#so for that & the devs who maintain it thank you

[aethernoise]

After the Dawntrail graphic update nerfed Alyx, I used fantasia to change a few features and Cope, basically. Over the last month I'd gotten used to her new face - even come to like it - until I'd get into gpose and try to capture her like I used to. None of the angles and shapes were the same anymore. I'd look at screenshots from weeks prior and feel utterly despondent that the face I knew for almost 10 years was just GONE.

While the actual feature shapes definitely changed (some due to new facial bones, some are just. completely nonsensical choices) I realized through close scrutiny that a lot of the difference was due to the lack of definition in the skin texture. I can't 3D sculpt, but I CAN paint, so I finally took matters into my own hands and manually edited the highlander face 1 diffuse in Procreate. I basically added shadows where they had removed them, and drew in what feels like a brand new version of the old iconic upper lip.

The eyeshadow is still a little funky up close, but I'm literally so relieved and happy I could cry. I almost did last night when I first imported the texture.

She's back. A little bit different, but she looks like herself again. She's back. WE'RE SO FUCKING BACK.

[imperator-titus]

Favorite Party Banter [Gale Edition]

[Astarion (Ascended)] [Halsin/Jaheira] [Gale] [Karlach] [Lae'zel] [Minsc] [Minthara] [Shadowheart] [Wyll]

I often miss party banter because of party comp (and sometimes just straight up can't hear??) so here's a collection of my favorite bants while going through dialogue files. I know the wiki has the banter (most? all?) but I added the file names and dev notes.

Either Gale is the main speaker/subject or I think his reaction is good shit.

Not in any particular order.

[PB_Laezel_Gale_ROM_Act2]

Gale: So, Lae’zel - have you ever been tempted to use psionics in your, erm, romantic endeavors? {Devnote: Curiosity winning out over awkwardness}

Lae’zel: Only once. Did you know, in low-gravity settings, githyanki can maintain aerial suspension for hours at a time? {Devnote: cheekily}

Gale: Fascinating - I think the archmage Tasha described a spell with similar effect. I really must look that up… {Devnote: latter part almost to self}

[PB_Gale_Astarion_ROM_Act3_Spawn]

Gale: If you’re feeling faint after your bout with Cazador, Astarion, I don’t mind donating some blood. {Devnote: Sincere/Genuinely trying to help}

Astarion: When you’re still full of that Netherese bile? I’ll pass, thank you.

Astarion: Besides, I have someone else to nibble on. And they are delicious.

[PB_Gale_Shadowheart_Morgue]

Gale: Look at this place. Such horrors defy descriptions…{Devnote: In very bleak/grim surroundings}

Shadowheart: Silence can be best. Give it a try sometime. {Devnote: A little cheeky, though they’re in a grim place}

[PB_Gale_Shadowheart_ROM_Act3_Selune]

Gale: I must tell you, Shadowheart, the bathing waters here leave much to be desired. {Devnote: a bit know it all}

Gale: The ablutions offered at the Temple of Beauty in Waterdeep are far superior. And they have the most excellent soaps. 

Shadowheart: Hmm. I was wondering why you always smelled like a wealthy dowager. {Devnote: teasing}

[PB_Wyll_Gale_ROM_Act2]

Gale: I’ve heard that in Baldur’s Gate, ‘wizard’ is also a term used for one who eschews their more, ahem, carnal desires. Is that true, Wyll? {Devnote: Fishing for info, a bit annoyed about what he’s heard.}

Wyll: Where are we going with this, Gale?

Gale: Oh, nowhere. I just think it a rather cruel misnomer. Not at all reflective of the glamour wizarding life affords. {Devnote: A bit sulky/sensitive about it}

[PB_Gale_Astarion_ROM_Act2]

Gale: I fear I've been rather hasty to judge you, Astarion. {Devnote: sincere/sympathetic}

Gale: One heartbreak was quite enough for me, but to experience it as many times as you have must change a person.

Astarion: Thank you, Gale. Let us both hope that broken hearts are a thing of the past.

[PB_Karlach_Gale_BlushingMermaid]

Karlach: Man, it's good to be home. First round on who?

