clyde

Why not?

To be fair, we then ran into some intelligent conversationalists and a goofball once the bigots left.Architecture was in there name-dropping Gone Home. It was an adventure.

Push-to-talk being mandatory discourages chat. Last night, Architecture was speculating about whether or not this is intentional. Respawn has to be aware of COD's reputation for being a cesspool of juvenile attempts at hate-speech. They may be trying to avoid it with this split.

I played capture-the-flag for the first time this morning. It's a completely different game. The wall-running and verticality make it very race-like and there is typically a titan-war happening that has to be traversed.

IGN takes it one step further. I suppose it isn't their fault if EA cherry-picks a partial quotation. But I thought it was funny.

The campaign would be great if they didn't call it a campaign. I love it when the bad guys drop knowledge like "Today's civilians are tommorow's militia. Do you want me to wait?"

Porpentine says "Kickstarter fail" in the rhythm of a lashing.

If anyone figures out a good way to deal with push-to-talk when using a controller, be vocal about it.

I just read that you can hack turrets. Should I be shooting the red bits on the titans? Does that do more damage?

This morning I played through the campaign with a random who hadn't heard that the campaign would be multiplayer or that there were bots. How strange would that have been!? He was vocalizing his confusion a lot. My favorite moments were just the general "wtf?" when we hit the ground for the first mission and the "I thought I killed like 30 people! How come it says I only killed 1?" I hope he eventually embraced it. He was one of two that stayed in the lobby for the whole militia-campaign. Oh, and the mission I was talking about earlier where you spawn more spectres if you control points was "Man Made", not "Demeter". I've replayed a few of the missions, I'm still not sure if the turrets or spectre spawns are dynamic in other levels.

I haven't had any problems with servers.

Origin: clydebink

I'm barely paying attention to the story because it's fucking dumb, but I actually like the structure. It does give me a bit of a war-cry chill going into a multiplayer map with some cheesy speech about how we have to win. I think the narrative structure that allows for wins and losses is interesting enough that I want to win and lose on both sides in both maps atleast once. The Demeter level seems pretty cool because if I understood what was going on, teams that hold the capture points spawn more spectres. I like that idea.

Progress Report Week #5 What were my goals? Which of my goals did I accomplish?-I drew a new character. Imade some animation frames in Gimp and then imported them. I successfully used Mecanim for the arms and face and used rigidbody physics for the legs. This was for the dancing-game, so that goal was accomplished too. -I didn't work at all on the 3d Hanenbow idea. I ended up doing something completely different. What happened? -Monday I drew the sprites. It was an interesting process because I was aiming to do different things with different parts. I'll be doing more of that in the future. I like the paper-doll mixture of animation and physics for separate body parts. -Tuesday I made the sprite-sheet and imported it. That was also when I did the physics on the legs and worked with mecanim. I still haven't assigned any logic to it. Wait, I guess that means that I didn't use mecanim. I lied; I didn't accomplish that goal. Oops. -Wednesday, I woke up with an idea for the cyberpunk game-jam and thought it would be easy to do. I quickly found out how little I knew about scripting movement with controller-input. This sent me on a long journey of discovering the difference between value-variables and reference-variables. After some struggle and advice from the forums, I came out more capable than before. -Then I tried writing script in my notebook for the first time. I know enough for it to be really fun, but I haven't tried the code out to see if it works. Writing away from the computer was interesting because I try to compute initial values myself (imagining what theinitial values would be and going through the script to see what would happen). At the computer, i tend to make guesses about why the script doesn't work, change a little bit, try running it, change it a little bit, repeat. It works, but I felt that my book work was significantly different, enjoyable, and gave me a greater capability. I still need to type it in to see if it works. I know it won't if C# says 1/0 is an error. http://doodle-plans.tumblr.com/post/79190682328 Then I worked on GUI again. What are my goals for week #6? -I want Veronica to have an animation for standing. It hurts my back looking at her crouched down like that for too long. -I need to tie the animations to controller-input in mecanim. -I want to think up a process for me to continue to focus on learning, but also result in small finished products. I feel like everytime I learn how to do something, I move the goal-post for what I want in a game. I want to be putting very small games out regularly and I'm pretty sure that I now have the capability to do that. The cyberpunk idea I have is currently beyond my capability, but it provides a good impetus for learning about designing my own character-controllers, but I also want to frequently work on small games which are entirely within my ability. This week I plan to keep this on my mind so I can add something into my routine that will encourage this. Maybe I spend one week out of three making a game that I know how to make. I don't know, I'm thinking about it. What are the challenges I may face, and how can I prepare for them? -Titanfall. I think I'll be alright. I'm pretty much just planning on finishing Veronica. I don't expect to run into anything I can't solve in two hours.

