The preservation and archiving work on the DAHTribute project led me to a part of my work that directly relates to graphic design. Being a freelance artist, I was fortunate enough to be working on preservation projects, which involved restoring or recreating images that were no longer available in their original format or file. Alongside this work, I also created entirely new visuals related to the Destroy All Humans universe.

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These creations, ranging from image production to video editing, allowed me to publish original content related to the franchise. It was this work that enabled me to create content for Black Forest Games for the release of the remakes. The various projects related to Destroy All Humans in which I have also had the chance to participate have allowed me to create even more illustration images or textures. This gallery brings together the various visuals I've created over the years, as well as some from my preservation work.

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As a freelance artist and designer, I had the opportunity to work on several preservation projects alongside the archiving work, ranging from audio work and video editing to the creation of visuals. In my spare time, I also worked on personal projects and experimented with retexturing some games in the series. Most of the various Destroy All Humans projects I participated in allowed me to create even more illustrations and textures. This page brings together some of these projects that I undertook or participated in, as well as some from my preservation work.

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  SOUNDTRACK
  PRESERVATION

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  THE SALAD DAYS
  WITH POX & CRYPTO

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  BIG WILLY UNLEASHED
  REDIGESTED

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  PATH OF THE FURON
  RE-ENLIGHTENED

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  DESTROY ALL
  HUMANS! IT'S ALIVE!

A game's soundtrack undoubtedly contributes to the enduring appeal of its universe, giving it its mood, its identity, and enhancing the player's immersion. It goes without saying that the music of "Destroy All Humans!" has always held a very special place in my heart and remains an unforgettable memory for players and fans alike. Composed by Garry Schyman, who was fortunate enough to remain the sole composer for the series, each track he created evokes the 50s, 60s, and 70s, firmly anchoring the games in the time periods in which they take place. Sinister, epic, funky, or jazzy, these compositions, spanning a wide variety of styles, remain inseparable from the

franchise, even though they haven't always been released on CD.
Furthermore, no DAH! Original Score has ever been released in its entirety. For the first game, released in 2005 (which only had a "DAH-inspired music" album released the same year, but containing no original tracks composed by Garry Schyman), it wasn't until 2021 that Limited Run Games released a vinyl LP of a large portion of the game's soundtrack, but again, several tracks were missing. The second game, released in 2006, was undoubtedly the one that received the best treatment; the album released the same year contained, unlike the first, a large quantity of the game's music (though still incomplete). In 2022, coinciding with the release of the remake, an "Official Orchestral Score" was released, offering new music tracks—the most complete version to date, even though some tracks are still missing. Subsequently, none of the other games received any soundtrack treatment. The music of “Big Willy Unleashed” and “Path of the Furon”, although sharing part of the same score, has never had its music officially released either physically or digitally. There was also that album, "Z-Trip vs Destroy All Humans!", released by THQ to promote "Path of the Furon," which has completely faded into obscurity, to the point that no information about it is available. It consists of tracks remixed by DJ Z-Trip in a similar style to the album released in 2005.
I ultimately managed to get hold of a copy and also preserve it, fearing it would become some kind of lost media.

Faced with this chaotic situation, alongside my archiving work, I created complete albums of the original, unreleased music for each game. Having managed to get my hands on a multitude of tracks in excellent quality throughout the research and archiving process, not only from the games themselves but also from demo / mock-up files versions, I incorporated them into my main preservation project. This opportunity also allowed me to create albums to preserve the mock-up music that, after developer approval, served as the basis for the final soundtracks of the games. Each album displays a custom art-cover that I designed for the occasion.

