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Retro Studios, Inc. is an American video game developer and subsidiary of Nintendo based in Austin, Texas. The studio is best known for its work on the Metroid Prime and Donkey Kong series and has contributed to several other Nintendo-developed projects, such as Mario Kart 7.
Retro Studios | A Nintendo Game Development Partner
Retro Studios is a video game developer founded in 1998 and known for creating Metroid Prime and Donkey Kong Country series. Based in Austin, Texas, it has collaborated with Nintendo on various titles for GameCube, Wii, WiiU and 3DS.
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Retro Studios is a video game developer that has created several titles for Nintendo platforms, such as Metroid Prime, Donkey Kong Country, and Mario Kart. Explore the games, features, and ratings of their 3D platforming and racing adventures.
- From birth to maturity; N-Sider's largest feature ever.
- Our Sources
- The Pre-Retro History of Jeff Spangenberg
- The Birth of Retro Studios
- The Office and Working Conditions
- Getting to Work
- "Action Adventure"
- NFL Football Kicks Off
- Car Combat Explodes Onto the Scene
- Nintendo Purchases Retro
By Kenneth Kyle Wade
Updated: Jun 16, 2012 4:26 pm
Posted: Dec 18, 2004 2:00 am
The following piece is debuting on IGNcube through a partnership with N-Sider.com. The deal fleshes out IGNcube's complete media coverage with N-Sider's in-depth feature articles, and promotes N-Sider's other native pieces through IGN's highly-trafficked template. This partnership strives to share the Internet's best articles with the largest audience possible.
On October 1, 1998, long-time videogame veteran Jeff Spangenberg took the first step in an epic journey toward the formation of a company that has become one of the most admired groups of artists and engineers in the industry today. What you are about to read is the story of Retro Studios, the acclaimed Texas-based developer behind the Metroid Prime titles. Within the span of seven years, this small developer not only breathed new life into one of Nintendo's long dormant franchises, but also made waves across the gaming industry with its innovative designs and spectacular artistic talents.
Right now, about 99 percent of readers (people like you) have undoubtedly scrolled to the bottom of this page to see how many pages this article spans - it isn't a small number either. So, before I begin, I'd like to first commend the few of you who are still here ready to read this developer profile from beginning to end. We've really put our heart into this piece. You are all in for an amazing read, overflowing with exclusives from start to finish. Did you ever want to know what the title that preceded Metroid Prime looked like? Well, you're in luck. We know all about it and even have a few exclusive concept images from the game. Did you ever want to know what the artistic influences behind Raven Blade were? N-Sider, once again, has you covered. Do videos of Retro NFL Football in motion interest you? Look no further. To those who read this article to its completion, we thank you.
James H. Dargie joined Retro Studios in May 2000. Prior to his employment at Retro, James worked at Take 2 Interactive in Latrobe, Pennsylvania, as a technical director. He was the lead artist on Jetfighter: Full Burn and a modeler on two other titles: Ripper and Battlecruiser 3000. After spending a little over a year at Take 2, James made his way to Honolulu, Hawaii, where he began working as lead artist on Squaresoft and Columbia Tristar's CGI movie Final Fantasy: The Spirits Within (2001). Some of his tasks on the film involved animation and art direction for holograms, as well as computer modeling and texturing for many of the film's props.
In May 2000, James was recruited by Retro Studios and began work on Metroid Prime. He created, modeled, and textured many of MP's early vehicles, weapons, characters, and environments. In addition, he also performed UI (User Interface) and animation setup for several of the game's models. For example, he was responsible for the design of Samus' ship. Unfortunately, James' time at Retro was short lived, and he soon found himself at LucasArts in San Rafael, California, in 2001, where he was credited as senior artist on RTX: Red Rock (2003). However, because he left Retro Studios so early in Metroid Prime's development cycle, much of his work was scrapped and redone by other artists, thus excluding him from being credited for working on the final game.
After only eight months at LucasArts, James left his position to work for ESC Entertainment in Alameda, California. While at ESC, James worked on modeling and texturing props and vehicles for The Matrix Reloaded (2003) and The Matrix Revolutions (2003). Finally, in April 2003, James returned to the video game industry as "Lead CG Artist" for the Weapons Team on Electronic Arts' recently released World War II title, Medal of Honor: Pacific Assault.
