clyde

I wonder if anyone is going to make a death-threat so that an accomplice can cash in. While that may seem like a pretty obvious mistake to many of us, GG has shown a tendency to attract people who lack much ability to extrapolate consequences beyond short-term goals and game-plans. I worry that GG will throw one of their weaker members under the bus for a possible cash-grab and a chance to get an example of the lack of compassion and hypocrisy of social-justice warriors they are always raving about. I have a hard time imagining a scenario where paying informants is wise or ethical.

I'm looking through HTML5 demos and I ended up spending some time playing Blob Volley2 against the computer.

The new UI system is so much better. I don't know when 4.6 will be released, but the only problem I've seen is the watermark on the webplayer builds. There is no watermark on the PC builds. I suppose another option would be using NGUI or some other current solution.

This just popped up on Polygon, you might be fascinated by it. My xbox game-pad works. The trick is to make sure to put a coin in and press player1 at the top right of the browser once the game loads. A lot of the music is horrible static, but I just played Time Pilot for the first time in 24 years, so there is that. Also, it's weird to play Carnival now, since I was too young to get past the first level when I played it before. How did I manage to beat Pitfall II?

What is a favorite part of the experience of loading up an Atari 2600 game that you enjoy?

Are you playing The King of Everything on a Windows machine? I can't seem to get it to work.

Jord Farrell seems to be beginning a project similar to 50 Short Games. He just published game 5 of 66. It's pretty cool to watch one of these projects happen in real-time. I recommend following him on this journey just because it's neat to watch someone push themselves to make a game a day (or so). I find myself looking forward to the entries that are soon to follow. Jord Farrell's focus seems to be far more game-mechanical than TheCatamites who I view as being heavily thematical. It's an interesting comparison and I'm excited to be privy to watching it happen. Here is my favorite thus far. This was entry 2/66 from October 28th 2014. http://t.co/bnu89Ae0Hw

I made a game for the Glorious Trainwrecks Halloween event. It's pretty creepy. http://www.glorioustrainwrecks.com/node/8558 For those of you who would rather play it in your web-browser, here is a link to that. https://db.tt/KAcxPxit

The reason for the random grids is kinda interesting. I was going to make it so that much larger grids would be made, but I ran into some bug (possibly a Unity level one) where as soon as I go from making a grid of 100 gameObjects with audioSources to 101, I get an error and some boxes become duds. So until someone figures out how to fix that, I had to make sure that I never have more than 100 of the on the screen. Since the pitches and steps are assigned based off of the position in the grid (the pitch of the sample is divided by how many boxes there are in the column and then pitches are assigned by position; the length of a musical bar is determined by width of row and then steps are assigned to the boxes by position) I was able to just generate grids, but I wanted them to vary wildly. So I figured that I could never have more than 10x10, so the width gets a random num between 3 and 19, then the height gets a random amount between 1 and the previous randomNum minus the width. It doesn't seem to work perfectly, but I've been enjoying the results enough not to fix it. Yes, you nailed the reasoning for the name. One of the last things I did before I made this build was move the player-cube a bit to the left, until then it would fall into the pile by default everytime. I decided to make it more of an option, but it gives you a sense of how I was playing with it before the build was made. I think the controls of the game have a happy-accident clutziness to them (which I like). As an additional bonus I like the idea that the name can create a lack of expectations for player-objective. As an additionaly additional bonus, I think this would be a great game to play on a day where I feel like I can't do anything right. Thanks for playing. I uploaded a video of me playing my game. I really like playing my game.

This is the most overtly political game by TheCatamites I've played, it even has (what appears to be) American flags in it. I read Happy Astronaut City as a combination of two headlines, maybe two common opinions presented in the mass-media: prisoners shouldn't get to have playstations, and that N.A.S.A. is a waste of money. The walled-out mechanic which is the most prevalent rhetoric in the game in combination with its theme induce a creation-myth in my mind. I like to think that the author conceptualized a game in which the player was walled-out from all the interesting bits that compel proximity interactions while Fox News was ranting about prisoners getting playstations. The cultural associations of prison are so biased towards avoidance though (rightly so, loss of freedom is nothing to be taken lightly) that the imagery needed something more garden-like to appear in the unreachable plots, something like happy astronauts. When I see the two of these allocation-complaints exquisitely corpsed, it brings the things they share into the light. Taxes in a consumer society trick us into thinking that someone cares about our opinion even when our civil experiences are completely unattached from the political expenditures which rule of law and the economy of science require. We think that since we see dollars move from our pockets to these social programs, someone has to care about our two-cents. Our distance from the actuality of those programs gives us a sense of authority on it.

Here's my first public build of I Can't Do Anything Right.

Wow.

I just tried it and I have no problems with creating angular velocity from collisions, how are you moving the fish? Are you doing it by adjusting their transform.position? Or are you rigidbody.AddForce to them off screen? https://mid.vncdn.co/vine/videos/CB027953731139059329400512512_2bbbcf7a690.0.2.8677340245726554112.mp4

I would play with the masses of the different objects, but I've never done anything like your submarine game, so I'm not sure if there is something weird about how collisions effect angular velocity. Personally, I don't mind your questions at all. It's interesting to see what you are working on in such detail.