When I had the chance to present my preservation work to Garry Schyman himself, he was incredibly enthusiastic and moved to hear compositions from his early days that he hadn't heard since. Thanks to his invaluable support and the precious documents that only Garry could provide, I am very pleased to present the most complete musical collection of the Destroy All Humans saga! in its entirety, including unreleased tracks. As of today, thanks to Garry's invaluable help and years of preservation efforts, all the original soundtrack compositions for Destroy All Humans! and Destroy All Humans! 2 have been preserved and archived. No original music has been lost. The same is true for Big Willy Unleashed, whose stereo version of the soundtrack has also been recovered (the score was in mono in the Wii game). Archiving work is still underway to preserve all the compositions for Path of the Furon, and these will be made available soon. The entirety of this work is available in the "JukeBox" category of the DAHTribute website. This long process of research and preservation now allows these scores to avoid being forgotten, to continue resonating in the hearts of fans, and perhaps even to find a new generation who will appreciate them for their true worth. Above all, it is a genuine tribute to the composer Garry Schyman, and a way of bringing back into the spotlight his invaluable work on the series, which truly launched his career.

For more information you can also write an email to:
destroyallhumanstribute@gmail.com

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To coincide with the release of “Destroy All Humans! 2 Reprobed”, I had the opportunity to create a visual remake of the bonus video "The Salad Days with Pox & Crypto" for Black Forest Games. It's a shot-for-shot remake of the original video included in the extras of the second game, which featured Grant Albrecht and Richard Horvitz (the voices of Crypto and Pox, respectively) providing a short video commentary on some excerpts from the first game. These voice clips where recorded before a live audience at Pandemic Studio, Los Angeles. For this visual overhaul,

which had to maintain the same length, I obviously chose not to alter the audio and simply recreated the various video clips as faithfully as possible by recording similar scenes from the original remake myself. Following the same principle as for other videos I had made with the remake, I tried to do my best to combine these gameplay sequences with footage created using Universal Unreal Engine 4 Unlocker. The task was far from easy, as recreating certain scenes proved quite complicated, given that they also had to have the same timing and perfectly match the audio of the video. I also took the liberty of recreating some visuals that weren't in the remake by filming certain sequences with the Unreal Engine free camera, and finally, I fully recreated the opening and closing screens of the video. After initial approval of the project

and its rough cut by Black Forest Games and THQ Nordic, I rendered two versions of this short: one at 25fps and the other at 60fps, both in HD, giving Black Forest Games the choice of whichever version they preferred. I know that some fans had already expressed their wish to see this video again in the remake, and I was all the more happy to have been able to give it a second life! Thank you again for the trust you placed in me. The video can be played in “Destroy All Humans! Reprobed” by entering the cheat code from the original video in reverse. The old version from the original game can be unlocked too.

Here’s a mini gallery showcasing images from my “Salad Days” remake compared to those of the original:

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Having already created a large number of textures for video game projects, notably recreating historical visuals for the game "Titanic Honor & Glory," the world of textures was relatively familiar to me. So, in my free time, I conducted various retexturing experiments on one of the games considered the least visually appealing in the franchise. Big Willy Unleashed boasts a complicated development in a short timeframe, and its multiplatform goal (PS2, PSP, and Wii) resulted in a visual mess that was technically inferior to the two previous installments released on PlayStation and Xbox, even though the Wii had the technical capacity to do better.

I started by giving the two main characters better textures. I used a high-definition version I had previously created of Crypto's texture, while I had to completely redraw Pox's texture to make it closer to the first and second games. Pox had a pretty awful texture, and since he's a hologram throughout the game, I took care to add a holographic effect to his texture. Then I expanded my scope to include the Flying Saucer, Big Willy, weapons, the environment, vehicles, and finally the menu icons and user interface. Most of these experiments with the game's textures focused primarily on the first invasion site, Harbor City, as it suffered the least from certain visual postprocessing artifacts that blur the player's vision. Once I was satisfied with the visuals, I moved on to another invasion site, which also allowed me to create new textures for Vietmahl.

