic Pinewood Studios, home to many Bond movies.

For such a small, relatively unknown team, embarking on a project of this scale was a bold move. What made it possible was the crucial support from Origin Games, especially from influential figures like Chris/Erin Roberts and Richard Garriott. They were responsible for legendary titles like Ultima and Wing Commander, which helped establish Origin Games as a trusted powerhouse. Their backing brought credibility to our pitch, which ultimately helped us win EA’s trust and secure the necessary resources to bring Privateer II to life.

As a 3D artist, I poured my skills into crafting immersive environments and intricate details, designing every in-game spaceship, prop, weapon, and even the haunting sight of dead pilots drifting through space. The planets that filled our galaxy added scale and depth, bringing a true sense of exploration and danger to the universe. 

For a first game, Privateer II was a massive undertaking, and it set the tone for the rest of my career in games—a blend of high stakes, creativity, and groundbreaking teamwork.

What is Privateer II - The Darkening?

Privateer II: The Darkening was a groundbreaking project that marked the early convergence of cinema and video games, setting a new standard for interactive entertainment. Developed in the late 1990s by EA and Origin Games, this ambitious title featured a cast of over 30 renowned actors, including Clive Owen, John Hurt, and Christopher Walken. With Hollywood-level production values, the game brought a cinematic experience to the gaming world, filmed at the iconic Pinewood Studios and blending live-action sequences with cutting-edge 3D models and immersive gameplay.

As the third person to join the project, I played a pivotal role in shaping its visual identity. I was heavily involved in creating much of the 3D art for both the in-game environments and the cinematic segments. My work helped secure £3 million in funding—a significant sum in 1998—and contributed to the project’s success. The scale of the production was immense, and Privateer II was among the first games to bridge the gap between real-time 3D and interactive movie storytelling.

What made Privateer II truly historic was EA’s groundbreaking negotiation with the British actors’ union, Equity. This led to the first-ever game movie contract, which was a major milestone in both the gaming and film industries. The Guardian newspaper even quoted a union spokesman, who remarked: “This change in entertainment could in future be seen as being as important as the birth of television.”

The game’s futuristic world and branching narrative offered players an expansive, open-ended universe to explore. It became one of the most ambitious interactive movie games of its era. Starting from a small house in Cheadle, Manchester, the project grew into a landmark achievement, combining my 3D art with an all-star cast and pioneering gameplay mechanics.

The BBC’s Film ’96, hosted by Barry Norman, aired the very first TV review of a video game, focusing on Privateer II: The Darkening. The program, which traditionally reviewed films, shifted its focus to this groundbreaking interactive experience, showcasing my 3D work in the spotlight. Interviews with John Hurt and Christopher Walken aired, along with insights into the project’s revolutionary approach, marking a significant moment in entertainment history. With my video proof now in hand, this remains a personal highlight, as it was the first 3D art ever shown on mainstream TV.

Embark on a thrilling journey through space in Privateer: The Darkening, a revolutionary space-combat adventure developed by Origin Games. As one of the first games to combine live-action cinematic storytelling with interactive gameplay, Privateer: The Darkening lets players explore a dynamic universe filled with treacherous enemies, galactic intrigue, and high-stakes trading.

Final 3D Work - 1991

The UK Box

The Deluxe Edittion

Publications

Inside Box Cover

The release of Privateer II: The Darkening was accompanied by two distinct box covers—one for the European market and another for the American audience. The American cover, in particular, stood out due to its striking design, which prominently featured a screen from the game’s user interface. This screen showcased the talented wingmen and women that players could hire for their missions, adding a layer of excitement and personalization to the gaming experience. What makes this cover even more special is that I was included as one of the wingmen featured on the box.

Filming at Pinewood Studios

Having no prior experience in the game industry or film production, I found myself tasked with creating digital sets to be used as blue-screen environments at Pinewood Studios. Working with the earliest 3D software available and the first version of Photoshop, I faced a steep learning curve. I had little knowledge of visual effects, lighting, or how these elements would all come together, so I focused on creating something that felt futuristic and visually engaging.

In one scene, Clive Owen’s character walks from his ship toward the customs gate. As he approaches, a massive steel door opens, bathing him in a dramatic pool of light. With limited tools and a short timeline, I did my best to craft a sci-fi aesthetic that would bring the scene to life. The image is so old and has been reduced a few times it is as warn out as me.

