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Mimi C.

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Everything posted by Mimi C.

  1. The vimeo links don't work from the emails and they never have, I think? You either have to watch it here or from the kickstarter update page. Anyway thanks for the update Greg! It seems like this half is going smoother than the last.
  2. True. But an opportunity for romance =/= romance being shoehorned in without caring about character development or pacing (as happens in so many Rescue the Princess/Girlfriend/Female Prize games, I know). There's plenty of room for exploration and inversion of those tropes even with a romance between the princess and the protagonist, but as we're just speculating at this point I'll probably wait until I actually play the game to decide how I feel about how they handle it. A platonic, political relationship between the two has the potential to be interesting as well, or equally as awkward and forced as romance would be. It depends on how well the developers handle the relationship.
  3. I dunno, rescuing the princess is a kinda horrible cliche trope at this point for multiple reasons, but there are possibilities - especially in a game where the main point is going around the traditional rules - to subvert it, if that's where the game is going. It's already somewhat mitigated by the fact that the main character is also a girl - and not going to lie I got to that part of the trailer and immediately thought lesbians and then got really excited. They're still rare on the gaming front, unless you count games where you can choose your gender and still have relationships with multiple genders (which, for various reasons, I mostly don't) and it's even rarer for a queer girl to be the main character. Honestly I would be okay trading damsel in distress for lesbians if they were written well and respectfully, is what I'm trying to say. I have more thoughts about it, and I'm probably still going to buy the game regardless, but lesbian zelda-esque action game!!!!!!
  4. There has been confirmation that there will be Broken Age act II docs and they are in development. Well, by confirmation I mean one of the 2PP guys said they were working on it 12 days ago, as well as getting all the finishing touches for the Amnesia Fortnight Blu-rays done, which I'll take for confirmation. I think at this point Amnesia Fortnight might have thrown off official communications off by more than just the two weeks of the event, though if I remember correctly we went through a dry spell during December as they finished up the first act of the game. And for what it's worth GDC is happening now as well. I do understand being disappointed at not getting the news straight from here, because I am too somewhat, but at this point I guess I've mellowed on a lot of things concerning Broken Age and this is one of them . KestrelPi if you have sources that confirm the game is being pushed out and can share them that would be lovely, because I also didn't realize that until you said it.
  5. Mimi C.

    Bug shots!

    I think you are mistaken, sir. That is clearly a screenshot from Steed 2: Electric Boogaloo, where you have to freestyle dance your way out of sticky situations. (the bug did make my morning better tho, so thanks for sharing.)
  6. Mimi C.

    Bug shots!

    I think you are mistaken, sir. That is clearly a screenshot from Steed 2: Electric Boogaloo, where you have to freestyle dance your way out of sticky situations. (the bug did make my morning better tho, so thanks for sharing.)
  7. I like the idea of a narrative forming from small quests, but I also think that having the boy being able to understand the horse's words doesn't seem as compelling as the boy being willing to listen to body language and thus being able to get along with the steed. Like in the beginning he'd try to steer (I have no idea how much stable hands would actually be able to ride the horses they cared for, so maybe he's tentative?) but when the horse decides to go the other way he runs with it, and pays attention, and work with them. Also, I know that this is a prototype, but if the game ended up at some point getting picked up for full production, could you consider making the stableboy a person of color (if he already is, I defaulted to white and I'm sorry about that) or in some way not the white cishet guy default? A POC protagonist might be interesting because disrupts the standard (white) Stableboy with a Destiny trope, and I don't have a centuries worth of media telling me I know how that story already goes. Which could also be a negative if that's what you want to invoke, but it could also make turn the story more to what kind of qualities make heroes that are overlooked by people who consider themselves heroes. It's an option, I'm putting it out there, though I would be interested in hearing your reasons for having the stableboy designed as he is.