For certain elements, like Big Willy, I based my work on his appearance in the live-action trailer and some marketing visuals, where his CGI model is obviously much more cleaner than the one in the game. Reworking the eyes to add lenses like in the trailer, improving the shadows and rust marks, and adding a metallic effect make him much more visually polished, drastically improving the game's visuals. Changing the textures allowed me to correct some errors that were present in the original, such as mapping mistakes or even naming issues. I was able to add a large number of references to

previous games, and more visual gags. However, I didn't want to replace all the textures in order to find a better balance in the game's visuals, and since I couldn't change the game's 3D models, my improvements had reached their limits. Based on early feedback, the result of my work gives the impression of a PS2-era game, but with much better textures. Beyond the visuals, I wanted to adapt the controls to ensure the game is playable with both a keyboard and a controller. What I’m most proud of is making the game fully compatible with the DualSense, taking full advantage of the gyroscope to control certain gameplay elements. When piloting the Saucer, tilting the controller up makes it ascend, while tilting it down makes it descend. This makes the UFO's movement much smoother and more responsive. I think this overhaul (created using the Dolphin emulator and my personal copy of the game) has made the title more appealing. More information will be shared soon!

Comparison Gallery:

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Few years after the pre-E3 2007 prototype of “Destroy All Humans: Path of the Furon” appeared online, and while I had begun thinking of a proper website for my DAHTribute project, Raoul Duke Gaming and I discussed the possibility of recompiling Path of the Furon, similar to what other teams had recently accomplished with OpenGOAL (Jak and Daxter) or Unleashed Recompiled (Sonic Unleashed). The idea was to make it natively playable on PC, which would allow for various improvements. We were very enthusiastic because we both felt that the prototype presented in 2007 was more visually appealing and technically more polished than the final game,

which had unfortunately suffered from chaotic development and a significant downgrade. Heavily occupied with work and personal problems that were affecting me greatly, Raoul Duke Gaming brilliantly took the reins of this project, and a solid little team gradually formed over time. We didn't know each other, or at least barely, and over the months, we became a close-knit team that accomplished truly fantastic things. Since a recompiled version would require a colossal amount of work, we focused primarily on a mod that would correct and improve the base game, which was the vanilla Xbox 360 version. Thanks to the “Xenia Canary” emulator and development tools like “UPK Explorer” and “TFCInstaller”, our small team, consisting of Raoul Duke Gaming, MaxDeadBear, Yorpie, and I spent a good part of our free time poring over the game files to fix this mess. They were even able to reintroduce deleted content into the game using the 3D models present in the prototype. This is how new vehicles and pedestrians were restored. Raoul searched for and fixed bugs related to overall gameplay, lighting and ingame cameras, MaxDeadBear was turning mad because of low-poly buildings that did not load properly and other infamous things that the messy code of the game contained, Yorpie in addition to sweating over the risky transfer of 3D models from the prototype to the final game gave the pedestrians new clothes to diversify them. Step by step, error by error, some things began to be fixed, from the restoration of ragdoll physics to the reintroduction of numerous deleted game assets, as well as missing voice lines, improved performances and a drastic graphical upgrade.

On that very subject, the vast majority of the graphical work was my own, having provided over 400 brand new textures that greatly enhanced the game's appearance, restoring its aesthetic to what it looked like before the graphical downgrade. Crypto and Pox both now have remade textures; the buildings, logos, roads, grass, sand, trees—everything seems to have been given a new lease on life. I also provided new loading screens that are more colorful than the originals, new text display for each invasion site, and brand-new giant billboards to add visual diversity, since there were only five originally. With my contribution and the numerous suggestions and advice I tried to

convey as best I could, particularly regarding the management of light blur and even malfunctioning light objects (some neon lights in Las Paradiso gave me sleepless nights), details that were especially important to me without which my work wouldn't have been entirely successful, we worked together in unison to clearly exceed our initial objectives. We took the project and the game beyond our expectations, and new things were fixed every week. The recurring thing was that one week we didn't have a solution, and the next week we had one. What a series of reversals! In addition to the in-game textures, I also worked on a graphical overhaul of the game menu to make it more appealing, as well as the production of new FMV cinematics including additional content that had been removed, improved color grading, better quality, and re-editing of certain scenes to correct editing errors and visual artifacts. Among other things, I was able to restore the E3 2007 lava lamp menu from the game's press presentation and create other alternative versions based on the trailers. I am very happy to be part of this small team, which I nicknamed DAHM! Team (Destroy All Humans Modders! Team), a name that was subsequently fully adopted, and for which I also created the logo. A small family that we built together thanks to our shared affection for the DAH franchise and our sincere and passionate desire to fix a game that deserved more attention. Their patience and contagious enthusiasm undoubtedly, without even knowing it, sustained me during a particularly difficult year, and that's one of the reasons why I'm truly grateful to them.