Gale: She who thirsts buys drink the first. {Devnote: Like it's a well-known saying}

Karlach: You won't pin me down with a rhyme, wizard! {Devnote: jockeying with Gale}

Gale: She who declines gets the worst of the wines.

[PB_Laezel_Gale_ROM_Act3_001]

Lae'zel: Gale, I've heard you talking in your sleep. Your mate needs better rest for our journey.

Gale: And deprive them of the pleasure of hearing my nocturnal postulations? I'd never be so cruel.

Gale: The mind absorbs much while we believe ourselves dormant. To lie beside Gale of Waterdeep is positively educational.

[PB_Karlach_Gale_ROM_Act1]

Gale: Karlach... a hypothetical question for you.

Gale: If someone - not me, of course - detected a hint of romantic interest in them from another, unnamed individual, what might that someone do about it?

Karlach: Whoever it is, just talk to them, Gale. And leave out the hypotheticals.

Gale: Talking. Right. I'm good at that.

[sanguinesky-if]

[Dev Log] October 2024

Hello! Hope your autumn days are going well!

This dev log provides information about the public release of Chapter 3 Pt. 1, as well as the new features I've added and those I plan to implement before moving on to Chapter 3 Pt. 2, so you might find it interesting to read to the end.

Announcement: Chapter 3 Pt. 1 public release will be delayed.

Why?

As I stated before, I don't want to release the demo to the public until everything I want to include is finished. Unfortunately, I realized how to improve certain aspects and saw the opportunity to add more content only after I released the demo. Therefore, the demo will be expanded, and some parts that didn't turn out well will be reworked. [A detailed list of tasks I need to complete is included in the "About my plans for the current month" section.]

When will there be a public release then?

Not this month. The release date for the expanded demo will be announced at the end of October and will be released on Patreon first before being made available to the public.

I apologize for keeping you waiting, but I hope that when Chapter 3 Pt. 1 is finally released to the public, you'll find it worth the wait.

What was accomplished last month?

Added a new feature: the MC's smoking habit.

[Important note: this feature will be available in the expanded demo.] Now, you have four available options for your MC: 1. The MC smokes. 2. The MC has quit smoking but is tempted to start again. 3. The MC does not smoke but is tempted to try due to the stress around them. 4. The MC doesn't smoke. The second and third options will be reflected in moments of stress or when around others who are smoking [option to resume / begin smoking will be provided later in the story]. The first option [the MC smokes] will be reflected frequently in the narrative:

Fixed many bugs and errors in Chapter 3 Pt. 1.

Many grammatical and coding errors have been corrected, and I want to apologize to everyone who encounter it and ruining your reading experience. I really owe my thanks to readers who helped me to correct them and grateful to everyone who read my story despite of them. However, after this update it became clear to me that no matter how hard I try, my efforts aren't enough to maintain the right level of grammatical accuracy. That's why, most likely starting with the next update [or Chapter 4], I'll try to conduct beta tests. I hope this will help me identify and fix bugs and errors before the update is released on Patreon.

Finished L's Side Story translation.

About my plans for the current month.

Here's the current list of tasks I'll be working:

Chapters 2 and 3 will be expanded to include a new secondary character who will offer an alternative to Paul(a)'s path.

Reason: to explain briefly and without spoilers, my unplanned decision implemented in Chapter 3 Pt. 1 to give players more choices resulted in negative consequences, where players had to select options that may not align with their MC's personality just to access more content with some of the ROs. This is not how I want it to be in the IF I create, and the new addition will ensure that jealousy is based on the relationships the player has established with these secondary characters by choice, not on the MC's personality.

The content featuring Paul(a) in Chapter 3 Pt. 1 will be reworked [Paul(a) will now appear at a "flirt" status, not only "fwb"].

The variations of K's and Morgan's scenes without jealousy will be reworked [adding more content with them if Paul(a) or the new character doesn't appear].

The "Secondary Rivals" section in the "Romance System Overview" will be expanded [secondary characters will receive special indicators to help players understand which of the presented options establish relationships with them that will affect jealousy moments].

