My name is Ryan "McC" McClure.

The short version:

I'm a six-year game industry veteran and 23-year 3D art enthusiast. I've worked in trueSpace, LightWave, Maya, and 3ds Max. My program of choice is Blender. I'm also an author and a web developer.

The long version:

I started doing 3D art as a hobbyist in 1998, using trueSpace3 and later trueSpace4. Inspired by the work of Ed Giddings, I jumped from trueSpace to NewTek's now-defunct Inspire 3D in either 1999 or 2000, a "lite" version of their industry-grade LightWave. It wasn't long before I graduated to LightWave proper—LightWave 6 and later 7, specifically.

In 2002, I started attending Northeastern University as an Art major, concentrating in Animation. Northeastern used LightWave in their program, but started to transition to Maya by the time I started taking 3D animation classes. This also triggered a switch for me from LightWave to Maya, which I used for the next five years (Northeastern has a five-year program, with heavy emphasis on "co-op" experiential education for half of each semester). During this time, one of my courses was taught by the Art Manager at the now-defunct Blue Fang Games, makers of Zoo Tycoon and Zoo Tycoon 2. Seeing an opportunity, I did my level best to turn that semester's course into an extended job application for an internship at the game company, which worked.

From 2006 until the gradual beginning of Blue Fang's dissolution in 2010, I worked on the Zoo Tycoon 2 expansions and World of Zoo as first an art intern (while still attending school) and later a Technical Artist (once I graduated). Blue Fang used a 3ds Max production environment, so I once again changed my 3D package of choice. As a Technical Artist, it was critical that I know the software at least as well as the rest of the art department, if not better, so that I could create tools they needed and provide support they required. Unfortunately, this provided me very little opportunity to do much artwork of my own. It did, however, provide me with an intimate technical grasp of how 3D works, under the hood.

With nearly the entire production team at Blue Fang laid off, and the company's closure soon to follow (after a brief and sordid flirtation with Facebook games), I was in the market for a new job. The same former Art Manager referred me to Curt Schilling's now-infamous 38 Studios, which was working on a top secret fantasy MMO. Intrigued, I interviewed and fell in love with the project. I worked at 38, again as a Technical Artist and once again in Maya, until its closure in May 2012. My specific duties concerned environments and ranged from level setup to tool development to R&D to benchmark signoff. Whatever you may have heard about 38 Studios, know this: working with that team on that project was a phenomenal experience. The team had tremendous collective talent devoted to working on a game we all believed in and were excited about. That our work would never really see the light of day broke all our hearts.

Following 38, I decided I wanted to get out of the game industry entirely. The hours were too long, job stability too tumultuous, and the simple truth of the matter was that while I was doing something that played to my skillset, I was not doing the thing that inspired me to get into the industry: modeling spaceships! Referred by a friend and co-worker at 38 to his wife, director of engineering at a world-leading web development company in downtown Boston, I applied as a web developer. The hours are sane, I work from home 50% of the time, my commute is relaxed and affords me time to write (oh, did I mention that I'm also an author?), and I have enough creative energy left over that I can once again pursue the hobby that started this journey: modeling spaceships.