Written by William Lowery If you asked 15-year-old me what my most hyped game of 2011 was, you think I would say Batman: Arkham City or Uncharted 3. You probably weren’t expecting Destroy All Humans: Path of the Furon, but 15 years ago, that was all I could think about.

I had discovered Destroy All Humans! the year prior. I’m not sure how. I think I saw an ad in an old gaming magazine. The angry grimace of Crypto-137 looked me in the eye. The chaos unfolding in the background mesmerized me, as did the ad’s promise of open-world mayhem. I played the hell out of the first two games. When I learned they made two more games, I was excited. Sure, the reviews weren’t as good, but I didn’t care. It was more Destroy All Humans to scratch that newly spreading itch. I picked up Big Willy Unleashed with my hard-earned lawnmower money. Path of the Furon had to wait till Christmas, but when it came, I wasn’t disappointed.

However, that last one disappointed people when it released in late 2008. What was promised as the series’ big next-gen debut released as an unfinished mess. Its crusty presentation and unpolished nature were far from what was shown to the press. The game bombed critically and commercially, leading to the franchise’s decade-long hiatus. But I wasn’t aware of Path of the Furon’s infamy at the time. I was excited to play more Destroy All Humans. Path of the Furon remained in regular rotation for the next couple years until I got tired of anal probes and laser beams.

Years pass, and I eventually learn about Path of the Furon’s difficult development. An upand-coming studio named Sandblast was tasked with making the next Destroy All Humans! The only problem was they had to do it in a short timeframe and with an engine that wasn’t open-world friendly. Just as it was coming together, THQ laid everyone off, closed the studio, and pushed the game out. Replaying the game made me realize maybe I was a bit too forgiving back in the day. Path of the Furon is a bad game, but it wasn’t the developer’s fault. They endured an uphill battle and lost.

That’s why I’m glad Re-Enlightened exists. What was meant as a small side project evolved into something bigger. Thanks to our DAHM! Team and the UPK Explorer modding tool, we’ve turned this turkey into a golden goose. Ok, maybe not a golden goose, more like a bronze goose. Re-Enlightened transforms an ugly, broken game into a slick, smoother experience. To explain everything would fill a few pages, so to keep it short, we upgraded the graphics, overhauled the gameplay, squashed several bugs, and even restored cut content. We weren’t sure what we’d be able to do and kept surprising ourselves every step of the way. Re-Enlightened is my responsibility, and I have a fantastic team behind it.

I’ll always have a soft spot for Path of the Furon, jank and all, but Re-Enlightened is the superior experience. The game still has its rough edges, but it has far fewer of them than it did before. To DAHM! Team, I say thank you for your hard work. To the fans, I say thank you for your continued support.

Mahalo,

William Lowery

Here’s a mini gallery showcasing screenshots from the “Destroy All Humans! Re-Enlightened”
project compared to those of the original “Path of the Furon” PS3 version:

For more information you can also write an email to:
destroyallhumanstribute@gmail.com

Visit the “Destroy All Humans! Re-Enlightened” project Discord Server:
https://discord.com/invite/PnPa8ybZpK

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Little by little, as the DAHTribute website becomes more complete, I will obviously have less and less to share since everything will already be on the site. So I've been thinking about a number of things I could do in my free time to keep that burning flame alive and publish content related to the Destroy All Humans! universe more or less regularly. These various projects include publishing new images, new articles on the website, and new videos via the dedicated YouTube channel. But another project, on which I've already started experimenting, has already taken shape: a retextured version