New variables will be implemented to make it easier to recognize the height differences between the ROs and the MC [taller / the same / shorter, depending on the ROs' gender and chosen height]. This will simplify height considerations without repetitive code statements I had to write.

L's Side Story: I need to finish outlining and begin filling in the sections that were left untouched in the drafts. After that, it's on to coding and refining, which is the longest part of the process.

In addition to that, the bonus content on Patreon that will be released this month will include:

K's NSFW Alphabet.

Morgan's POV [Chapter 3 Pt. 1].

A detailed content release schedule for Patreon can be found here.

As you can see, that's a lot of work, but the rework and expansion are necessary to ensure that everything is handled properly so I can move the story forward without needing to go back and fix things when it might already be too late.

Thank you for reading to the end, I'm very grateful for your support, questions and messages!

Have a wonderful week and days after that! ♥

[painted-bees]

Thinking a little more on the whole "when did Margie and Raf realize they were In A Relationship?" question, and while they'd both struggle to find a definitive moment, I think there was one particular situation that arose to kinda...lock things in for them.

Sometime prior to autumn 2009, Margie was headhunted by Bioware[Edmonton] thanks to the recommendation of an old Orbital Media colleague who was trying to establish/salvage Bioware's beleaguered handheld dev team. Following a promising phone interview, she was asked to make a 30 second demo track as part of the hiring process, and met expectations well enough that she was offered a job as an in-house musician and sound designer. Which also meant that she'd have to move to Edmonton. She had been keeping Raf up to date with this whole thing, mostly because she was too excited to keep it to herself. Raf was hugely supportive and excited -for- her. 'Cus like...he plays games. He even plays Bioware games, so, yanno...very cool. But he had also assumed this was gonna be more of a freelance contract kind of thing. And so, hearing her mention that the company would cover the costs of relocating her to Edmonton comes as a weird surprise. And suddenly, he's having a real hard time being excited for her. He keeps it to himself, 'cus he'd be an asshole not to. He's been really adamant with himself, and with anyone who asks, that he and Margie are just really good, comfortable friends/roommates. But even by this point, he's kinda known and been unwilling to admit to himself that the only reason he hasn't openly recognized their relationship for what it actually is--is because the non-committal ambiguousness provides him a clean way out if he starts feeling cagey/uncomfy about anything. It was an exit door that he liked keeping open incase he needed it. But Margie had seen it differently. To her, it was a door she figured she was gonna have to leave through eventually. Because Raf would inevitably find a more serious partner to settle down with, or he'd be whisked off by some other important venture that she couldn't be a part of. She figured he was leaving that door open because his current situation was a temporary transitional stage in his life that he simply allowed her to be a part of. And so, she's not really torn-up about the prospect of leaving, especially under the circumstances. It presented an easier, more exciting transition than she might have had to face if Raf had 'outgrown' her first.

So, Margie's excited about the new job offer, and Raf's sitting there feeling like he played himself--while being wholly unable/unwilling to tell her "Hey, uh...this sucks, actually, I really don't want you to go." Because that'd require him to admit that he's been lying to himself--which sucks. But more than that, it'd require him to admit that he's been lying to her--only employing honesty as a tool of convenience to dissuade her from going and getting something really good for herself. He can't, he won't. The sudden off-key in his tone, though, doesn't go unnoticed by her, and Margie is perfectly candid about the whole "we'll visit each other, I'll stay in touch--I'm not gonna disappear on you lmao" Except that's not really...how Raf operates. Distance + time does not make this man's paranoid lil' heart grow fonder. There's never been a relationship-friend, family, or otherwise-with enough staying power for Raf to maintain it once they're no longer within physical proximity. Even if he wants to 'keep in touch', it quickly falls off. He's just known...too many people, and been too many places...his brain doesn't have the bandwidth to maintain close relationships when there's a distance. And, after a long enough pause in communication, his paranoid anxieties lift the barrier of entry higher and higher until it's almost insurmountable. People become strangers again. Always. In the end, Bioware did not get to develop any more handheld titles, and the handheld division in Edmonton is dissolved before Margie was even offered a job start date to plan her big move around. And so the whole thing falls apart before it even had the chance to get started lmao. At which point, Raf finally allows himself to be honest and say "thank god, I was fuckin' dreading an empty apartment again." Treats her to a consolatory dinner, and gets to tell her as much as he is able to figure out for himself--that he doesn't really know what he wants, actually--but that things aren't as casual and clean-cut as he thought it was. He still can't bring himself to be like "yes, romantic committed relationship, that's us, that's what we are" but he does at least take measures to establish that he'd really like to take off his shoes, place them on the rack next to hers, and close the door behind him.