Jason C. Hughes was one of the first people to be employed at Retro Studios. Prior to joining the company, Jason worked at Origin Systems, where he helped program for the Wing Commander series. Among his list of credits are Wing Commander IV: The Price of Freedom (1995), Wing Commander: The Kilrathi Saga (1996), Wing Commander: Prophecy (1997), and Wing Commander: Secret Ops (1998). Upon arrival at Retro, Jason was the lead AI programmer on Retro NFL Football. The title was cancelled in February 2001 alongside Car Combat for a variety of reasons, most of which we will touch upon later.
His list of achievements and roles on Retro NFL Football included creating the underlying architecture for all levels of AI solutions, acting as a team mentor, serving as a technical guru, reviewing code, managing and scheduling, representing the engineering staff to management, owning the make/build process, and directing the utilization of various technologies when needed (to solve problems that arose).
After leaving Retro in early 2001, he made his way to Acclaim Entertainment and worked as assistant lead programmer on NBA Jam (2003). Jason is currently employed at Naughty Dog, Inc. and, as a senior software engineer, helped create Jak III for the PlayStation 2.
Now that we have finished introducing everyone, let's begin our first history lesson for today: the pre-Retro story of founder Jeff Spangenberg.
Whether or not you agree with his inspirations in the voluptuous, Jeff Spangenberg is a man whose name and aura have made an unforgettable impact on the industry over the past decade. Like many visionaries, Spangenberg disregarded a college education in favor of using his incredible motivation to navigate and teach himself the intricacies of programming and the computer programming industry.
By 1991, Spangenberg's name was officially put on the map when he founded his own game studio. The studio, Iguana Entertainment, was located in Santa Clara, California. Spangenberg gathered around 20 of his most capable friends and acquaintances and quickly got down to work.
Iguana development support manager, Jay Moon, described Iguana's formation during an interview with IGN in 1998, "...we were at another development company at the time, and we were breaking away to form Iguana but we didn't have a name. Jeff had iguanas in his office; he would put them on his dashboard and take them up to Tahoe. He had 'Killer' and 'Spike,' these two big iguanas that were always walking around the office. And since we didn't have a name for the company we finally named it 'Iguana.' They were kind of like our mascots. We could have been named 'Killer' and 'Spike' [laughs]."
Spangenberg soon realized that his small studio needed to move to a location that would better promote its growth -- a place that offered both the technology and people needed to make the kind of games he envisioned. In May 1993, Iguana employees toured the bustling Sixth Street entertainment district of Austin, Texas. After returning to Santa Clara, the decision was almost unanimously decided to set up shop in Austin. The move was made smoothly and Austin has been Jeff's home ever since.
Iguana quickly put its name on the map with titles such as Aero the Acro-Bat, and its sequel, for the Super Nintendo and Sega Genesis. Using the money from the sales of these titles, Iguana quickly expanded, and in 1993 Spangenberg bought Optima Software (located in the United Kingdom) and transformed it into Iguana UK. In 1994, with the release and subsequent success of NBA Jam as well as the beginnings of development for next-generation consoles, Spangenberg caught the interest of Acclaim Entertainment who offered to hire Jeff and purchase Iguana. He quickly agreed and Iguana officially became a part of Acclaim on January 1, 1995.
Although the final settlement is not known, Spangenberg emerged from the conflict as a stronger and more determined man. On October 1, 1998, Jeff announced that he had formed a new company right out of his very own home. Much like Iguana, the company was a video game development studio. Naming the fledgling company Retro Studios Inc., Spangenberg wasted no time getting to work. His motivation was likely fueled by a desire to prove, to himself and others, that the success of Iguana was not just a fluke -- that he could recreate that magic again.
The first thing on Jeff's agenda was to find a new location for the studio. He quickly found an office in Austin, Texas, with the help of the John Hanly & Associates real estate firm. Once situated, he promptly gathered roughly 25 employees for his new company, several of whom had previously worked at Iguana, and began development on several projects. Things seemed to be moving swiftly. Spangenberg then made a very bold move and pitched an idea to his friends at Nintendo of America (NOA). His plan was to make Retro an affiliated studio of Nintendo. He soon convinced the higher-ups at NOA, including then NOA chairman Howard Lincoln, to fund the studio.