of the 2005 original game that started everything, to see if it's even possible to do such thing and give it a new lease on life. I have to admit that my first tests date back to when I was producing textures for the Big Willy project and I reused some of them by injecting them into the first Destroy All Humans game to understand how textures were displayed in-game on the PS2. I had never really ventured into the world of textures on this console, and thanks to these few experiments, I was able to gradually achieve some results I was happy with. My first successful tests were visible on the game's menu (you have to start somewhere), where I was able to completely redo the text display system to make it less pixelated. I had the opportunity to correct some texture problems, such as the clouds around Earth, which had a break because the texture wasn't designed seamlessly. The interior of the mothership and Crypto's saucer now have high-resolution textures, and I was able to bring the colors of the PS2 version (they were too bright) closer to the Xbox version, which already makes a visually interesting difference. As you can see, this re-texturing project, which I decided to name "Destroy All Humans! It's Alive!" This is actually part of a much larger group of things that will allow the site to remain active thanks to new content and new announcements that I hope will interest you! Thank you in advance for your important feedback!

Here’s a mini gallery showcasing screenshots from my “Destroy All Humans! It’s Alive!”
project compared to those of the original PS2 game:

For more information you can also write an email to:
destroyallhumanstribute@gmail.com

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Hello everyone! If you've made it this far, it's probably because the world of the "Destroy All Humans!" video game series interests you, or at least piques your curiosity! I'm known by the pseudonym DAHTribute, although my real name, in a more French-sounding way, is Gautier Roux. I'm a freelance artist and graphic designer living in the south of France.
Thanks to my work I have been able to work in many different fields such as visual creation and concept art, video games or even video production

Having been passionate about cinema and old-school science-fiction from a young age, the wacky world of "Destroy All Humans!" captivated me, crystallizing many of my interests. And this website you're currently on wouldn't exist if this video game series hadn't been dear to my heart for various reasons. But let's not get ahead of ourselves and talk about things in a slightly more chronological order.

Back in early 2005, I still remember that my 13-year-old self caught a few trailers related to the game, but it wasn't until I saw the PS2 box in the supermarket where my mom worked that I became truly intrigued. I read some reviews in the gaming press, but more importantly, I visited the “Destroy All Humans!” website, which, for my young age, was incredibly immersive and well-designed. The site contained all sorts of information about the game: images, videos, character backstories, and more, which only fueled my interest.

Even back then, my imagination was fueled by many old science-fiction films from the 1950s that I'd seen on TV and on the few DVDs I'd managed to get my hands on, as those films weren't as readily available as they are today. The game seemed to embody everything I loved, and the box art alone suggested that it met all my expectations. Seeing my obvious interest, my mother bought me the PS2 version of “Destroy All Humans!”, and I got it for Christmas in December 2005. I have to admit that without her, I might never have had the chance to discover the franchise that early or at all.
I absolutely loved the first game, and my surprise was all the greater when I learned the following year that a sequel was also planned. It was my mom who once again gave me “Make War, Not Love” in December 2006. Regarding the third game, which was canceled on both PSP and PS2, I had both at the time, but not having a Wii, I missed the release of “Big Willy Unleashed”. However, in 2009, having already got a PS3, and despite some uncertainty about the potential cancellation of its European release, my mom again bought me the fourth game, "Path of the Furon". It's pretty crazy to think that after a long period of absence, the series came back into the spotlight in 2019 when the trailer for the remake was released. I was completely blown away.

It was precisely with the 2019 announcement that I realized a new generation would discover the game, and that veterans would also want to rediscover it. It's worth mentioning that since 2005, I had amassed a vast amount of diverse media related to the various games in the

series, such as images, videos, concept arts, scripts, and even interviews. This began around 2006/2007 when I noticed that some information related to the development of the first game was starting to disappear, along with some images. In my free time, and thanks to a trusty external hard drive, I made a habit of saving everything I could find related to the first game—a habit I continued with its sequel. As time went on, more information disappeared, reaching a kind of apogee when the DAH website shut down and the domain name was sold around 2010.

It was perhaps at that moment that I realized not to take everything for granted and that even on the internet, things can vanish. Lost media enthusiasts know this all too well. It was finally at that point that I began creating a real personal archive of all the information and media related to Destroy All Humans! Always in my free time, and throughout all these years, I took great care to archive, preserve, and classify all this information. For years, I amassed countless media, both physical and digital, trying to preserve every last bit of information related to the development of these games, scouring galleries, websites, and blogs that are now defunct. I don't claim to have saved everything, but I'm happy to have been able to preserve a large portion of it.