  8. Except that sort of game is impossible considering the budget and the scope of what they had to work with, not to mention, as people have said, that the obscurity and counter-intuitive nature of the puzzles of old school adventure games is probably a major part of what caused them to die out. Even though I felt that the puzzles in Act 1 were somewhat easy, I don't want to have to have to make a completely unnecessary cat hair mustache in order for a game to feel 'difficult'. Also, while you can feel what you want about the game, bear in mind that Grim Fandango and such probably had larger budgets than Broken Age - I know Grim definitely did - and that 8 - 10 hours (total playthrough time, both acts) is pretty standard for indie adventure games. And if it was a click through story, it would be a visual novel, which, considering the amount of posts asking for help and the fact that the main mechanic is puzzle based, Broken Age definitely isn't.
  9. I should have gotten it earlier, but that just says how good of a twist it is. It was very cleverly woven in. I finished the game in about 4 hours, with a few breaks and getting stuck at one or two parts. I went straight through Vella on account of she's my favorite then through Shay. I found the game to be funny and adorable, but that's as a newcomer to the adventure game genre. And even the puzzles did seem to be contained and not particularly difficult. They did get me to explore the world, though, I think they did their job. And if I didn't laugh out loud every five minutes, I was definitely smiling through most of the game. I really do want to see how the story goes on from here, though. Hopefully the two stories start to overlap even more as it reaches the climax. Even then, with the documentary and everything else I definitely don't regret the money I've invested in this experience, not one bit.
  10. What I'm finding more and more incredible and just all around lovely about this game is how many people are getting involved out of love of the game, love of double fine, love of Tim's writing. How many people it's brought together. It's gonna be a game full of love and care and I am just getting more and more hyped as time goes on. This is not at all like watching sausage getting made.
  11. Ah, so many things to ask. Let's see, hmmm. I remember in one of the earlier episodes Lee was talking about how you'd have to use traditional animation for the Monster because the rig didn't have enough joints to make it look smooth, how did you resolved that problem? What are the numbers of frames you tend to use for each gesture, and what is the frame rate for your cutscenes? I'm also interested in the tricks you use to get minimal animation looking smooth, since I know games have to budget for both time and memory. Can you tell that this is the part I am most interested in along with the art direction because it is. If I think of more questions later I'll jump in again, but mostly I just have a bunch of exclamation marks jumping around in my head and no actual questions. Animators! On actual games!! Answering questions!!!! And so forth.
  12. In light of what Surplus Gamer is clarifying, I too think I came on a little strong with my beliefs, which weren't aimed at the thread so much as the general attitude of the gaming industry towards female characters, as exemplified by the recent news around GTA, Assasin's Creed, etc. - but not toward this studio specifically. Sometimes you feel attacked on all sides by the same arguments again and again, and you end up putting unnecessary force into your argument when you do find an outlet. Which I think can be said for both sides of the debate here. To clarify for my part, I was more worried about Vesta because I know Tim can write male main characters with sensitivity, as shown by his previous games I've played. But it's harder to write female characters without falling into tropes, especially unconsciously, because male is the default. Women aren't considered the same neutral ground, especially since apparently we're still considered a minority despite being 45% of the gaming population. Maybe it has something to do with the fact that women are protagonists in about 24 out of 669 current video game titles, I dunno. Men have their stereotypes as well, especially in gaming where they're shoehorned into a limited number of personalities, mostly because that's the easiest way to fit them into the gameplay of FPS and other action-y titles, but in general men are a blank space where creators are free to explore the nuances of humanity, and Tim has that sort of creative space. The media is gradually changing to include women in that space on a broader scale as well, but it's not there yet, and so I worry. On the other hand that worry isn't relevant to the OP's request, which is simply not to give either of the character's traits or plots because they are 'traditional boy traits and Shay is a boy' or 'traditonal girl traits because Vesta is a girl'. Vesta can still have girl traits and Shay boy traits, but what I believe they was trying to ask was that, for example, Shay not enjoy fighting because everyone knows, of course, that all boys love to fight, but rather have a personality that is defined by the needs of the plot and their character arc. So if he likes being dirty because he's been raised in a strict environment where that wasn't allowed and it's a way to take control, that's fine. Which is, you know, a legitimate creative concern - not that lack of diversity isn't a legitimate creative concern - or to use a phrase that's popped up in this thread, a desire that the creators not shoehorn the characters into doing something simply because it's a gender stereotype, but consider the story first and foremost. Seem logical enough.
