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The Leftovers

Leigh with her daughter, Lila.

Leigh with her daughter, Lila.

I should start by admitting that I’m not a huge fan of Thanksgiving. It’s a fine holiday, but generally I see it as a speed bump, a hurdle to jump over on the mad dash towards my favorite holiday: Christmas. Yes, I am that awful person pushing the last trick or treater off of my porch on Oct. 31 with one hand while lighting my Balsam-and-Fir-scented Yankee Candle with the other. I’m not proud of my season pushing, but at least I own it.

As you can imagine, my slight indifference toward Turkey Day doesn’t exactly help with my role as the host location for the holiday every year. We are fortunate enough to have purchased a house that is the geographical center for all of our family members, which means that we get to host pretty much every holiday and gathering Hallmark has created. It’s a lot of work.

The first year in the new house, I found a local place that cooked and delivered the entire Thanksgiving dinner to my door so I could spend more time asking the husband why we never have enough chairs, the kid to turn down the TV because we need to act like it’s a special occasion, and swatting the cat away from the open fireplace—so festive.

(Side bar: a few years ago, we took a break from hosting and went to Disney World for Thanksgiving. I also thought Disney would be “quiet” at that time since no one would be so awful as to skip such a sacred holiday tradition. We almost didn’t get into the park because it had reached maximum occupancy. Heathens.)

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But I still spent a lot of time in the kitchen trying to coordinate eight things reaching the same temperature simultaneously, which is, I’m guessing, the same synchronicity involved in landing on an asteroid or achieving cold fusion. I didn’t get to spend a ton of time with my family, enjoying trips down memory lane—like the Thanksgiving when only one burner on my mom’s stove was working and our family of six had 13 more guests coming. We naively asked if she wanted to “watch the Macy’s parade for a few minutes,” and had never heard such colorful language used in reference to a Snoopy Float in return.

As the years went by and we all got a little older, we innovated. We moved the celebration away from the actual Thursday to the Sunday before to avoid nightmarish traffic snarls. I also started to notice that people just weren’t eating as much as they used to. I would be left with mountains of mashed potatoes, oceans of squash, and hundreds of tiny round onions—but suspiciously, never any turkey or stuffing. At the end of the day, the guests would ask to take home turkey, stuffing, and hey, if I had any lying around, some sliced white bread, a little mayo, and some cranberry sauce. On second thought, actually, it might just be easier if you just assembled the whole sandwich here and wrapped it up.

Leigh with her three siblings. She's the little blonde in the front.

Leigh with her three siblings. She's the little blonde in the front.

And that’s when I realized that going by the “script” for a traditional Thanksgiving dinner wasn’t really working for our very untraditional family. They liked the leftovers better than the elaborate meal that gave birth to them, and the ease of making turkey sandwiches meant we could spend a lot more time enjoying each other.

Turkey sandwiches became our holiday tradition. Our daughter Lila acts as the waitress for the day, walking around with a pad of paper and pencil and taking people’s orders for either cold or hot open-faced turkey sandwiches. The atmosphere is relaxed and easy, food isn't wasted, and time is preserved and relished. The cat is also slightly less singed.

Sometimes I worry that Lila won’t have memories of a traditional Rockwellian, reruns of Full House-style Thanksgiving dinner. But when I think back on my holidays as a kid. It’s always the unexpected, unplanned, slightly unhinged things that stand out, rather than the rare moments of smooth perfection.

Happy Thanksgiving.

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Throwback Thursday: Staying Strong

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Both my grandfathers served in World War II. My maternal grandfather was a pilot, but growing up I didn’t know anything about his service. He certainly didn’t talk about it – a symptom of both the times and his return and reintegration to his family. It wasn’t until late in his life, when he was dealing with a series of strokes and the accompanying dementia, that he began to tell his family stories from the war.

Times are different now. Perhaps as a society, we encourage transparency about these experiences within families and beyond. There are resources that encourage an open, healthy dialogue in a military family – especially ones with children.

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Paula K. Rauch, MD, a child psychologist at Massachusetts General Hospital, developed a method for dealing with illness and loss that resonated with military families across the country.

“When one member of a family serves, every member serves,” Dr. Rauch says. As she can’t be on every base, a one-of-a-kind solution to share her Staying Strong message was created.

FableVision partnered with Rauch and Mass General’s Home Base program to design and develop the site, StayingStrong.org. The website is a robust resource with video, animations, a community forum, and educational tools to help military families navigate deployment challenges.

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FableVision worked with Rauch to understand how military families would use the site. The animated segments are relatable, tackling social and personal issues military kids may encounter at different age levels from preschool to high school. Through Staying Strong, military families across the country have access to the mental and emotional care Rauch offers at Mass General.

The hope is that with resources like Staying Strong, families will feel supported with a care network for generations to come.

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FableVision Prepares for the New World

I was attending graduate school in Virginia when The New World was being filmed in Jamestown. Many of my classmates, who also happened to be actors, were extras in the 2005 film about John Smith and Pocahontas. While the film wasn’t a box office smash, it was still neat to watch Colonial America unfold on the big screen and wonder: “Could I succeed? Would I have made it?