The Darkening at Pinewood Studios marked a significant moment in gaming history, blending live-action footage with advanced 3D graphics. Pinewood, known for its high-quality productions, provided a professional environment that facilitated the integration of cinematic elements into the game, contributing to its ambitious storytelling approach.

The production utilized a combination of practical effects and innovative technology, which was groundbreaking for its time. This included elaborate sets, green screens, and a dedicated cast that helped bring the game’s universe to life. The collaboration between the gaming team and film professionals created a unique hybrid experience that pushed the boundaries of interactive storytelling.

Moreover, the project garnered attention not just for its gameplay but also for its cinematic aspirations, with the head of the Film Union suggesting that Privateer II could be as significant as the birth of television. This perspective highlighted the potential for video games to evolve into a respected medium for storytelling and art, akin to film.

For more detailed information about the filming and production of Privateer II: The Darkening, you might find insights on platforms like Wing Commander CIC and other gaming history retrospectives that delve into the impact of this pioneering project.

Magazine Articles

At the time of Privateer II: The Darkening, numerous gaming magazines recognized the project’s artistic achievements and innovation. My work was prominently featured on the covers and within the centre pages of these publications, showcasing the groundbreaking 3D art that contributed to the game’s unique visual style. This exposure helped highlight the merging of film and gaming, illustrating how interactive media was evolving into a legitimate art form.

The recognition from the gaming community underscored the impact of Privateer II not just as a game but as a cultural milestone in the industry. Articles praised the detailed environments and character designs that set a new standard for visual storytelling in video games. This visibility played a significant role in elevating the conversation around game art and its importance within the broader context of multimedia entertainment.

EOR

The EOR Engine, developed by Origin Systems, was a groundbreaking piece of technology that powered several iconic games, including Privateer II: The Darkening. Standing for Exploration, Object, Rendering, EOR was designed to create immersive 3D environments where players could freely explore, interact with objects, and experience cinematic-quality visuals. The engine was optimized for space simulators, allowing for realistic lighting, smooth animation, and complex object interactions that were light-years ahead of other games at the time.

EOR’s unique combination of real-time rendering and object-based mechanics made it possible for artists and developers to craft vast, atmospheric worlds filled with incredible detail. It brought a level of depth and realism that had rarely been seen in games up to that point, setting Origin’s titles apart as pioneers in the space simulation genre.

Early Software

BBC Film 96 - Barry Norman

One of the highlights of my early career in 3D art came when my work on Privateer II: The Darkening was featured on BBC’s Film 96 with Barry Norman. Privateer II was an ambitious space simulation game published by Origin Systems, known for its mix of cinematic storytelling and cutting-edge 3D visuals. I was one of only three artists on the project, responsible for creating some of the first in-game 3D models in the gaming industry. Our small team poured everything into bringing this immersive universe to life with rich environments and complex spacecraft designs, breaking new ground in what video game visuals could achieve.

The game’s unique cinematic elements, which included live-action cutscenes featuring actors like Clive Owen and Christopher Walken, were revolutionary at the time, bridging the worlds of film and gaming. Barry Norman, a legendary film critic in the UK, took notice of this innovation, featuring Privateer II on his popular TV show Film 96. Seeing my work showcased on such a respected platform was an incredible moment, marking one of the first times mainstream media recognized the artistic potential of video games. It was both an honor and a milestone that helped inspire my journey through the gaming industry.

Key Features

• Interactive Movie Experience: Featuring real-time 3D models and live-action cutscenes, Privateer: The Darkening was a pioneer in blending cinema and gaming, boasting a star-studded cast and immersive storytelling.

• Freelance Pilot Gameplay: Play as a freelance pilot navigating the complex politics and dangers of a divided galaxy. Whether you choose to be a trader, mercenary, or pirate, your decisions shape the universe around you.

• Dynamic Space Combat: Engage in high-octane space dogfights using customizable ships with advanced weapons and shields, facing off against space pirates and corporate enforcers across a variety of missions.

• Open-World Exploration: Traverse a sprawling galaxy with unique star systems, planets, and factions. Each encounter offers new opportunities for trading, exploration, and combat.