Nintendo found his proposition fairly appealing. After all, the company was again on the verge of launching a new home console. Nintendo hoped that with Jeff's experience and leadership, Retro Studios would be able to provide Nintendo's new console with games targeted at an older demographic, much like Jeff did with Turok: Dinosaur Hunter during the introduction of the Nintendo 64. Soon after, Nintendo funded the creation of a state-of-the-art facility for Retro Studios, containing Austin's first local motion-capture equipment -- at an estimated cost of over a half million dollars -- and an in-house recording studio. Nintendo's investment in Retro was profound, but Spangenberg was just getting started.
When Jeff set out to create a new development house, he took careful time to seek out the best talent the video game industry had to offer. Instead of sitting idle and waiting for talent to come and find him, he went out of his way to seek it out and bring those individuals to Retro. Nintendo exercised little to no control over Retro's hiring process at this time. It wouldn't be until 2001, when Nintendo purchased the studio from Spangenberg, that the Big N would begin to push its weight around.
James Dargie, a former Retro Studios designer, recalls that the company was heavily scouting for as much experienced talent as it could find. "…I was lucky enough to get thrown into the ring," he explains. "The hiring process for me was pretty easy going. I was working on Final Fantasy: The Spirits Within at the time I was recruited to go to Retro. I wasn't really looking to leave Hawaii or Square prematurely, but it was getting time to test the waters. After my flight to Retro Studios it was a difficult proposition to refuse. The assembled team was and is one of the best art and programming teams in the industry. From concept art to animation, those folks had it collectively together. My interview was more or less a formality, to see if I would fit in personality-wise with the art staff. Luckily for me I did and I started a few months later. I tried to stay with Square as long as I could, but the productions at Retro were ramping up fast."
Although it was certainly a wise move for Retro to gather-up some of the gaming industry's top talent, at times, this practice came at a high price. Former Retro employee, Jason Hughes explains. "As far as the hiring process goes, it evolved. Being one of the early employees at the studio, I was involved in most of the early technical hiring. We brought on board a lot of talented, high-powered programmers with outstanding skills and backgrounds. At that time, Retro was building a reputation for being a powerhouse and paying well for talent, so they drew resumes from all over the globe. After a number of the management positions were filled, the hiring process took on the flavors of the respective directors and leads."
Personally, I have always wondered what it is like at Retro Studios. Are the floors made of gold? Are the walls covered from floor to ceiling with flat-panel LCDs? Contrary to popular belief, Retro Studios isn't (or wasn't) the Emerald City we all imagined it to be.
"Herman-Miller Aeron chairs galore, nice desks, lots of dark corners to work in, free sodas, etc. It was still the height of dot-com craziness," explains Jason Hughes. "The [Retro NFL] Football team was particularly tight-knit; we tended to have lunches with ten or twelve people. I knew nearly everyone in the company for a time and was friendly with them, but the floor plan of the current building emphasized privacy and isolation between teams, presumably to reduce interruptions. Within a team area, though, it could get noisy, as every (fairly large) cube-like office had two or three desks and lots of hard surfaces to reflect sound."
Looking back, Jason remembers the early days to be fairly laid-back. "We worked hard, but played hard too. The whole company went out to lunch with Jeff sometimes, all ten or fifteen of us, or went drinking in the fashionable Warehouse District in downtown Austin. As the company bulked up and the pressure increased and deadlines approached, we worked more than we played. Most of the teams were doing 12-hour days for months at a time, and doing some good work too. The core of the [Retro NFL] Football team was there even longer hours, and most weekends."
Another former employee, desiring to remain anonymous at this time, recalls how different the culture at Retro Studios was when compared with his pervious employments. "The first time I turned on my VCR at Retro to have Star Wars playing (behind my back) while I worked, Jeff Spangenberg nearly flipped. So I quickly figured out that it was a different kind of company! But it sounded like there were going to be a lot of opportunities, so I figured it was worth it."