And when, in 2019, I learned that a remake was announced, I thought that everything I had managed to preserve might be of interest to others. This preservation project has allowed me over the years to learn much more about the saga and understand its development, how it was created, the content removed from the different games, the development insides and some bad decisions made by THQ when the series was put on hold for a long period after 2008.

It was in 2019 that I decided to create a small Twitter page called DAHTribute, where I started posting, almost daily, my thoughts on the saga and sharing some media from my preservation work, alongside the official announcements regarding the remake.

Completely unexpectedly, my posts about the story and development of the first game and its sequels caught the attention of THQ Nordic and Black Forest Games, the studio in charge of the remake. The feedback on the page was very positive, especially as it gradually attracted people who had worked on these games. I also used this page to publish personal creations related to the Destroy All Humans universe, such as trailers I made myself, videos, and images, which were very well received with heartwarming feedback, even from devs.

One thing led to another, I was then able to talk with more people involved with the games and see that they were enthusiastic about sharing their stories. At this point, my goal was clear. The DAH Tribute project was truly becoming a preservation project. Thanks to the very positive feedback from the fan community, newcomers, and the developers who encouraged me in this project, DAHTribute has grown steadily over the years. Now, the goal is to preserve and archive everything I can related to the series, with the generous collaboration of those who worked on these games, and to allow people to discover the game's history, its development, and to highlight the work of everyone who contributed to the Destroy All Humans! saga. Thanks to incredible exchanges with incredibly kind people like Tom Abernathy or Derek Proud (among the first who contacted me) who gladly answered my questions, or wonderful conversations with Garry Schyman, composer of the games, one of the greatest rewards I have received is finally having the opportunity to work with Black Forest Games on the remakes and to join their studio for their 10th anniversary with the release of Reprobed.

Twitter has always been a bit restrictive for posting more content, mainly due to the limited text allowance. But with Elon Musk's acquisition of the platform and its new, highly questionable policies, I was advised by one of my friends Nicolas Sanchez to perhaps consider having my own website to make everything I have directly available. This would offer me greater freedom in terms of layout and everything I have to say, show, and share about different games. Since Nicolas is an IT specialist in web development,

he offered to help me with the daunting task of creating said website. Of course, the site couldn't be a simple Wiki presenting information in an unoriginal and uninspired way. The goal was to design a fun and interactive experience within the franchise by creating an immersive website that captured the spirit of the series. The website would be, in a way, the ultimate culmination of this preservation project, the perfect interface where everything would be available, allowing me to share everything I've been able to preserve over the years.

Each game would have its own page, and it would be possible to consult various documents, reconstructions of prototype builds, image galleries, development articles, and interviews, all within menus that echo the aesthetics of the games, interspersed with sounds and music to enhance the immersive experience. Of course, all of this is intended as a deliberate homage to the old "Destroy All Humans!" websites between 2005 and 2009, which, as mentioned above, possessed a very high level of visual originality. It is in this spirit that the DAHTribute website aims to continue along this path. Work on the site began around the end of 2024 and was far from easy to get started, especially since the year was particularly difficult on a personal level.

At the beginning of 2025, it was taking shape, much to my delight. The focus was primarily on the pages related to the first game from 2005 and its development, as this structure would make it easier to create pages for subsequent games. I had the idea to include a jukebox to showcase my extensive work preserving the music and to pay tribute to Garry Schyman's work. A good number of pages were completed, giving the site the feel of an interactive experience, just as I had envisioned.

Fate sometimes plays cruel tricks, and as I was eager to show her the long work I had put into a prototype of the site, my mother, after two years of fiercely battling illness, passed away. That's why the previous years hadn't been easy. I won't go into detail because this isn't the place to do so but SHE, who introduced me to the saga, who bought me the games, she who undeniably contributed to my love for the series, has gone to join the stars. The pain kept me away from the project for a while, but it seemed clear to me that while the site already embodied many of my passions, it was now taking on a new form, and finishing it would be like a testament of love to the guiding star of my life. Work resumed, not without difficulty, during 2025, which, along with other personal projects and my job, allowed me to keep my mind occupied and avoid sinking into despair.