Listening to the podcast, I'm just going to list my responses: -I didn't think that Hawk following the one armed man was non-sequitur at all. I saw it as him following a lead based on his intuition, but not having enough to go on to pursue it beyond noting that he went towards either the oxygen-supply or the morgue. -I thought that the VHS Laura with the "Help" voice-over was the dream that Donna had that I believe she mentions in the following scene. -The way I see this show is as a heavy-handed written work, which some of you seem to be implying by putting it in context of American soap-operas from the 80's. I love all of the characters because they are so melodramatic. How can you not love Bobby?! When he explains all of his activities on the night of Laura's death by mentioning all the places he was supposed to be and saying "I didn't show up because I didn't feel like it.", hitting the table with his fists and snapping, I was smitten. This appreciation of camp bleeds into the lurid use of symbolic relationships of props. I don't see these things existing in a world as much as I see them existing in a story. A good example is how Shelly is beaten while sitting on a pile of construction-plastic identical to what Laura was found wrapped in. I see that as an intentional detail that doesn't necessarily pay-out, but is intended to make me even more suspicious of Leo. A broader example is the use of music that Chris and Jake discuss for a bit in the podcast. Twin Peaks is a hyper-reality. I don't think it's representative of a place and people as much as representative of a medium (American 80's soap-opera). I think that it is a work where we are encouraged to appreciate the idiosyncracies of the craft meshed with the narrative, completely inseparable; the saturated use of the form's techniques are the narrative-voice. This is where I come to the place where I see the Dr. recovering the other half of Laura's heart as a symbolic message that Laura truely gave it to the Dr. rather than to James. -Why hasn't anyone mentioned that Laura is obviously dealing coke to the entire town, using her apparent perfectness and charitable activities for cover? ------ I have a thought-experiment for y'all about the writing techniques employed by the show: Would we care about how the fish got into the percolator if there wasn't a murder to solve?

With the raids, is your entire population getting wiped out? If not, then I would assume the design-intent is to create some drama that forwards an emergent narrative. I like the idea of losing a quarter of my crew on a regular basis. But of course if your entire population is destroyed, you'd be essentially seeing the same portion of the game over and over.

He must be referring to the Barackolypse. Indeed, it was prophesied in The Dark Crystal. This is the end of an age.

Word on the net is that it's going to be turned into a larger experience.

Have y'all heard of this game Close Your where you progress through (what seems to be Thirty Flights of Lovingesque) scenes by blinking? http://killscreendaily.com/articles/close-your/?utm_content=buffere7f63&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

I think this is a great Snake-variant. It's not often that feel compelled to play through all the levels of a puzzle-game. -early build of Subline by Jord Farrell

I loved this episode. Your discussion increased my anticipation of buying Offworld Trading Company once it has developed single-player functionality. I have some questions for y'all based on things said in the podcast. I haven't played the game, so some of these might be irrelevant or nonsensical: 1. Isn't the stock-buyout supposed to happen fast? There seemed to be concerns expressed in the podcast that the stock-buyout was fast and unstoppable, but I was under the impression that stock-buyouts are supposed to be all-or-nothing glory-runs that can win the game or lose it based off of the player's timing. Are all the cards on the table when a buy-out is attempted? Or are there ways that a player can suddenly inflate their worth or deflate the buyer's worth during the attempted buy-out? 2. I had a hard time understanding what it was about the information the game provides or doesn't provide that makes potential actions hidden from the player. 3. There were concerns expressed that late-game circumstances can nerf certain strategies and over-power others unpredictably. This sounds like a good thing. Can players build themselves up to be flexible, for instance investing in liquidity so that they can jump on any high-bid opportunities that they think might win them the game once they appear late-game? 4. There were concerns that player-interaction is minimal, but I also heard that you can guage other players' strategies by looking at their colonies. Would it be possible to do something like boost a weaker opponent by deflating an asset that they are likely to use to harass a stronger opponent?

For the week of October 27th, 2014 we will be playing: Happy Astronaut City by thecatamites You can download the single game from here for free Or you can buy the entire collection of 50 games from here.

I don't have much to say about Bogey's Report, but I would love to have a discussion about the concepts in there. I've heard that the first, foundational, chakra affirms that limitation is necessary for manifestation; most of the aspects of top-down RPGs enumerated upon in Bogey's Report seem to stem from this concept. Bogey is telling us about his appreciation for the way the limits of top-down RPGs manifest both clarity and exponentially more, through the flexibility of minimal player-interaction. As he explains, I'm reminded of an introduction to a book of haiku. It's an unintuitive concept, that you can do so much because you can do so little. I also enjoy how linear RPGs are placed with every other artform in human history. RPGs are just another way for us to preserve our experiences in little consumable modules and like all other semi-permanent icons of our existence, when the lighting is right they reveal themselves as memento mori.

I really enjoyed Sleeping Dogs until the torture stuff at the end. I found the story to be more interesting to me than most games until the final act. Oh and just to make sure, you played The Ballad of Gay Tony right?

I wish people would stop making rape and death threats, inciting mobs while revealing addresses of targets, and intentionally slandering people in order to silence argument/statement/judgement/express opinion x. Because it's actually censoring people.