  13. Here's the thing with the whole Dumbledore/Visibility issue: the story implicitly tells us that, among others, Harry, Hermione, Ron, Molly and Arthur Weasley, Hagrid, Draco, Madame Maxime, Cho Chang, Snape, and Victor Krum, are straight, or straight presenting. It doesn't have a single instance of a gay-presenting person. Not one. And their straightness wasn't vital to the story, but it was there. Right there where you could notice without someone having to shout "they're straight! It's for a plot point!" at your face. So when you say it isn't relevant, you're coming from a place where straightness is so normal it's invisible, where a person has to be gay for a reason. No one questioned the people in Borderlands 2 who had straight romances, who mentioned their significant others of the opposite gender. I know because there isn't a giant outcry over the multitudes of arbitrary straight pairing out there, yet the moment Dragon Age 3 decides to star a group of bisexuals it's a PC stunt. It's only pandering when they fall out of what we assume the norm is. It's only pandering when we include people who aren't straight, white, cis, able-bodied men/occasionally women. Because it's not like those people exist as a majority of the population, right? Or, you know, as a systematically excluded part of the media we consume. If someone is a POC or WOC or a trans*person and they're fine with not being represented in media, that's their deal, but they don't get to delegitimize the complaints of others who want to see themselves represented respectfully because of that. And as Surplus Gamer has mentioned over and fricking over again, the OP didn't even ask for anything more than that the creators be aware of what gender stereotypes might have gone into the game and how that could be perceived by their audience. I was, and am, worried about that too. There's this idea in video games and movies that if a woman waves a sword around and doesn't do stereotypically 'girly' things, that she's somehow escaped the sexist trappings of her position. Oftentimes, it's false, and for more than the fact that that isn't feminist, it's macho, to quote Natalie Portman. The fact that the girl escapes from her stereotypical fate doesn't mean I'm not worried that she's doing it just to rebel against 'stupid girly rules', that her agency won't be taken into consideration, and that playing her will leave me hurt in a way I can't fully explain. And it's tricky because she is a WOC, so there are different stereotypes and assumptions about her that the creators can easily fall into. Though I'm not qualified or comfortable stepping into that part of the discussion, I can point to some posts that discuss those sort of tropes and their damage more fully. From what I've seen so far, the FemProtag whose name I forget right now is aware of her situation. She doesn't rebel and break away from the sacrifice because that's what someone believes 'strong female characters' (I loathe that phrase so much) are supposed to do. She knows that doing so puts her family in danger, and she, presumably makes a choice for justifiable reasons, even if she regrets it, and has to live with it. So though we can't say anything about the story until the game comes out, I won't hold back on the criticism if there are parts that disrespect women, or play into old and tired tropes which limit their potential. If we don't point out people's messed-up representations, they'll continue thinking they're doing fine messing up. And it's so very easy to mess up. We're conditioned by society to believe certain things about women, about POC, about anyone who isn't Straight White Male with a Little Stubble, and we have to fight against those every time we create a story. I'll raise as many concerns as need be if it means I won't walk away from this game feeling like less of a person just for being female.
  14. I know that Tim already decided on Broken Age, but I'll leave this here in case that doesn't work out. The Line Dividing which I got off this quote “If only it were all so simple! If only there were evil people somewhere insidiously committing evil deeds, and it were necessary only to separate them from the rest of us and destroy them. But the line dividing good and evil cuts through the heart of every human being. And who is willing to destroy a piece of his own heart?” — Aleksandr I. Solzhenitsyn, The Gulag Archipelago and possibly others as I find them. Even if we are a discarded path that doesn't work, we are still an adventurers, remember that.