Building such a website proved more complicated than I had anticipated, a daunting task, particularly having to write pages and pages of text. Text to proofread and information to verify. Reorganizing everything I had accumulated over the years, sorting, classifying, avoiding duplicate information, making the site user-friendly and avoiding unnecessary complications, and above all, the site's design, creating illustrative images, thinking about menus and interfaces...etc. I consider myself lucky to be a freelance artist/designer, as it has allowed me to work faster, and the support of Nicolas, who worked on the site's code, simplified things. Since I'm French, my dear friend

Ethan Kokkelenberg, who is American, proofread my English texts and lent his voice to some elements of the site. Furthermore, as we at DAHTribute like to do things properly, no artificial intelligence was involved in the process.

As the project became increasingly concrete, the site needed to be presented to several key people involved in the creation of "Destroy All Humans!" in order to obtain their approval and give credit where credit is due. Since the site's purpose was to highlight the work done by all these talented people, I felt it would have been inappropriate not to discuss it with them. Once the site was live, a beta testing period was launched to gather sufficient user feedback and understand their impressions.

This website was born from a deep affection for the first game in 2005, introduced to me by my mother, who wanted to see me smile despite being surrounded by destructive flying saucers and not-so-green, evil little men. Destroy All Humans! is a video game series dear to my heart, both for the nostalgia it evokes and for what it represents to me. This game is also very important to me for personal reasons, more than ever with the events I faced recently, and I've invested a huge amount of time and money in it.

Over the coming months and years, the site will continue to grow as more information is added, becoming an interactive and fun web-archive to explore. All I can wish for the site is that it finds its audience and that this preservation work helps people understand, pays tribute to, supports future projects related to the series, and perhaps even inspires them. Thank you all for your words of support and thank you in advance for believing in this personal project that I wanted to share with you.

May Arkvoodle be with you!

Gautier Roux
Creator of DAHTribute Preservation Project.

DAHTribute Preservation Project and archive website, created by Gautier Roux is a non-profit endeavor for preservation purpose.
No Financial gain whatsoever is made from project efforts. No intent to infringe said copyrights and/or registered trademarks is made by contributors of this preservation project as it remains the result of a sincere preservation effort aimed at
providing a complete understanding of the Destroy All Humans! franchise and paying tribute to all those who created it.
For enquiries, please contact DahTribute via e-mail: destroyallhumanstribute@gmail.com

© 2005-2026 THQ Inc, THQ Nordic AB, Sweden. Destroy All Humans and their respective logos are trademarks and/or registered trademarks of THQ Nordic AB. All rights reserved. All other trademarks, logos and copyrights are property of their respective owner.
No Generative AI was used in the making of this website.

Special Thanks

Derek Proud
Dan Teasdale
Garry Schyman
Mat Brady
Lachlan Creagh
Milenko Tunjic
Eric Smolikowski
Tom Abernathy

Adrian Goersch & Andreas Speer
and all the team at Black Forest Games Gmbh

THQ Nordic GmbH
Pandemic Studios, LLC
Locomotive Games, Inc.
SandBlast Games
Origin Studios Inc
Creat Studios, Inc.
Liquid Animation
Joel Walden, Mark Lautenbach, Bryan Lee, Denis Armand, Randis Albion, GameDevGlen, Mina, Zyddie, Petronious

