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About OkyG

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    Action Newbie
  1. Mongos Mundos Brogos Muglies Oobles Ooblies Bandies Hooblies Hoolies Hooliegoos Hoolieboos Flopgobblers Flopgobbies Gobbies Hobblers Floppers Hooblies Ringos Ringers Thumpers Trundles Bundles Bimbles Bramblers Ramblers Brambies Bandits Crooks Prowlers Bristles Goons Bragoons Brandibos Brandybos Higgles Hooties
  2. Thanks for the reply Dave. This is really interesting stuff and I appreciate your taking the time to describe your process. This project seems like it has become a very animation heavy project. You mentioned above that since you're on a limited schedule, you don't have time to sketch things out and you really just need to get into Maya and play around with things. I was wondering if you could describe more how a compressed time frame like this changes your approach to the various animations you need to create. You (and everyone else in their respective disciplines) seem to be very fast at implementing content for these prototypes, and I imagine the amount of progress we've seen within the past week isn't necessarily representative of progress on a larger project. How would it work on a full project like The Cave? Do you devote a lot more time to planning and have a more traditional pre-production/production/polish cycle, or is it like the work we've seen on The White Birch where you're quickly iterating and testing things out? Or a combination of the two? Also, how much of your time on this project is spent developing new techniques? Are you finding problems or challenges you haven't encountered before and are needing to develop new solutions on the fly? Have you found past AFs to be fertile ground for new techniques and approaches to develop, perhaps methods you take on to future projects? I'm curious to know what you and others take away from AF, individual projects aside, and how they influence your future work. I realize that's a lot of questions, and I know you're all super busy. Watching you all work this past week or so has been a privilege and one of the coolest things I've witnessed in years. Thanks again for your time!
  3. Man, I love seeing concept art. It's one of the coolest parts of the creative process and it's really great to get a peek inside. They look great!
  4. I really, really like those final characters. I think you guys found a great balance between the cute/painterly style and a more realistic approach. The animations are great, too! The shading and lighting on them makes them look very alive. Can't wait to see them milling about the base!
  5. The heads look really cool. I think they each fit the archetypes very well. Having the antennae with lights for the Earbot is a clever method of still being able to convey the state of the bot. And I love the bulbous glowing cranium of the Brainiac.
  6. I really like the cinematic look and feel you guys are going for. I also love how the girl looks so small compared to this massive tree. It seems like she's going to feel delicate, yet extremely strong in that she persistently continues on her journey up. I imagine the animations will go a long way toward conveying who this character is and what kind of world this is. I'm not super familiar with this topic, but it seems to me like you'll have different types of animations that need to be implemented: some that are "widespread" in the sense that you can apply them to many parts of the environment (like climbing or falling or jumping), and some that are specific one use cases, perhaps like the initial climb through the hole into the tree. Is this assumption correct? If so, do you try to limit the number of special-case animations that need to be implemented, and is it a trade off of "it might take more work but it is an important 'set piece' moment in the storytelling" (like the initial entrance into the tree)? If you have time, would you be able to elaborate on that process, and how the back-and-forth work between the programmer, the designer, and the animator works? Thanks, and it's looking awesome!
  7. I'm really digging the color palette and I like the juxtaposition of the beauty and raggedness. She looks like she's been through a lot, yet still maintains an ethereal quality about her.
  8. One other thing that could be cool would be to have a music track for the bars. As you scroll your window over the bar, the "standard" track fades out and the bar track fades in. It might provide a sense of exploration or a sense of movement in a genre where you're basically seeing everything all the time. I love it when developers do interesting things with music. It seems like a discipline in which there has been some innovation in the past, with numerous Everyday Shooter type games where the player "creates" the music, but it also seems somewhat stagnant in the sense that most games just have scores in the way a movie has a score. It's cool to see something innovative and it demonstrates how Amnesia Fortnight is a wonderful opportunity for developers to try new things. Looking forward to hearing more!
  9. I'm catching up on the livestreams up on the Twitch channel and just watched Greg's tour of the office. When he stopped by your desk, Chris, you demonstrated your idea for the klaxons being integrated into the music. I just wanted to say that it sounded really cool and I love how it wove in with the same frequency as the music. If you end up going in that direction and it works out I think it'll be great! I don't know what the scope is in terms of effects for the prototype (probably not high on the list), but I can definitely envision warning lights flashing throughout the base to the same beat.
  10. Thanks for the response! Yeah, I understand the limitations of the prototyping process and that certain things take priority. It's really interesting to see the order in which features are implemented and how the various disciplines collaborate. Is music implementation in Double Fine's version of Moai, dynamic or otherwise, something that allows an audio guy like yourself to just go right in and script it in Lua, or does it require a programmer to go in and mess with some C++? Also, I'm keeping my fingers crossed for there to be some citizen in the corner of a bar with a guitar (S.T.A.L.K.E.R.-style) singing Space Asshole. Just saying.
  11. I'm not much of a social media guy, but I definitely agree in the potential for integration. Populating the space station with Facebook friends, possibly with new "shipments" of citizens from ships being culled from various friend groups. I always think that subtle use of social media integration, or at least optional use of the feature, works best. I too, initially prefer the idea of isometric, and mentioning 2D really piqued my interest, but yeah, it's two weeks, and that's probably not the kind of thing that would make or break a prototype. Plus, I'll reserve judgement until I see the wonderful environment art from the Double Fine artists. Though this has been touched on a little bit with JP mentioning games like Dungeon Keeper, Dwarf Fortress, and Startopia, I would be curious to hear about how various games are influencing the design. Things like Sim City, the Sims, FTL, and I know JP is a big fan of the old X-COMs.
  12. I like the potential for subtle humor in the event messages and I'm already enjoying the character name database.
  13. I really like it. It feels appropriately synthy/spacey and light enough to make me feel like I'm playing around in a sandbox world. I don't know the vocabulary to properly speak about music, but it feels like it's right for the strategy/sim genre where there's a lot of idle or management gameplay. It has enough variation to not get grating but seems like it is mellow enough to be played on a loop. After my first listen I automatically pressed play again, so that's a good sign. It feels like the kind of music I listen to when working, when I want something with a beat that isn't distracting and lets me get into zen mode. I do have a question, though. I know that the scope of a prototype like this is drastically different from a full-fledged game, but how much music are you planning on producing for the prototype, and how does that differ from the amount that would be needed were the game to be the length of something like a Sim City? (I realize length can be somewhat relative in a game like this, where player performance can alter the play time a great deal). It seems like games that have a more "linear" progression (like The White Birch) would require more music were it to be developed into a full game since there's more of a story progression, whereas a more sandbox-style game (like Spacebase or Autonomous) would require less since it is more of an atmospheric thing, even though you may use "story-like" progression in the music played for particular events that happen (such as disasters that occur on the space station or an addition of a new ship, etc.). I'm probably off base with those assumptions, but could you talk based on your experience about how music production differs across genres and scopes? Also, I would love to hear about how you collaborate with the programmers to implement dynamic music. I've always found that concept fascinating. Hopefully that wasn't too much of a ramble! Thanks!
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