[urlknight]

Hi there, Love your work! I'm also doing stuff in Unreal and it feels like it's rarer to find other indie devs using it. I love how clean all your UI feels, and UI is something I seem to really struggle with.

Do you have any recommendations for workflows / tips / sources etc for getting better at UI?

Also I'd love to know more about the material / shader workflow for your latest post if you have more information anywhere.

Thanks :)

Hello there! Thank you!! I hope you don't mind me answering publicly as I feel like some people might be interested in the answer!

I really appreciate your UI (User Interface for those not knowing the acronym) compliment as it's something I've spent a long time working on and specializing in, in my career as a software engineer. UI/UX often goes completely unacknowledged or taken for granted even though it takes a lot of time and hard work to create and develop. In the engineering world I frequently had to advocate for and explain user experiences to those who didn't have as deep of an appreciation for UI or a very sophisticated understanding of why a good, visually appealing user experience makes, or on the flip side, can break everything. I think it's a very challenging, overwhelming topic to grasp and communicate, but just by being interested in it you're already way ahead!

There's a lot going on with UI. From visuals to knowing common design elements to successfully conveying a story to the user to implementation to testing to designing for accessibility to animation and I probably didn't cover everything with that run-on sentence. There's frontend engineers out there whose role is solely to maintain and improve UI component libraries for companies. And that's without throwing games, whose UIs are all uniquely visually tailored to their experiences, into the mix... I could keep going on about this honestly, but I'll get to what I think you can do personally! 1. Learn about common design patterns. What's a toast? What's pagination? What's a card? Little things like that. These apply to all software UI/UX, including video games- and knowing these off the top of your head will make it so much easier for you to invent your own UI designs and patterns.

2. Study the UI in the everyday applications you interact with. Step through menus and think about how you got from point A to point B. Take a moment to think about the why someone put a button where they did. Study the UI in your favorite video games, too! Take a lot of notes on what you think works really well and what you think doesn't. And also there's online resources that are great for inspiration. I personally spend a lot of time on the Game UI Database. - https://dribbble.com/ - https://www.gameuidatabase.com/ 3. Don't be afraid to start with basic sketches or even just simply representing everything with grey boxes. All my UI starts out as really crappy sketches on paper, or tablet sketches on top of screenshots. Visualize your ideas and then keep iterating on them until you've got something. For example, I went from this:

To this. (And come to think of it I might actually still want to make those cooler looking buttons in my sketch) 4. Break everything out into pieces and individual components. A good UI is made up of building blocks that you can reuse all over the place. That's how it stays consistent and also saves you a lot of stress when you need to go in and update components. Instead of a million different looking UI pieces, you just have to update the one! These individual components will make up your very own UI Component Library, which will be the standardized design system and source of reusable components for your project. This also applies to your visual elements that don't do anything (like I personally have a whole mini library of diamond and star shapes that I reuse everywhere).

For reference, here's a breakdown I made of my Inventory UI. On the right, I've labeled most of the individual components, and you might be able to see how I'm reusing them over and over again in multiple places.

5. Spend some time listening to designers talk, maybe befriend some designers! Many of them have an unique, interesting view of the world and how we interact with it even beyond just software. Their perspectives will inform yours.

6. Test your UI on users whenever you can. Get feedback from others. This is the best way for you to see what works and what doesn't. As game devs we spend so much time with our games it's easy for us to lose sight of the full picture.

7. Be patient and don't give up. Continue to be open to expanding your knowledge. These UI skills take time to develop. I personally am still learning even after like 10 years of doing it. Coming up with the visual elements is very challenging for me and I spend a lot of time rearranging things in photoshop before I actually start coding anything at all in Unreal.