  15. I chose Worlds Apart, even though my gut instinct was to reach for Small Offerings. I think that part of the appeal of Small Offerings is the picture it creates, of something unusual and insignificant possibly becoming more, and the way the words flow together nicely. But looking at the themes of the game, and how it's structured into two stories that eventually become one (I am assuming that's still how it'll go), I eventually went for Worlds Apart, because not only is the game about two people whose lives and views on life are literally worlds apart (I am super excited for that potential moment when they meet and all of the misunderstandings you have no idea) but the themes of the game are about discovering power for yourself and how that power in turn effects those around you. And while The Divide could also work, I like both the way Worlds Apart sounds and the idea that what these characters thought power would give them and what it actually gives them are, in fact, worlds apart. So that is my reasoning.
  16. oh wow. Yeah I can see how using only a single light-source wouldn't work for that. It's starting to look great though. I keep getting excited then I have to remind myself this isn't a full game. I do really like the atmosphere though, it gives me a magic realism sort of feel. Which is what I hope the game will be like too. Also good job typing up posts everyday that is dedication.
  17. There is nothing more adorable than a tiny lady with an enormous hat. I may have made several embarrassing noises out loud when I say her. I hope she makes it into the game! Also Peter Chan's maps are always so detailed and filled with space, I can't wait to get the full art book. Not to mention the personality in those cloud birds. Awesome.
  18. What have I backed or what am I backing? Because I have a long list of webcomics, Wasteland 2, and delicious marshmallowy treats in the 'Successfully Back and Funded' list - but I'm only really funding one at the moment. The Goon Kickstarter Project: lalala adult animation - and good animation, too, and funny. Lots of funny.
  19. I regret nothing about this sausage. Sausage away, please. I do like the change between the previous episodes and this one. It's like the transition is from the more process oriented shiny-idea stage to the grounded in reality production stage. And it's good for people to see that it's not smooth sailing all the way. I think a lot of students who want to go into game production aren't prepared for the potential troubles that come with it. It's the same for would-be writers and novelists, and the secrecy of the game industry makes what working there is actually like even less accessible. That's why I like this episode the best (though I do feel like we should be voting someone off the island soon). After all, in the end no one cares if a game was easy or difficult to make, just whether it was good or bad.
  20. Interesting stuff - especially the discussions going on in the comments. I did notice that the nose looked somewhat more stuck on in the second, 2-and-a-bit D rendering, which I figure is because Stapley's drawing already have such a high level of space and volume even in 2D that making it moreso would exaggerate that. Another thing I realized, though, is that this was only apparent to me in the still frame, with no background. Even when it was just the lumberjack moving his head without a background, I didn't notice the nose at all, I was too busy being entranced by his expressions and how awesome they were. So I think that the only place the team might need to be careful is with the close-ups for dialogue trees, since otherwise our attention will be towards the animation and the character's interactions with the backgrounds, both of which are shaping up to be fantastic. I don't agree with DOUGLAS's blunt way of approaching things, but I do feel that some of the original drawing's distinctive silhouette was lost in the translation. That's a part I found particularly interesting in the character design phase, and I really like seeing how the hipsterjack evolved. I think it might pay to be careful with how the shapes translate into 2-and-a-bit D (I am calling it that and you can't stop me), so none of the original's amazingitude is lost. And if anyone bother's to read this far, I present this, which is a guide to how to politely critique things. The way I see it, certain people have a right to be blunt about what they feel about the game, and we, the backers, offered glimpses into the process and the chance to have our feedback heard, are not those people. Because we're - or at least, I'm, sorry to presume - trying at the heart to make a better game, the chances are more likely that I or anyone will be listened to if I'm polite, as I think this thread has shown.
  21. Ooh. Ooooooooh. First of all, I really, really like the music for this episode. It was very emotion-making, if that makes sense. Specially when paired with the nature drive and such. Also this episode is pro'bly my favorite just on account of it being an art episode, which is something that I like. It's really useful to see how they go from ideas to more concrete ideas, and rather relieving to know that they throw things away and go through cycles. I really hope that those grassbeasts and wig mountains make it into the final game, though, because they look amazing. Also I was withholding judgement on the bone animation until I saw it in action, and, having seen it in action, I think it will do nicely, thank you. Great job on a double-long episode, 2PP! -Mimi.