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Maryland Public Television’s new website Succeeding in the New World: Colonial America, allows students to uncover the history of the four key settlements – Plymouth, New Amsterdam, Jamestown, and Roanoke – and ask the question: Am I prepared for the New World?

Page-by-page, students can click through maps, learn about the trans-Atlantic journey, explore the settlements, and then use that information to build their own settlement. 

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In addition to the graphics and interactive map, FableVision built the Build Your Settlement interactive. In the game, the player travels to the New World with a group of 100 colonists. The player must prepare for the journey and design a settlement. The next step is to spin the wheel and face the challenge – hurricane, blizzard, drought, or flood – and then discovers how the settlement handled the natural disaster. Much like reality, the game is tricky as you might prepare for a blizzard but be hit by a flood. Students can always go back and change their settlement to hopefully withstand the next natural disaster. 

While Succeeding in the New World doesn’t star Christian Bale and Colin Farrell, the website offers an online place for students to journey back in time to the New World.

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FableFriday: Keith (Zoo) Zulawnik, Lead Artist

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As one of FableVision’s insanely talented Lead Artists, Keith is always doing research.

“[When starting a project] there are a lot of things to digest, but if you start with the individual pieces first, you can take it bite by bite,” he explains.

From developing monsters for a middle school math game to uncovering the Mayan civilization, Keith is always learning new things and discovering new worlds. 

“I'm always getting inspired,” he said. “Those memories and feelings get logged into a cabinet up in my head that I use to pull from later. I know that my childhood was pretty heavy on cartoons, video games, action movies, and comics, so you'll see those in my work.”

For November’s FableFriday we chatted with Keith about what inspires him both in and out of the studio.

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What’s your “journey to FableVision” story?
I had been freelancing the year after graduating, and had recently heard about a company called FableVision and went to one of their open houses. There I met Bob Flynn, John Lechner, Peter and Paul Reynolds, and a bunch of the team. I showed them my portfolio, which consisted of all sorts of monsters, characters, and all sorts of funny things. My skill set didn't quite match up with what they needed though, I worked exclusively in Photoshop and they needed a Flash artist.

A few months passed and I needed to get work, so I took a job at a game studio in Waltham, that again need a Flash artist, so I quickly brushed up on my Flash skills. Siggraph was in town that year, and the company sent a bunch of us to go check it out. I saw some insane new technology (like a touch screen that you could pinch to zoom, and use your fingers to navigate, what a crazy idea!). I left feeling inspired and ready to get to work. Unfortunately, the next day I walked into work to see a room full of somber faces and a box on my desk. There was a bit of restructuring happening and a lot of the workforce had to go.

As I was sitting at home, furiously thinking of what to do, FableVision popped into my mind. I opened my laptop and sent off an email to Bob, who to my surprise instantly wrote me back. They had this new project in the pipeline, a game with monsters, Lure of the Labyrinth, that taught math and literacy, and they thought my style was the perfect fit. It was a very strange and sudden pivot in my life, but it just felt like everything had to happen that way. Eight and a half years later, here I am! Still here, still making monsters. 

Lure of the Labyrinth was the first FableVision project you worked on, can you take us back to the early days? What was the process of creating the Lure world and its inhabitants
When this project came out, I wasn't really all that great at penciling and inking on the computer. I would often be sitting with a light box and a stack of printer paper, noodling up weird characters with Bob (Flynn), then scanning them in and touching them up. The game’s story was based around all sorts of mythology (Egyptian, Norse, Chinese, etc.). It was a really fun exercise to imagine what these creatures would look like in my style. It's still one of my favorite projects to date.

What does your role as Lead Artist entail?
My role as Lead Artist is to establish the look and feel for any of our given projects. That's a very broad definition because we generally have a huge range of projects coming into the studio so my responsibilities can shift from day to day.

Character design to background illustrations, graphic design, and user interface are just a few things I'm tasked with. More importantly, we have to make sure the bar is always high, so my role will often double as project Art Director, where I oversee the art being created for the duration of the project. This could include working with on-site and off-site freelancers, coordinating with the client and the producer, and making sure the art we’re creating for the product is cohesive.

What’s your favorite medium to draw in? 
I've been wanting to pull my watercolors out for a while now, but my current tool of the trade is 100% Photoshop.

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What’s your favorite aspect about your job? What’s one of the biggest challenges?
I think the fact that we get to work on so many projects here is pretty great. We have a very hands-on approach, you see your artwork in everything you work on. We don't have teams of people handing things off, getting changed through the pipeline like in most big studios. What you make is generally what the audience will see. 

What's one FableVision project you worked on that sticks out in your mind and why?
Unfortunately one of my favorite things I've worked on is locked away under a confidentiality agreement and we can't talk about it. [Editorial note: trust us, it’s awesome, and hopefully we’ll get to share it with you soon.]

I really loved working on Mayan Mysteries. At the time, I had only heard a few things about the Maya; that they had temples, that they were in Central America, and apparently they were predicting some pretty weird stuff about the year 2012.