Whew, that was a lot, but I hope that gives you some thoughts and a place to start!

I don't have any posts out there about Blender/Unreal shader workflows right now, but I'll consider making another post sometime soonish. I appreciate you asking and you're welcome! :)

[sheigarche]

Hi. do you think there's any deeper meaning to why Max asks Vinh to pose as asleep in the snapshot of him? Also, do you think he quit abraxas to spend more time with Max? Because he doesn't if Max rejects him... He wants to get a job on the West Coast... Arcadia Bay, Oregon w/ Max in the next game?

thanks

p.s. someone dm'ed the devs to ask if Moses is neurodivergent due to his hand movements so I think they might confirm Vinh has diabetes if asked. I hope they see that ppl like him enough to put him in the next game.

Hi friend.

Sorry, this ended up turning into an analysis of Vinh's character development 😅

I think Max asks him to pose as sleeping simply because he looks exhausted. Vinh texted her saying he couldn't sleep and she can comment on it too, so this is her way of joking around or teasing him that he needs to rest.

About Abraxas, I don't think he quit specifically to spend time with Max. This is all about his character development and learning to let go of the things that hurt him.

See, at the beginning of the story, Vinh only cares about two things: Safi and Abraxas. We learn more about him later, but these two things are right in the front and unironically are what cause Vinh the most pain at the moment.

Safi because of the relationship he had with her and the guilt of his actions that pushed her away and, now that she's dead, he's unable to have closure over these feelings that he doesn't even really understand.

(he only gets closure when the timelines merge and he realizes that she never felt anything for him and maybe he doesn't even love her after all).

And Abraxas because he has to live a persona and hide himself to maintain his reputation and that makes him miserable.

Every now and then Vinh lets a glimpse of who he really is slips, but there's always someone from Abraxas there to say something and remind him that he needs to keep up his mask of insensitive, mysterious bad boy. And he stands there and keeps doing it because it's the only thing he has.

There are other things adding to this too, of course, like how he gave up on his dream of being an actor and how he sleeps around and drinks to cope with his problems.

But Safi and the Abraxas are the turning point of development of his character.

Vinh's entire character arc is about him learning to let go of these things that hurt him and getting back to being who he really wants to be and stand up for himself and his feelings.

Remember one of his lines: "Did the past version of you ever feel like an alien? The things that person cared about are so worthless that you don't even remember being them."

We actually see this happening in real time in the game: Vinh slowly stopping caring about things that are now worthless to his life and moving on to new horizons.

That's one of the reasons I don't really like his relationship with Reggie. It's because a huge chunk of Vinh's character development has to be thrown away for it to happen. If we stay around to listen to the dialogues in this ending, we see that Vinh still sleeps around to cope, still hides himself behind a persona, still closes off to his feelings and gives value to those things that hurt him. And that's the version of him that Reggie likes, not the real Vinh underneath everything that he doesn't even know.

So, I think Vinh leaving Abraxas is more about his own growth as a character than his relationship with Max, although his interactions with her are of big importance for him to achieve this development.

Since Vinh is an actor, I think he would have more job opportunities on the West Coast, but I see him wanting to move there during the game (before his character development) as a way to escape his problems in Caledon. Just like Max did when she ran away from Arcadia Bay and hid from her past.

But at the end of the game, Max decided that she won't run away anymore and might go back there one day. So I believe that is true for Vinh as well.

He has already expressed that he wants to be with her, that he hopes she will keep him. So I see it as possible, once they are both ready, to go to the West Coast. Not to run away, but to heal and live their dreams.

Also, I gathered the courage to message the devs asking about Vinh's bracelet, but I haven't heard anything back yet.

I feel so embarrassed to do this kind of thing 😅But maybe one day we'll find out for sure. Fingers crossed🤞🏾

[sunflower-cathedral]

Thank you for making that Stress post… it's been really bothering me how some people have been lumping her in with Iskall as if they're on the same level just because of that comment

I have to admit, I did have the same gut reaction of disappointment and betrayal to the comment that I think a lot of people had, in part because I did/do believe she's in a vulnerable position in all this, and was concerned for her safety given her radio silence.