William Lowery
MadLadMikael
Max Dead Bear
Yorpie
and the members of DAHM!Team

In loving memory
of my dear Mom

© 2005 THQ INC. ALL RIGHTS RESERVED. DEVELOPED BY PANDEMIC STUDIOS, LLC.
PANDEMIC®, AND THE PANDEMIC LOGO® ARE TRADEMARKS AND/OR REGISTERED
TRADEMARKS OF PANDEMIC STUDIOS, LLC AND ARE REPRODUCED UNDER LICENSE ONLY.
HAVOK.COM™M; © COPYRIGHT 1999-2002 HAVOK.COM INC. (AND ITS LICENSORS). ALL RIGHTS RESERVED. SEE WWW.HAVOK.COM FOR DETAILS. MusIC BY GARRY SCHYMAN. PLAN 9 FROM OUTER SPACE FROM THE WADE WILLIAMS COLLECTION, LICENSED THROUGH CORINTH FILMS, INC. THIS GAME HAS BEEN VISUALLY ENHANCED BY DSEI.BIZ SLIMAGE TECHNOLOGY © COPYRIGHT 1994-2005 DSEI.BIZ / STEPHANE DE LUCA. Uses BINK VIDEO. COPYRIGHT © 1997-2004 BY RAD GAME TOOLS, INC. THQ, DESTROY ALL HUMANS AND THEIR RESPECTIVE LOGOS ARE TRADEMARKS AND/OR REGISTERED TRADEMARKS OF THQ INC. ALL RIGHTS RESERVED. ALL OTHER TRADEMARKS, LOGOS AND COPYRIGHTS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS.



© 2006 THQ Inc. All Rights Reserved. Developed by Pandemic Studios, LLC.
Pandemic®, and the Pandemic logo® are trademarks and/or registered trademarks of Pandemic Studios, LL and are reproduced under license only.
Havok.com ™M : © Copyright 1999-2002 Havok.com Inc. (and its Licensors).
All Rights Reserved. See www.havok.com for details.
Music by Garry Schyman.
This game has been visually enhanced by dsei.biz Sdllmage technology
© copyright 1994-2005 dsei.biz / Stephane de Luca.
Uses Bink Video. Copyright © 1997-2006 by RAD Game Tools, Inc.
THQ, Destroy All Humans and their respective logos are trademarks and/or registered trademarks of THQ Inc. All rights reserved.
All other trademarks, logos and copyrights are the property of their respective owners.



LICENSED BY NINTENDO
© 2008 THQ, Inc. Developed by Locomotive Games.
Havok.com ™:
© Copyright 1999-2002
Havok.com Inc. (and its Licensors).
All Rights Reserved.
See www.havok.com for details.
Uses Bink Video. Copyright © 1997-2007 by RAD Game Tools, Inc.
THQ, Locomotive Games, Destroy All Humans and their respective logos are trademarks and/or registered trademarks of THQ Inc. All rights reserved.
All other trademarks, logos and copyrights are the property of their respective owners.



© 2008 THQ INC. DEVELOPED BY SANDBLAST GAMES. USES BINK VIDEO.
COPYRIGHT © 1997-2007 BY RAD GAME TOOLs, INC. FMOD SOUND SYSTEM, COPYRIGHT © FIRELIGHT TECHNOLOGIES PTY, LTD., 1994-2006. © 2003-2007
KYNAPSE, KYNOGON AND KYNAPSE ARE REGISTERED TRADE MARKS OF KYNOGON S.A. ALL RIGHTS RESERVED. UNREAL, THE CIRCLE-U LOGO AND THE POWERED BY UNREAL TECHNOLOGY LOGO ARE EITHER REGISTERED TRADEMARKS OR TRADEMARKS OF EPIC GAMES, INC. IN THE UNITED STATES AND/OR OTHER COUNTRIES. MUSIC BY GARRY SCHYMAN. THQ, SANDBLAST GAMES, DESTROY ALL HuMANS! PATH OF THE FURON AND THEIR RESPECTIVE LOGOS ARE TRADEMARKS AND/OR REGISTERED TRADEMARKS OF THING. ALL RIGHTS RESERVED. ALL OTHER TRADEMARKS, LOGOS AND COPYRIGHTS ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS.



Animation Tests Credits
Concept Design: Crypto (Matt Brady, Lachlan Creagh) Gun (Matt Brady)
Model and Texture: F. Francois, Lachlan Creagh, Matt Brady (gun)
Rig and Skinning: Lachlan Creagh (Including morph shapes )
Animation: Lachlan Creagh