Artist Profile – Noah Stacey
Blackbird Interactive has art at its core. Today we talk with Noah Stacey and learn what it was like to be part of that artistic core from the very beginning in Rob’s garage.
I was lucky enough to start at Blackbird during its initial inception, back when it was run out of the garage in Rob Cunningham’s backyard. My “desk” was a green leather couch up in the loft and the neighbours probably thought we were running some kind of shady operation, with the small crowd of scruffy weirdos going in and out of the shed all day. It’s been awesome to see the studio grow from the humble beginnings through the release of Deserts of Kharak on to our bright future.
I really loved making the animatics in Homeworld Remastered, Deserts of Kharak and Project Eagle. Kambeitz, Brennan and Rob are some of my favorite people to work with, and together we solidified the animatics as part of Blackbird’s signature look. I like the whole process of starting with a 2D painting, then creating a fully realized “scene” out of it. You can bring almost anything to life by using sound cues, particle effects, animated layers, camera movement, and some 3D trickery.
Naturally I’m inspired by my talented co-workers, but I’m also inspired by a wide variety of sources that aren’t necessarily from this industry. The paintings of Barlowe and Beksinski, the books of McCarthy and Ligotti, old medieval manuscripts and shiny modern concept artists. Games like STALKER and Dark Souls, David Lynch films, the surreal worlds of Dali and the very real achievements of SpaceX, all these things in life create a delicious stew of inspiration.