James Dargie also remembers the focus and concentration at the company. "The work environment was very focused at Retro," he recounts. "We were given our latitudes to be as relaxed and at ease as we wanted but still had a structured production that kept us on track for the most part. Like I stated earlier, I didn't know anyone there, but others at the company knew each other from previous employment and working relationships. Most all of us were doubled up in offices of a pretty good size. Leads, Producers and our Director had their own spaces to conduct their business in, as it should be. Later on as the building became more…vacant, most all of us got our own offices. For most of my time there, I shared an office with a great 3D guy, Ryan Powell. He wasn't very good at Puzzle-Bobble, but proved his worth where it counted."
Communication, both in the casual and work-related sense, was highly supported within the company. James comments that, "Although you'll find that most teams at video game companies try to keep bits and pieces of knowledge to themselves to stay ahead of the curve, Retro was a departure and had a good database of programming and production techniques that aided each team (with a little of the former too…hey, nothing's perfect)."
In 1999, with an office that was at least partially staffed, it was time to get started on the established mission of making kick-butt videogames, right? Right?! Well, you're half right. You see, Retro had some rather ambitious goals right from the beginning. Jeff didn't want his new studio to only work on a single title for the next 18 to 24 months. His goals were far more ambitious, soon involving as many as four projects. However, before simultaneous game development on multiple titles could begin, the first priority of the studio was to get cracking on a basic programming code database that could be used to speed up the development of future projects. By now Retro was home to some of the best programmers in the industry. We were able to get a hold of one such programmer, who was more than happy to sit down and discuss his experiences with us.
Jason Hughes, now Senior Software Engineer at Naughty Dog, was one of the first people to join Retro Studios. "I took a position at Retro Studios when the company had just opened up-I think I was employee number 13, and only the third programmer aboard," recounts Mr. Hughes. "So, the first six months were dedicated to building up a code base from absolute scratch and setting the groundwork for multiple titles to share it." As surprising as this may sound, virtually every game Retro Studios worked on, prior to Metroid Prime 2: Echoes, shared nearly 80 percent of the exact same basic code. Jason continues, "…it was in fact the goal from the beginning to build many titles out of a solid foundation, since there's no point in writing it several times. Some teams were better at sharing code than others, but on the whole it helped make programmers more portable between teams."
With the code base growing at Retro, it soon became time for the ideas to start flowing and the company to choose what games it would produce. "Full development really started almost six months later, in mid-2000, as the design began to gel and personnel were assigned to the project[s]," recalls Jason.
Around this time, Nintendo was preparing the "Project Dolphin" (later named Nintendo GameCube) launch lineup for the following year. One of its major goals for the system was to appeal to a mature demographic. While we weren't able to pin down precisely how much influence Nintendo exercised on which games Retro ultimately decided on developing, we do know that Nintendo was banking on Retro to produce a number of titles that would appeal to the 18 and older crowd. "Nintendo's relationship with Retro was clearly one of respect. While being a significant investor in the studio, Nintendo did not attempt to grab the reins in any way, to my knowledge," Jason reitterates. "They gave wide latitude to the management team and let them choose their own path, for better or worse. I'm told that Nintendo became more involved after the termination of several projects left them with fewer launch titles."
With an impressive code base in hand, Retro finally began full-fledged game development. Little did anyone realize that one of the studio's very first projects (described as an 'action adventure' game) would prompt Nintendo to entrust an unproven and inexperienced American developer with the critically acclaimed and coveted Metroid license.
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One of the very first projects Retro undertook was an action adventure game, which was, oddly enough, simply titled Action Adventure. According to sources closely connected to the project, the game featured three female leads fighting evil on a post-apocalyptic planet in the near future. From what we've gathered, the story was still in the concept phase. When asked about the plot of the game, we were given little more than a vague, yet humorous, description: "There was only one main story really, three hot chicks kicking butt!"
Right now you may be asking yourself how in the world this could be the project that would one day evolve into Metroid Prime. Well, in actuality, this game didn't become Metroid Prime at all. Contrary to popular belief, Action Adventure was not retooled into Metroid Prime in 2000 at all.