  22. The overweight, bouncing fireflies just make me happy. I'm going to assume the haunted moon lighthouse would fit with the futuristic story. Like that one too, yep.
  23. The first thing I find hilarious is that 'hipster lumberjack' has officially entered the lexicon of pre-production. The second thing I find hilarious is the dialogue tree. I think Mr. Rice forgot to mention that one of the jobs of the producer is impromptu voice actor. Trust Double Fine to be witty even in their pre-viz. I think that it goes without saying that me and the painterly style are BFFs forever, never change a thing darling except when it makes me love you more. I could just ogle those forest backgrounds for ages. For this update, though, I absolutely love the light-ray effects and how they subtly shift - that's one of the parts I focused on as soon as I saw it. The little blowy bits were also really good ideas, and I'm glad you guys are working on a way to make the bushes seem like they're not random monster blobs whose favorite food is hipster lumberjacks. The light-edging works better in the later half of the video, in the house it cuts out as soon hipsterjack turns around, which is a bit off-putting. I think part of the problem is the lumberjack speeds up in the middle of each section and slows down as he's leaving, plus the whole floating effect some other people mentioned. But there's a senior animatron on the case now, so I imagine things will only improve from here. Plus rough hipsterjack pre-viz, yada yada, we don't love him enough to give him full animation. I personally would vote for the 'being able to toggle glowy object outline' option. Pleases both crowds. I also hope that there will be font changes, maybe a more futuristic font for the more futuristic scenes and a more painterly font for the painterly, etc.
  24. So I started free-writing sometime between this post came out and the second documentary video, for approximately an hour each day. I say approximately because sometimes I fudge it and I’ve discovered it’s better to free-write in an area where your family members can’t freely walk through and claim your attention while you are trying to Be Creative. Leads to distractions and rage-quits. And it’s better to have tissues nearby in case of allergy season. But anyway. I had a lot of ideas and no one major project when I started my notebook, so there are a lot of tag marks for various bodies of work that I mull over between being sure that I’m doing this wrong and ranting about whatever peppers my cucumber at the moment. However, June is Camp Nanowrimo, and while I already have plenty of half-baked novel plots, I kinda wanted a fresh one. And this morning while I was free-writing, I started with a tiny thread of an idea, followed it into a dead end, backed up, and by the end of the session I pretty much had the basic idea for my novel. So, you know, it works, even if half of what you write ends up being about how much you want to get up and wipe your nose.
  25. Well, no wonder this is one of the most commented upon post, asking for people's opinions and making them feel important. Tim Schafer, I don't think you fully comprehended the depths of the pinata. I TOO SHALL SHARE MY FIVE AND A HALF CENTS WITH YOU: The underwater bubble castle of the English octopodes (who wear tophats and monocles, indubitably) A circuit board for a computer, or whatever it is what looks so complicated and finagley. An MC Escher painting Inside someone's beard (perhaps even the beard of a certain Schafer-shaped personage) An upside-down city of pagodas on the underside of a cliff A previous world but in a past style (8-bit or something) Mirror level (so it's been done) Cubism world A sentient bowl of spaghetti An underground city where dinosaurs have developed an advanced civilization A gray world where the very last bit of color is kept guarded and hidden A very small world that spins very fast, so day and night keep switching and you can walk to the other side in ten minutes A world where buildings have legs and cities migrate in great herds A desert level where there's an abandoned city that fills with sand On the back of a giant space-turtle which is also an island resort There's this thing that makes things melt when the temperature is low and freeze when it's hot, so yeah, something with that. Inside the stomach of the little old lady who swallowed a fly while she is swallowing other things A world which is two or more thunderstorms that switch polarities with every burst of lightning World which is just debris circling around a core, so you can jump down levels and have to build bridges and such, maybe with some broken cities or something A world filled with non-Newtonian fluids A world where violence is how you say hello Aaand I promised myself I'd stop after 20 because if I don't I'll just keep going until I get something that actually works. Which will probably be never.
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