How It’s Done: A word of Thanks, and Swizzle
I just want to take a moment to say thanks to everyone who has been supporting the How It’s Done series. Originally it started out as a small venture into the world of modelling for the convenience of the readers, and it’s gradually turned into a big thing. I’ll get this out of the way as quick as I can, and just say that I want to thank these guys:
-The community contributors who have been the basis to this series and provided valuable information to the community.
-Robin Walker and the TF2 Team for their incredible support through the blog and emails about recruitment (this was prior to the blog post, thanks guys!).
-The Official Team Fortress Wiki for providing reference material and pictures.
-Pilk and Swizzle, for posting on various community forums to recruit contributors I couldn’t get in touch with.
-And you guys, the readers. Without your support this series wouldn’t have got as far as it has, and hopefully you’ll continue to enjoy the next instalments.
That’s everything, so without further ado, here is the latest interview for your viewing pleasure.
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In this instalment of How It’s Done, I have interviewed Swizzle, the creator of the Pain Train. The Pain Train was unveiled in the first wave of community contributed weapons, unique for its capture rate-affecting ability.

How did you get into Modelling?
Swizzle: My first exposure to 3D modeling was in about 2000. My sister’s then-boyfriend showed me his copy of Bryce 3D, and it piqued my interest. Before that, I thought that only movie studios could do the things that I suddenly had access to. I didn’t get serious about 3D until about five years ago when I discovered CGTalk and other computer graphics forums online. After that, I got more and more into practicing and getting involved in the community. This is how I eventually ended up stumbling onto Polycount. I’d heard of Polycount through people on CGTalk, and even visited there a few times, but I didn’t really start participating for another year or two. I mostly lurked and learned from all the amazing stuff I saw constantly posted there.
What software packages/tools do you use?
Swizzle: I use Modo and Mudbox for the 3D stage of things and Photoshop for texturing. I’d like to stress, just as Larolaro did, that the tools aren’t important. A lot of people ask what the best tool to use is, and the only answer to that comes via your own practice and experience. I’ve seen people make amazing things with every 3D package out there, so you’re really only limited by your skills and your imagination. Just like in more traditional media such as pen and paper, paint or clay, it all comes down to familiarity with your tools and how you use them, but not the tools themselves.
Roughly how long did the entire process of creating the Pain Train take, from idea to finalization?
Swizzle: I’d had the initial idea for quite a while, and I’d even tried my hand at making the model a couple of times before, but I didn’t really make something I was satisfied with until I sat down for an hour or so and doodled on paper to come up with a good design. From there, it was a few hours modeling (and refining the model) and then a couple more for texturing. Getting it into the engine was a massive pain, though, especially since (at the time) I was unfamiliar with the process used to import models into Source. The initial import process took about two days to get right, and I promptly forgot everything because my personal life got in the way.
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When designing the Pain Train, did you ever have any idea about what attributes it would have, or did you know not to design it with them in mind?
Swizzle: When I first designed and modeled the Pain Train, it was actually about a year before the contribution system had even been announced, so I was actually only interested in making something that looked cool and tought me the basics of working with weapon models in Source. After I learned about the contribution system, I went ahead and submitted it, but I decided that I probably couldn’t come up with something better than Valve. Thus, I only submitted it with a short note saying I thought it would probably work well as a demo/soldier weapon and left it at that.
Do you think Valve handled your submission well? The Pain Train, being the only capture rate affecting item, is a unique addition and an asset in a Soldier or Demoman’s arsenal.
Swizzle: Personally, I think Valve handled it fantastically. They came up with a unique gameplay mechanic (that I know hadn’t even crossed my mind before I heard about it) and I’m glad it’s actually a viable weapon to use in a variety of situations. That said, I do wish they’d add some attribute that would make it useful in modes like Capture the Flag.
Would you have liked to have had more influence on how the Pain Train turned out, had you know it was going to be included?