In April of 2000, Nintendo legend Shigeru Miyamoto traveled all the way to Texas to visit Retro Studios, and he didn't drop by to chat either. Upon arrival, Mr. Miyamoto reviewed and checked up on the progress of each of Retro's many projects. Discussing the visit, one source told EGM (Electronic Gaming Monthly) that, "It was like the Emperor visiting the Death Star. He didn't seem to like any of the games very much, especially the racing title, which was probably our best-looking." However, the one title Miyamoto allegedly spent the most time with was Action Adventure. "The impression was that he wasn't too thrilled," stated EGM's source in April 2001. "Nintendo would come down about three times a year and rip on most of the games, except [Retro NFL] Football, which was under the radar."
To make a somber situation worse, the Action Adventure engine originally created from the shared code base "had to be rewritten from scratch as the game progressed and development was further hampered by inadequate development kits," stated EGM's source in April 2001.
"We did concepts for it and built two of the hot chicks I think, [but] that's about all," explains an anonymous source. "Everything changed around a lot at Retro; [it] never got too far when the game would change." In fact, the game was so early in development that it was still unclear as to whether or not it was going to be a first-person or third person title. The original concept called for it to be in the third-person perspective; however, due to mounting pressure from Nintendo and Retro executives, the decision was made to redesign the game as a first-person title, against the wishes of the designers.
Yet, despite all of the problems and setbacks Retro was going through, Nintendo saw potential in the studio. Just a few weeks prior to Space World 2000 (where Nintendo officially unveiled the GameCube for the first time), the company took a very bold step and granted Retro Studios the Metroid license. The decision to entrust one of its most cherished franchises to such a troubled studio was a move that still puzzles many. Nintendo was dissatisfied with Retro's progress on nearly all of its projects -- Retro NFL Football being the only exception.
One of Retro Studios' other early projects was a football title. The game never really had a uniform title/name, but for the purpose of this article, we are going to refer to it as, "Retro NFL Football." We have attempted to get in contact with more people involved with this game, we were largely unsuccessful. Luckily Jason Hughes was kind enough to provide us with a detailed account of the ups and downs of the project.
"The early stages of development began in the summer of 1999," recalls Jason Hughes, senior programmer on the project. "I was assigned as the temporary lead programmer and worked to lay out the overall structure of the code base and do AI research into the most appropriate techniques to apply to each aspect of the game. Full development really started almost six months later, in mid-2000, as the design began to gel and personnel were assigned to the project."
One artist assigned to the project in October 2000 was a woman by the name of Vanessa Gonwick, whom also worked on Raven Blade for a short period. "While at Retro Studios, I worked on a football game for the GameCube," states Ms. Gonwick on her personal website. "I focused primarily on character modeling and setting up morph targets for facial animation. Closer to the end of the project I spent a few months doing some character animation."
Vanessa continues, "When I started on NFL [Football] I spent most of my time optimizing the character models to reduce polygon count as well as improve the overall appearance and set up the face geometry to incorporate facial animation capabilities. The art director wanted a system set up for "create a character" mode, enabling the player to customize their character with various equipment styles. This render was done to show Nintendo the range of equipment styles we could produce using geometry partitions and texture switches. There were eight different football player models in total and they were created in [a 3D modeling program called] Maya."
Movies: Character Creation and Animation in Maya
Another team member connected to the project (who requested to remain anonymous) recalls how the team used Retro's motion capture data with NURBS (Non-Uniform Rational Bezier Spline), which are mathematical representations of 3D objects using Bezier curves opposed to polygons, to figure out how to get the best possible performance out of their models. "We did a fair amount of experimentation at the outset, trying to determine the optimal way to build both our game models and our texture/ cinematic models. Also, and forgive me, this is going back a ways, I seem to recall that we were actually going to be applying our motion capture data to NURBS models and then outputting it from there to a proprietary animation format that the engine would use on the polygon models - but again, don't hold me to that aspect. In any case, we built a lot of versions to see which would work best for our needs. But I am fairly certain that the NURBS system had something to do with the motion capture data."
Retro's third project (of its initial batch) was a vehicular-based fighting game tentatively titled Combat Car, and later renamed Thunder Rally before eventually being cancelled.
