![]() ![]() Turns out the driver was the older brother of a friend of mine! George Petrovich had been a star tackle for The University of Texas. As I watched the brake lights come on and the car backed up, a gruff voice said, “Get in AGGIE!” As I slid in the passenger side-a little scared of the driver and not really looking him in the eye-the driver said, “I thought I was going to have some fun with an Aggie and it’s you, Horn!” After about two hours of no one even slowing down, I was about to start walking when a 98 Oldsmobile going about 70 mph came rolling by. I jumped in with great joy!Īs I got out in Franklin, I quickly found that there wasn’t a stop sign on Highway 79 there. ![]() All I knew was that I wanted to get to Palestine and Franklin was on the way. A car finally stopped, and the driver said he would take two of us to Franklin. The upperclassmen of course were seasoned travelers. When a car would stop, it was my duty to get the destination and the number of people the driver was willing to take. As the only freshman in our group, I was the one by the curb with my thumb out. In 1951, I was a typical Aggie fish trying to get home for Christmas. ![]() When I tell stories about hitchhiking to my grown grandchildren, I sense their questioning glances as to whether or not their 80’s-plus grandfather has departed from the truth “again.” In fairness, hitchhiking is in the past. Yet, I confess to a sense of wistfulness when I pass a hitchhiker even today. Times and society were different then the “open road” had a unique appeal for the audacious. There was even a verbal quip in use which went, “I am goin’ by air,” delivered with a thumb extended in the air. Aggies were expected to offer the driver $1 to help with gas expenses and share the driving if requested.Īt Texas A&M, the pickup point was on both sides of Highway 6 for those heading to Dallas or Houston, and the highways were practically crowded with hitchhikers when football games and holidays were on the calendar. John Wynn ’62 recalled the open road:Īggies had a reputation all their own in the world of hitchhiking, and there were widespread expectations. Always dressed in uniform, Aggies were clean in appearance and considered safe. To set the stage for the 70-plus letters we received from readers excited to share their memories, read how Dr. Not only did Rooster Teeth take away any possibility of Sheena playing the part, the design was scrapped and recreated as what we eventually saw in Volume 3.For decades, hitchhiking was a common mode of transportation for Aggies. This had been approved by Monty for Volume 3 back in December of 2013. Sheena is a great concept artist and had already crafted her design. Winter Schnee was created in Sheena’s likeness, and it was his intention that she would also be doing her voice. , New Tools Monty liked to create characters based on people that he knew. Unfortunately, no one got to use it because it was later decided not to be important enough, or something. ![]() Monty’s tool simulated those facial rigs that Maya animators were used to using because they kept complaining about how much easier it was to do in Maya. Everyone else on the team came from the professional industry where they are used to using Maya and standard face rigs with little objects off to the side representing the eyes, brows, mouth, etc. Monty also developed a facial rig to make all the new animators happy. However, for Volume 3 they decided we weren’t allowed to use this awesome tool because it “breaks” the new pipeline they implemented. It was something we had been hoping to make for years and it was finally ready to go. It would let us change between world and local rotation, and it had a builtin blur tool for weapon spinning. , A Small Team After much discussion over coffee he came up with an awesome tool for Poser he called the “Pivot Tool”, where we could easily animate the change of weapon parenting from its holster, from one hand to the other, or both, etc. He did not like what was happening and where production was taking things as it continued to grow bigger and less efficient. Of course that was not exactly a realistic situation. There are three major points in the Open Letter that I want to draw attention to: In fact, throughout Volume 2 and up to his death, Monty was trying to figure out a way to take RWBY offsite to his own studio (likely somewhere in LA), with his own team (myself, Sheena, Kristina Haku Nguyen, Max Song, Ein Lee, maybe a few more animators, etc.) so we could craft it the way he intended it to be from the start. ![]()
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