Swizzle: While I do have a streak of perfectionism running through me, I can’t think of any way that I could have helped beyond the modeling/texturing side of things. I don’t have access to all the information and statistics that Valve collects on player habits, so I wouldn’t have been able to make a useful contribution to the gameplay design process. I think the only thing I would’ve changed about the process of getting the Pain Train in the game is actually getting a notification from somebody at Valve, or even an automated system, that said “Hey, congratulations. The Pain Train made it in!”. The only way I learned that my item had been included in the first community update was through a message from a friend on a forum I frequent, since I didn’t have access to the game at the time.
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What resources can you recommend for somebody trying to get into modelling, or wanting to model in the TF2 style?
Swizzle: I would recommend to anybody interested in modeling that they get some 3D package RIGHT NOW and start playing with it. Blender is a high quality, free 3D package that’s made a lot of big strides in the past year or so, especially in regards to usability, so it’s good for people just starting out. If Blender turns out to not be your thing, try out demo versions of other software. As I said before, it’s the artist and their skills that matter, not the tools. Beyond 3D packages, though, I’d suggest drawing and sculpting using traditional media. With artistic skill in place, 3D is nothing more than learning a new set of tools to make art with. As for working in the TF2 style, I’d recommend simply taking the time to load up some levels in TF2 and walk around looking at everything. Observation is key to any sort of art, so learning what goes into the artistic style of TF2 is paramount to making something that looks like it belongs. If somebody is really committed to making something good, start posting work on forums like CGTalk, Polycount, Game-Artist.net, GameArtisans.org, the TF2Maps.net forums and anywhere else they can find. Feedback and critiques are key to developing your skills, so go to those places to get help.
If there was one key tip you could pass on to someone trying to model or texture in the TF2 style, what would it be?
Swizzle: The silhouette is king. If your item, hat, weapon, character, model or map doesn’t read well with just large shapes and no inner detail, you need to work on it further. Valve designed the characters and items in TF2 to be read from a distance, and that all goes out the window with poor planning. Good planning leads to good designs, and the best designs read well from a distance. This is because reading those silhouettes is crucial to gameplay. Lighting conditions, angles and movements change in-game, but the only thing that doesn’t is the overall silhouette of an item. If you can tell what it is from just the silhouette, you’ve done something right.
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Is there any interesting trivia you can share about the Pain Train at all?
Swizzle: Well, the stuff in the TF2 wiki about it being the discarded handle of an Axtinguisher and the name coming from a line delivered by a horribly drunken demoman are both ideas completely coined by people in the community. I think that’s pretty funny, but very creative.
What is it exactly, just to set the record straight: Just a makeshift handle with a railroad spike through it?
Swizzle: It’s exactly what it looks like. A big ol’ stick with a big ol’ spike. There’s another thing that aspiring weapon designers should take note of; it’s an extremely simple idea. Simplicity is a key element of a good design.
Do you think the Polycount contest was a good idea on Valve’s part, and do you think it’s possible a second one or something similiar could happen?
Swizzle: I think it was a great idea, and I hope they have other contests like it in the future. The Artpass contest over at TF2Maps is a good example. I hope other game companies take a hint and get their respective communities involved into the process of making games. As for the possibility of more of them happening, I think it’s just inevitable.
Was ‘The Pain Train’ the weapon’s original name, or something Valve conjured up?
Swizzle: I actually submitted it as the Pain Train. I’m completely convinced, though, that the note I included with the submission was the only thing that led them to keeping the name. It said, simply, “The Pain Train’s a-comin! Woo woo!”
Thanks for the interview.
Swizzle: It was a pleasure.
Lessons Learnt:
-The tools used by others are not the most important thing, so much as how well you can familiarize yourself with them. Experiment with various software and find what’s right for you.
-Visit a wide variety of sites and resources to look at other people’s projects, find guides and recieve critique for your own work.
-View your model as a silhouette and apply it to existing class silhouettes. This will help you see whether it can easily be identified at a distance, like a lot of Valve’s weapons.
…and there’s the knowledge behind the Pain Train. Join us next time for a slightly different topic, as we dive into mapmaking and interview Icarus, the creator of Coldfront.
Hackett on August 14th 2010 in demoman, how to, soldier, team fortress 2





























