Now that everything’s settled down, I want to thank the people in the credits, and share each of their contributions to making the game special. Please, ask questions if you have any! Next up:

Taylor Pereira

Taylor helped rotoscope a lot of the actors — almost half of the frames were drawn by him — but his role was much different to begin with.

A Case of Distrust had been accepted into IndieCade’s Showcase @ E3, but I knew exhibiting solo would be impossible. I needed help, and Taylor was quick to volunteer. At the show, he refused to let me carry anything, encouraging me to focus on press while he dealt with logistics.

He was great! But we had both assumed his role with the game would end there. Until late last summer, when I realized: I was screwed. The rotoscope art style looked great, but the game was already taking longer than anticipated, and I had no time for the piles of frames that needed painting.

So I turned again to Taylor, who I knew had a background in Fine Art. He was tepid at first, so we agreed that I would design the characters and extract all the frames from each video, and he would simply match my designed style. Boy did he learn quick!

Taylor gradually assumed more responsibility with each character. His day job’s schedule eventually ballooned, and he had to stop helping, but not before making about half the frames in the game, and fully creating Ray Carter on his own.

Taylor gave me time away from the visuals, which I used to focus on narrative and gameplay structures. This led to a more satisfying and complete game, and it would have been otherwise impossible.

Thank you, Taylor!

Unfortunately, you can’t find Taylor online anywhere. You could try following his instagram, but he’s pretty picky about it. You might spot him Monster Hunting or going to a rock show. If you do, say hi!