• Rich Storyline: With a gripping plot filled with political intrigue and interstellar conflict, the game reacts to your choices, allowing for a highly personalized narrative experience.

• Stunning 3D Models: Privateer: The Darkening set a new benchmark in space simulation, featuring real-time 3D models that helped revolutionize interactive storytelling.

Autodesk Animator (1989)

Autodesk Animator, released in 1989, was a trailblazing 2D animation and painting program that set the standard for digital animation on MS-DOS systems. Long before the days of Photoshop, Animator allowed artists to create frame-by-frame animations and detailed pixel art, making it indispensable for early gaming and multimedia projects.

With features like transparency effects using color keying, Animator allowed for visual effects such as explosions and dynamic animations. During the production of Privateer II: The Darkening, our team used Autodesk Animator to design space explosions and other visual effects. The software’s ability to designate certain colors (like the iconic “pink” for transparency) was a key technique in creating immersive space environments.

Despite the evolution of more advanced software, Autodesk Animator played a pivotal role in the history of digital animation and game development, leaving an indelible mark on projects like Privateer II, where its innovative capabilities helped bring the game’s visual storytelling to life.

Box Covers

Privateer 2: The Darkening came in two unique editions, each designed to engage audiences in a distinct way. The European release featured additional immersive elements, such as the “Crius Hospital Rehabilitation Guide” and “Guide to Space Travel,” making players feel as if they were truly part of the Privateer universe. This version embraced the game’s in-depth lore, enhancing the experience for dedicated fans of the Wing Commander series.

Meanwhile, the American box cover took a streamlined approach, opting for a “Your Guide to the Universe” booklet that conveyed the essentials, leaning more toward an accessible introduction to the game’s richly crafted setting.

These regional design choices showcase the team’s attention to detail and dedication to making each box feel like a gateway to another world.

Movies

The live-action sequences for Privateer 2: The Darkening were filmed at the renowned Pinewood Studios in the UK, adding cinematic gravitas to the game’s sci-fi narrative. This ambitious interactive movie featured a star-studded cast, including Clive Owen, John Hurt, and David Warner. Hurt’s portrayal of an enigmatic bar owner and Warner’s intense prison scene were particularly memorable, contributing significantly to the game’s gritty and immersive atmosphere. The game’s production aimed to push the boundaries of storytelling in gaming, with Owen’s character, Lev Arris, navigating complex scenarios that varied based on player decisions, enhancing the role-playing experience.

Privateer 2: The Darkening incorporated the high production values typically associated with Origin Systems’ interactive movies, and the Pinewood set provided an ideal space for its extensive, richly detailed sci-fi environments. The diversity of these sequences, like Hurt’s bar scenes and Warner’s prison moments, reflect Pinewood Studios’ capacity to handle elaborate setups, ultimately giving the game an edge in interactive storytelling at the time.

For the scene featuring David Warner, Clive Owen, and Christopher Walken, I created the digital background sets, fog effects, and effects for the steps and force fields covering the prison cells. I worked within the limitations of the available software to bring the environment to life.

I Was Two Wingmen

Phungid Mykofyle

Life as an escort pilot is nothing if not strenuous. With the constant fear of death, and the unremitting slaughter going on all around; it's not surprising that the pilots who survive develop their idiosyncrasies and foibles. For Mykofyle, the price he's had to pay for continuing survival is the acquisition of chronic agoraphobia. He has refused to leave the cramped confines of his ship for at least two years, and the stench on board is reputedly ferocious, with mould, algae and the like coating every surface. However, all this doesn't seem to have affected his abilities as a mercenary, and he is a reliable, able escort.

Jaren Xi

Xi is a member of a nomadic asteroid-mining 'tribe company'. Displaying natural flair in piloting fighter craft, he was soon tasked full-time with the defence of the vulnerable drilling rigs and home domes, honing his combat skills to their present level. Having left the clan to seek his fortune, he has been embroiled in some of the system's most notorious encounters, such as the Khamrad Belt Ambush and the Bel-Dhangri Affair, where he single-handedly accounted for over 15 devotee craft. Clinical and ruthless in combat, prospective employers should nevertheless be warned of his propensity for quoting obscure Asiatic mystical texts.

The Team

Some of the storyboard work