Though N-Sider tried, and we did try, we were unable to locate a single person involved who would publicly speak up on the project. However, thanks to the efforts of a few anonymous sources, we were able to dig up some juicy tidbits.
According to several reports, at least one of Retro Studio's resident superstars was connected to Combat Car in the early stages of development. What superstar you ask? Well, none other than programming guru David "Zoid" Kirsch. For those unfamiliar with the name (most likely a lot of you), David Kirsch was the man behind the Threewave Capture-the-Flag (CTF) modification for Quake (PC), which went on to become one of the most popular mods ever created for the game. On February 29, 2000, David Kirsch decided to depart from id Software, opting not to renew his contract with the company, and made his way to Retro Studios.
Also reportedly connected to the project was environment modeler Rick Kohler. Rick is the only known member of Retro with ties to nearly all of the company's titles, with the exception of Retro NFL Football. We are not entirely sure how he moved between projects, but we do know that he was once an environment modeler on Raven Blade and also did work on Action Adventure, before being relocated to Metroid Prime with his brother, Gene Kohler.
As reported by IGN in April 2001, Car Combat was a "Twisted Metal Black killer," which was initially pitched to Nintendo of America as an off-the-wall mix of "Quakeworld, Twisted Metal 2, and Mario Kart 64 with shades of Mad Max and Street Fighter II."
However, something that not everyone may know is that the team behind Car Combat worked very hard to make the game online enabled, from the very beginning. The title was originally designed to combine split-screen four-player battles with Internet play. Nevertheless, as fun as it sounds, online functionality would have ultimately proven costly and didn't mesh with Nintendo's business plans for the GameCube. "We never got details from Nintendo on the Internet end," a person working on the project told IGN in April 2001.
Around the time of the GameCube's launch, Retro began to experience several key changes that would ultimately shape its future for the next few years. The first and most important change for Retro was its purchase by Nintendo, which reclassified the company as a first party developer and division of Nintendo. On May 2, 2002, Nintendo secured $1 million worth of Retro Studios stock from founder and then president Jeff Spangenberg, effectively making Nintendo the majority holder of the development house's stock. Though Nintendo officially stated that Jeff Spangenberg sold his shares and left the company to "pursue new business interests," it is widely believed that Nintendo forced Jeff from his position.
We tried for three months to interview Spangenberg about his departure from Retro Studios, but our repeated requests were denied.
According to employees that were around during Jeff Spangenberg's rule, Jeff had a habit of being absent. Numerous reports that were published between late 2000 and early 2002 also indicate that Jeff did very little in the way of overseeing the production of Retro's projects. Rather, he delegated, allege insiders. Due to his excessive absences, projects went largely without supervision beyond the project leaders, and communication between Retro and Nintendo began to break down. Reportedly, Jeff was "passing the buck" as were other key management leaders. This, say sources, kept many teams in the dark and Nintendo constantly confused about progress. With little discussion going on, projects allegedly suffered and tempers began to hit a boiling point.
In the summer of 2001, photos and reports began to surface around the Net which spotlighted Spangenberg's after hours lifestyle. Images of him in hot tubs with half-naked women appeared on a website registered to a Retro Studios mailing address. The site, along with the photographs, disappeared quickly once word of its existence was publicized on game industry forums.
A disturbing sense of suspicion befell Retro in the closing months of 2000 and early days of 2001. To further elaborate on this, we would like to share with you the unedited feelings of one ex-employee who wishes to remain nameless.
"Over time I became amazed at the sense of paranoia that permeated everything at Retro. There were security cameras mounted every twenty feet in our halls, and it was common knowledge that they were for keeping track of the employees rather than protecting against anyone breaking in. Apparently the network administrator had to provide a daily sheet detailing the Internet use of every employee." Our source continues, "We were micromanaged on little things like how long we took for lunch. Retro had made a big point of hiring seasoned industry veterans to work there, but there was a major drawback to that: they had a company full of people who knew they could get better jobs elsewhere, and they often did. The common line was that employees were 'not staying at Retro in droves'. It was not uncommon to have new employees leave two or three weeks after starting. It honestly felt a little like living in a communist block country: you kind of didn't know who to trust, who would rat on you, that sort of thing."
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