I played some Black Ops 2 last night and decided on Hardcore Search & Destroy; it was awesome. I either have never played that game type before, or I just didn't know what is going on. Before the chat reached high levels of bigotry, I was having an awesome time on both the attack-rounds and the defend-rounds. I am really impressed that this game-mode can feel so distinct from everything else available in the game and be so much fun. I never played Counter-Strike (which I assume is where this game-mode comes from). Super fun, great pace, very satisfying to win.

I started trying to figure out what a finished game would look like from the perspective of making one. I'm surprised to say that expressing a sense of completion to the player is something important to me. I don't have the skills yet to make a simulation, so my games will be short-verse; I prefer short-verse that expresses a sense of completion. The reason that I am surprised is that I'm ashamed of my consumerist culture and upbringing. Sense-of-completion seems like an illusion that is sold, which ultimately makes real-life seem disappointingly mundane. Win a car; get the girl; save the world; are all fantasies of resolution in a reality where life goes on long after the thrill of living is gone. I'd prefer to communicate how non-commodifiable, non-marketable experiences are awesome rather than bolster the illusion that desirable experiences are measured by distinct and unambigious completion. But right now, that's exactly what I feel the need to make. So I'm trying to think of things that give the user a completion-high so that I can use them for parts. -It's satisfying to finish a bottle of wine. There is more of a sense of completion than having more than you can use. The imbiber doesn't feel any confusion of whether or not they should continue (or atleast I don't). -Circling back to the car after a walk. The hike is complete. I'm not going to question whether or not I should walk a bit more; I done walked. -Popsicles, there I am holding the stick in my hand and I've read the joke and the punchline printed there. Which brings us to... -Fortune cookies. Nothing says that I've finished like breaking a dry piece of sugar-dough and reading a piece of hyper-real ancient oriental wisdom. I wonder if they have cowboy-truths wrapped around toothpicks when you eat a steak in at a Texas Roadhouse in China. I want my little games to feel done. I can't think of many short games that actually accomplish this. If a game consisted of one Super Mario level, the player wouldn't feel the amount of completion I want to express by lowering the flag. The Show Must Go On does the job with an entertaining cut-scene that doubles as the motive for game-play in the first place. Black Swan (the film) takes the sense of completion to perverse levels. That's what I'm going for. I wonder what it is that creates this unambiguity that it's done; complete, fin. Edit: I like how the Little Nemo comic did this even though it was episodic. Nemo would wake up in the last frame. It gave a certain rhythm that would satisfy my needs. Basho's poems do this inversely in his travel-log. He punctuates moments with poems. His poems act as demarcations of his life-experience. The Narrow Road to the Interior can satisfy the need to consume completion by appearing as a attempt to coalesce life-experience (the journey) into a commodity (poems), but then never actually confirming that absurd conversion of priority. I'll try to aim for that.

I think those dreams and being-chased dreams are really interesting because if I'm lucid enough, I can just willingly take the hits or get caught and then the dream antagonist loses the wind in their sails. There are a few exceptions though where I was like "Go ahead, you can't do shit." and the antagonist was like "muh-ha-ha" and then I go into a sleep-paralysis where I was awake, but I couldn't move for 15 seconds or so. That is horrifying when it happens. Still, it's neat how I can sometimes turn dreams where I am being chased into dreams where I can fly or something. The trick for me is making sure that there is no urgency to the ability to fly, if it's necessary to get away or something, I end up just jumping a lot and being like "why can't I fly? It's my dream!" My dreams tend to spit in my face when I act entitled.

Thank you for your hard work.

https://www.humblebundle.com/doublefine Pretty much the best news I could have heard today. Last time they did this, I enjoyed it a lot.

Little Pink Best Buds chat-system doesn't seem to work at all. I feel like I'm asking baby questions and getting no responses. The only time it seems to work is when I'm asked a yes or no question. I haven't found a single question or phrase that they are capable of responding to. I would think questions like "Who lives in the house?" would have had some sort of prepared statement. All I get is "The house is back." once and then nothing. For me, this prototype was largely about the open input. I can't even figure out any key-words. Edit: I give up. If anyone can figure out how to get into the house, please put it in a spoiler-tag for me.

If I can play it in Korean, then that will be worth the extra gigs for me.

so basically, the Lion King.

This made me laugh out loud. Hopefully your explanation will leverage my narcissism in such a way that I will retain the information.

Thanks TerriSchiavosGhost, your explanation was clear. It'll still take me some time to absorb. Based on what SpennyDubz suggested, I'm going to try to just ask myself "Am I assigning a new value to a component? Or am I assigning it to some float, int, bool, Vector, character, or string?" We will see if that heuristic takes care of it. On a more serious note: Have y'all ever thought that maybe your new scenes are populated by tons of gameObjects, but you just don't know it because they lack the Transform to give them a location? Shit is deep.

I would have enjoyed the game more if the Trevor missions were optional, not because I think people who enjoy playing as Trevor are psychopaths (I don't). For me, playing as him felt gross like watching surgeries or videos of puking.