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About Hoatzin

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    Double Action Newbie


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  • Location
    San Toño, Tejas
  • Occupation
    Artist, Designer, Developer
  • Biography
    Cowboy Artist.
  1. The tone may be outrageous or difficult to process, but it is not far-fetched in the least. Feeding girls to Mogs is JUST HOW THINGS ARE, SWEETIE. If Vella had asked why she had to pay rent, for example, the tone and condescension of mom's response would be totally the same. If you think about it, it is the same kind of fundamental question about the man-made structure in which they live: Why DO we have to keep paying this ridiculously regressive tax to some vaguely external power with our lives just so that we can continue to hang around? I say "lives" 'cause you can't NOT work all your life (for my generation, in increasingly bullshit jobs) for the privilege of handing a large chunk of your productive capital to rent (unless you're one of the people who own everything, in which case rent moneys come to you). It is a little more dramatic in Vella's case, but not much. The same kinds of powers that force us to pay rent/mortgages/taxes/insurance and other forms of rent (and actively or passively punish us for failing to do so), also demand a blood tribute in the form of crops of young people that are to go far away and die or kill random strangers in the name of honor or duty or nation or some other abstraction or usurped feeling. WHY is the question young people always ask when confronted by the nature of the existence offered to them. Older people are always eagerly flippant at the more radical questions because they've internalized the supposed nature of things and cannot imagine alternatives. So, on this note, I'm thinking a good parallel for Broken Age would be The Ones Who Walk Away from Omelas by Urusla LeGuin.
  2. Hahaha, was there any ANY doubt at all which way the forums would break on this issue
  3. Hoatzin

    On Music

    I said bonkers because it would feel bizarre to me. I grew up around this music and I hardly ever see it in western contexts (only exception are acts like Beirut or Gogol Bordello) and never in video games. It is such a weird jazzy mariachi wedding music with a party beat, but I can totally see it working with an epic saga spin. It has a certain Double Fine Could Totally Pull This Off™ quality about it.
  4. Hoatzin

    On Music

    Hot off the audio podcast, just wanted to throw in my 2¢: BALKAN GYPSY BRASS!! That could be totally bonkers! I know that a lot of the other art inspirations come from Polish and North Asian influences and this would be neither, but it is a very unique sound that combined with some older, rougher instruments would set a very distinct mood.
  5. Ditto! I'm also with Jake on floor spinnies. Looking at the trailer initially, I thought it was handled through some manner of bump maps, but now I am not sure that is the correct way of thinking about it.
  6. It would be interesting to see what the medium and long-term effects from all this open source business will be like—specifically on/for Double Fine.
  7. I made it before the game was released. Psychonauts development took a good part of five years, I think.
  8. Heh. Nine years ago that was the highest resolution of Nighthawks I could find. It shouldn't take too long to remake/rez up. I might get to it one of these days.
  9. Here's a piece of Tim fan art that I made nine years ago, almost to the day.
  10. In the last art update, Lee said that you guys were still figuring out how to do character rim highlighting in-game... what would be the pros/cons of a bump-map layer for this purpose? Also, all of a sudden, I have an irrational desire to make a 2.5D skeletal animation system in HTML/jQuery.
  11. Debugging the game, changing variables on the fly, reloading arbitrary scripts, all that is probably not too different from, or more disruptive than messing with Javascript on a random website. It is super important to be able to iterate and try new things quickly with art and design and misc other development.
  12. Community as an extra person at the table is awesome—how do we better define this relationship tho so that it works both ways? I bet people at DF and in the community have thought about this at length, but I haven't seen much discussion collected in one place. A lot of the comments on the forums are of the unhelpful variety—the kinds of comments one gets from a client ("I DON'T LIKE ", "I WANT TO BE MORE "), but that is an utterly untenable relationship here. It can be wrongheaded when it comes from a client, but in that case at least the client is ponying up the money and is arguably the only audience that needs to be mollified. A handful of yelly, naïvely misogynistic teenagers on a forum do not represent the audience. Even if they did, should they be catered to? The burden of persuading the client that stuff should be otherwise lies on the artists. But arguing on the internet is super tiresome for everyone. Can this be avoided? When an artist works him or herself into a corner, and doesn't know where to push a piece, he or she drags some peers over who ask a bunch of Socratic questions, point out things that may have been missed, question some specific decisions that were made and consider alternatives—it is a discussion, a debate, suggestions are offered, things explained and then everyone goes back to work and the artist is free to completely ignore the input if he/she deems it wrong. If the dragged peers make any qualitative declarations of the client/teenager variety, those should be backed up by some sort of reasoning. But this is a role for a trusted member of one's creative circle. Who has the time to sift through all the garbage "I DON'T LIKE " comments to find those who are actually considered and meaningful? It is difficult for me to see this role scaling successfully without further discussion of how we are to behave. "I DON'T LIKE PLAYING CHARACTERS" is not a reason to play or not play as a characters in the game. The reasoning is super important. We have to recognize the distinction between constructive criticism and fiat. At the end of the day, I would rather read a justified debate within the creative process than scroll through reams of personal preferences of random strangers. There is a very clear difference between I "LIKE THIS WORK OF ART" or "I DISLIKE THIS COLOR" and the kinds of constructive investigations that someone goes on before declaring that a work of art is good or bad or that a color fits or doesn't. This is not a simple skill to develop. People need to be brought up to speed on how best to interact with developers/artists in this sort of context. It is great that fans are asked for once, but we're not clients here and we totes shouldn't act like we are.
  13. I absolutely agree with this. Enough white dudes. I've been playing white dudes all my life. White dudes are stale. And yet I enjoy playing male protagonists much more than females, so it's difficult to please everyone. But either way I think it's a bit early for this. We don't even know what the setting is. If it's set in a monastery, or about heavyweight wrestlers well, probably gonna be male, there. If it's about nuns or cheerleading or, don't want to be presumptuous, but I'm guessing female. Maybe the main character won't even BE a person. I mean, chances are they will be, but this conversation sort of becomes null and void if the lead character is a genderless alien or a robot of indeterminate sex. Maybe the setting will suggest the character, and maybe the character will suggest the setting but either way, I don't think it should be forced depending on what some people think is 'stale.' Oh, dude, please. ANY ONE of Tim's old protagonists could've been either a girl or not white with MINIMAL consequences to the story. One could sortof kinda make a case for Manny Calavera both not working out as a female character or already not being white but meh. For Laverne being a girl was basically a personality quirk on the same level as "fat" and "dweeby" describe the other two player characters. That only leaves us with all the rest of them.
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