After a few months, we all knew how the Maya calendar and glyph system worked, their resources in the area, and their cultural hierarchies. The other great aspect of the project was that we got to create illustrations of what we imagined these famous sites looked like. We contracted a fantastic illustrator named Chris Beatrice, who helped visualize what these shots would look like, both past and present.

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How do you approach a project? Walk us through the steps.
The first thing you have to do in a case like this project, as I mentioned before, is do your research. In Mayan Mysteries, we knew that one of the first locations we would be looking at was Tikal, so we started weeding through books on temple structure, the artifacts that would have been found there, and all sorts of good stuff. In this case, I would then review the functional spec on whatever puzzle we were making.

At this point, we would have already sent off mood boards (which to those unfamiliar with the term, just means a series of gathered images assembled together that help the client understand the visual flavor we are going to be shooting for), so I would start making sketches. At a certain point, those sketches get sent off for approval, around the same time the developer gets ramped up on how the functionality works. In a perfect world, artwork then gets created and finalized the same time the developer needs to start plugging it in. We then do a set number of revisions, and move on to the next section of the game. 

Where do you draw your inspiration?
Light is a huge inspiration. It sounds weird, but seeing dappled light while walking through a forest during the golden hour, is probably one of the best experiences in life. Some inspirations just can't be explained, they're just there. So in context of what I do here, I'll use these inspirations while thinking up mood boards, during sketches, and also painting the final illustrations. The challenging thing about being inspired, in terms of art making, is understanding the balance of copying the thing you have in your head, and creating a new vision.

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Let’s talk about life outside FableVision. Can you share a bit about your Jam Sammich collaborative?
Sure! Last year, I decided I wanted to fine-tune my skills, and I took Chris Oatley's online class "Painting Drama." The class was great, it forced me recalibrate my brain into thinking about the fundamentals again and what makes a compelling image. Ultimately, we can become successful storytellers by using very specific elements of structure in our artwork. In the class, I ended up spending a lot of time on Google Hangouts with two other artists, Shaun Bryant and Jessie Kate Patterson. We clicked, and had a great time talking about art, critiquing each other’s work, and chatting about things that inspire us.

Last year, we officially put a name on our group and call ourselves Jam Sammich. The name comes directly from "jamming" out ideas. We'd play all sorts of art games like this one, which is a modified version of the game "exquisite corpse" to help stir up ideas. During this process, we came up with the idea of all making art books, with a very specific theme. 

We ended up on "The Fantastic Photobot Intergalactic Ad Agency," a group of three robots (the three of us) and the different jobs that they have in the company. The Fantastic Photobots triggered some cool ideas, and it ended up targeting what each of us is interested in with our own personal work.

I'm interested in travel posters, characters, and graphic design – so my robot is the marketing end of the group. Shaun is amazing at character design – his robot is a field artist drawing the life forms he sees on the planet, and Jessie is fantastic at costume and props – her robot is the fashion designer, naturally.

Hey everyone, here's a full sneak peak of my book that I'll be selling at #ctnx

A video posted by keithzoo (@keithzoo) on

In the end, we decided to come together and split a table as Jam Sammich at CTNx, an animation expo in Burbank. We've all been working the past six months to collect all these designs into our own books, which we'll be selling at the event! If you're in Burbank from Nov. 21-23, buy tickets and stop by! 

Other artistic pursuits? 

I've been doing book covers for a new book series called Monster Juice written by M.D Payne, published by Grossett & Dunlap (Penguin Group).


Keith with his wife, Renee, at a FableVision open house earlier this year.

Keith with his wife, Renee, at a FableVision open house earlier this year.

More about Keith:

Fun fact: I've been last in every line growing up, it's fun to have the letter Z in your last name.

In your opinion, what is the worst thing to eat with popcorn? Oh man, I really don't like kettle corn, I mean I'll eat it but I really feel like popcorn needs to be eaten with only butter – nothing else.

If you could travel to a different time period, what would be your mode of transportation? I know I would be really bad at it, but the hover board that Marty McFly rides in Back to the Future would be pretty killer.

Favorite Disney movie: The Sword in the Stone

Favorite graphic novel: The Wonderful Wizard of Oz by Enrique Fernandez 

Favorite place to vacation: Cape Cod, but I recently went to Santa Monica and loved it.

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Level Up: Extra Life 2014

FableVision Studios at 4:30 a.m., on Nov. 2, the morning after Extra Life. In 3.5 more hours, we will meet our 24-hour gaming mark!

FableVision Studios at 4:30 a.m., on Nov. 2, the morning after Extra Life. In 3.5 more hours, we will meet our 24-hour gaming mark!

Caffeinated, sugared up, and with our competitive hats on, FableVisionaries tromped into the studio early on Saturday, Nov. 1 for our second annual 24-hour gaming-for-good extravaganza with Extra Life. If you haven't been following our crazed social media posts the past couple weeks, Extra Life is a charity gaming event, where raised funds go to a Children's Miracle Network Hospital; in our case, that's Boston Children's Hospital. Last year Team FableVision raised $5,675. This year? $7,193 and rising -- incredible! Fundraising goes on until December, if you're interested in donating to our team, click here. BIG, HUGE thanks to everyone who donated. You did us proud. Want to see the rest of our photos? Check out our Facebook page

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