Oher hand, the small pany ID Software, formed by the geniuses recruited by Billy framming, is in a trahe pair of spouses, surpassing their skills, took it a step further.

  Meanwhile, the "Crazy Johns," as Billy's grandfather used to call them, dedicated themselves to adding gamepy to the Wolfenstein game as much as they could.

  The Wolfenstein 3D game, initially the first 3D teology game, is an intriguing shooter for new pyers. The married couple works tirelessly, seven days a week without taking noticeable breaks, all in exge for a paid one-month vacation after pleting a game. Six games in six years, each game tainier requirements, although they remain unaware of this fact, their work tio be excellent.

  They created an application that adapted to the Pixar animated creation process and fiuhe frequency t the game to life. And voi, they have the first video game engine in the history of humanity. It's quite astonishing that they mao craft the entire game's storyline ihan five months. They are currently w on adding a two-pyer mode and a 1 vs. 1 system, pyer versus mae.

  On May 9, 1991, they tested the game, which turned out to be a success. The only thi was to polish and correct the two-pyer matches. They started doing that a it to Pixar on May 18, 1991, meeting the first deadlihe request reached Pixar on May 19, and without notifying Billy, Alvy Ray Smith began the main eboration process.

  Alvy Ray Smith is a veteran of the puter industry and one of the founders of Pixar. Although he may not seem like it, he is a successful man, almost a mentor to many people at Pixar. While his dream is not necessarily to create movies, he has been inspired by stant discussions and his involvement in some feature films has motivated him to give his all for the Pixar pany.

  -We o finish the game as soon as possible. The success in sales might bee our iment for the pany. Acc to the calcutions from the small analysis department, if we sold 300,000 copies on one sole, the profits would be a little over 1,000,000. So, call Ed Camult and the development team. The folks at id Software mentioned modifying the program to a more practical version, sacrifig image quality for better movement, camera rotation, and densed space, - Alvy Ray Smith said.

  In the small room designated framming and software development, a room just big enough for four workstations, each workstation is equipped with a powerful puter. The navy blue paint and the small window are the only things that attempt to teract the room's austere appearance.

  The team is astonished because Alvy himself will study the code and ahe game's source, utilizing all his avaible skills.

  -Spencer, start testing the game. We'll make digital adjustments that will shape the work. Try to focus on the ndscapes. I'll hahe meticulous details like mps, frames, lights, characters, and furniture, - Marcus Light said.

  -Of course, - Spencer replied, reviewing the materials Billy had sent about the Wolfenstein 3D game.

  This game is set in a world where the Nazis won World War II and quered all of America. The first installment of the game features an SSS operations base and a tration camp. Two spies infiltrate the base to rescue an important character from the North Ameri spies, one of the few unquered territories.

  Spencer began adding backgrounds and colors to the transparent matrix aric shapes of the program. He took his time, even though he was told to work quickly because gamepy is the most important aspect. For a Pixar animator, cutting ers was not an option.

  He started with the backgrounds, using colors aiculously developing the grand castle that served as the SSS military base. He detailed the bricks with simple teiques and colored each part with different shades. The map creators were rothusiasts John Romero and John Carmack, who designed a perfect byrinth with three upper floors and three giant underground levels.

  Ed Camult arrived at the studio and found Alvy Ray Smith deeply engrossed in studying the new software design. Without disturbing the other workers, he approached Ray Smith.

  -Alvy, - Ed said.

  -Ed, e take a look at this. There are some things they overlooked. They patched the program for some ands but added iing ideas. Like this use of movement. If we incorporate it into our program, the way we make our movies will improve signifitly, - Alvy Ray Smith said.

  id Software followed Pixar's theory but adjusted the movement to predetermined patterns for running, shooting, and jumping. Meanwhile, the movement of other NPCs is based on quick motion copied from stop-motion, following patterns ied into the game that the pyer repeats over and over. The idea is innovative and straightforward, and it might be used at some point. Simirly, the quick struprovements, like making it easier to build things, also aid in the animation process. There are many added tools for embedding images into 3D processes and applying Zoom more practically.

  -It has a few things that we didn't pn to include at the start. Let's get to work. I think it gave me some ideas; this could be a good way to move forward," Ed Camult said, excited. A puter game had shed new light on his pany. Colboration?

  -I agree, but let's focus on the game first. There are some things that ID Software reended we review, - Alvy Ray replied.

  -Alright, I'll check the game, and you review the program modifications. Shall we begin? - Ed Camult asked.

  -I couldn't agree more, - Alvy said, knowing Ed Camult's puter skills, which were nearly photographi memory.

  The work involved reviewing, identifying, and fixing errors that could potentially harm the game's meics. Running a game is different from making a movie; the game needs pyers to tinuously test it and identify any issues they enter. Adding the designs and different colors, which were excellently used.

  -Marcus, I think it's time for us to stop the game design here, - Ed Camult said, cheg his wristwatch. It was getting te, and he o get bae.

  -Of course, Mr. Camult. I'll tinue w on the film for a while, - Marcus Light replied. He had a lot of work to do in the ing days, whivolved developing the various settings where the story took pce.

  -Remember not to stay up too te; it's more important to finish the game quickly and deliver it, - Alvy said as he left with Ed Camult.

  -I'll go talk to Randall. See you on Monday, Ed, - Alvy added.

  -Good luck with that, - Ed Camult replied, his eyes tired. He had been w tirelessly for these six days.

  Alvy Ray headed to Randall McArthur's office, where Randall was anizing dots aiculously adjusting all the activities the Pixar employees were engaged in. Alvy Ray knocked on the door of the pany administrator's offid waited for permission to enter.

  -Pleasure, Alvy. Tell me how I assist you, - Randall said, addressing one of his four direct bosses.

  -Nothing out of the ordinary, Randal. The ID Software game arrived not too long ago, and I'd like you to speak with Anne about it," Alvy said.

  Randal's long bck mustache twitched as he pursed his lips, a gesture he made whenever he was deep in thought. The office was simple, adorned with minimalist paintings of great works, which were part of Pixar's decoration. The most promi feature was a family photo of Randal, his wife, and three grown children.

  Although Mr. Randal McArthur had to move to San Francisco, his sary allowed him to secure a small house to settle iy. The city was beautiful, the job was good, and he felt fortable.

  -Thank you, Alvy. I'll call Anne before I leave, - Randal said. He would be w until 5:00 p.m. today, even though it was a Saturday. The new onb policies had given him some headaches.

  He adjusted his dots inte bck folder, an anized filing system by topic. His height iably required him to stoop to see the phone, but he remembered to call Anne.

  Bring.

  -Good afternoon, Randal. I assume you're still at the office, - Anne's voice came through oher end of the line.

  -Yes, dear, I'm just about to leave. I wao call a you know that the work from ID Software arrived here this m, much earlier than expected, - Randal expined.

  He heard Anne calling for young Lucas with a shout.

  -Alright, I'll talk to Billy; he'll be i week. Adjust the budget and state that Pixar will charge 1,500,000 for the lise, graphic adjustments, and programming services. We'll bahe liabilities with the assets from here, - Anne instructed.

  The financial records would show that Lux ics paid 1,500,000 uhe name of ID Software for the game development, an infted amount. However, this was done as a way to at for transas between pahe actual value of this operation was estimated at 400,000, acc to both Randal and Anne. But that money art of an iment being made for Pixar, particurly for the puter group. It would be recorded as debt in ID Software's records, and Billy was fident they would make a signifit profit with the Wolfstein game if it met the specifications he reended.

  ...