And to be clear, it was an awful thing to say, but a single supportive comment posted from her Youtube channel after months of silence simply doesn't compare to the detailed accounts and evidence from Iskall's victims, including private evidence that was verified by the hermits, not to mention the video itself (which given how much he downplayed the allegations was as good as a confession in my eyes)

Idk I just think it's concerning considering how close they were professionally and personally, and ESPECIALLY considering many of Iskall's targets were women he worked with professionally…

I don't feel comfortable drawing conclusions when there's just so much we don't know right now. And I don't think it's for nothing that Kass said to keep Stress out of this in their statement, and that the hermits, even now, have kept all their criticisms focused on Iskall in particular.

I think those involved are trying to maintain her privacy in all of this, and I really do respect that, but I also hope she's ok, in every sense of the word.

no worries, and honestly all of what you said is exactly why I refuse to villianize or form an opinion just yet. I got crucified by some people on twitter over my disbelief of people villianizing her so fast and someone even made a tweet about me bc of it 💀

what iskall has shown in public from his 'I got cancelled' video, alongside everything he's done in private towards his mods and vh dev team, should really be enough for people to pause and actually ask: Is that actually Stress who's made the comment, Is Stress being manipulated and gaslit, and is Stress actively at risk of harm in her situation. if he's willing to do what he's done to people under his power, and so blatantly willing to play victim in a public video while blaming others and throwing everyone else under the bus, then I have no doubts he'd easily do the same towards his girlfriend if not worse.

and a lot of people also aren't aware or don't realize that she has 3 kids. it is so much harder to escape abuse with children involved. there's also the fact she's now lost a massive form of her passive income via wiping her channel clean. and while i wont discuss the reasons for this, I'm inclined to believe there's a chance she's being purposefully isolated. there's so many possibilities and different kinds of abuse she could be facing right now.

People are apathetic. there's a huge discussion that needs to be had around critical thinking, peoples inability to show emotional care towards sensitive situations like these, and just general apathy. the internet has become drastically crueler the past few years in fandom. The fact me asking people to *not support her* but at least not villianize her has been met with hate and gnashing teeth is really disappointing. it is not hard to look at the full picture. it is not hard to wait for stress to properly say something before forming an opinion. people have also come to me, just like you have with this ask but in dms instead, thanking me for my tweets/posts because they're afraid to say anything. and that's very telling. opinions like this should not be scary to post, and when I first made my tweets I was shaking super bad from anxiety haha.

and honestly? I've seen things so far that are like, people treating her worse than iskall. and at what point do you say the hatred has a pinch of misogyny in it. watching people celebrate her wiping her channel has been beyond disgusting, especially when it is a very very scary sign and hopefully the hermits are in some form of contact with her, though from what I've heard I don't have high hopes.

at the end of the day I wish a lot of people would realize the situation at hand. we don't actually know if stress made that comment in the first place and - not to go tinfoil hat on this but - they live together so he easily could've written the comment, and people could be playing into his hands just as he'd hope by reactionary hatred. Isolating Stress further by attacking her and villianizing her means that if Stress is a victim, and she gets out, she's less likely to speak up. in fact, she's drastically less likely to get out of the abuse if the villianizing hate is being shown to her/If she's seeing it herself.

remember to always think critically in regards to the full picture. never contribute to hate that can keep someone trapped in abuse if there's abuse happening.

[caramsels]

tell me more about this "mono isnt a human" theory thats really interesting

Thanks for asking! A few people have asked for my thoughts on Mono’s identity, and because I will take any opportunity to ramble about Little Nightmares, I wrote up my (hopefully intelligible) interpretation of Mono, and why I think he was always a Resident of The Nowhere, instead of a kidnapped human child like most of the LN kids. This theory is super connected to a few other ones I have, so I’ll rattle descriptions of them at the start for context. Also this post is insanely long I’m sorry

The Nowhere

The Nowhere is its own world that real children get kidnapped to, it feeds off of humanity and kinda functions like your local mall. A weird amount of emphasis is put on jobs in The Nowhere, Residents are often referred to solely by their job titles (The Janitor, The Doctor, The Teacher, etc. etc.)

Besides having a job in The Nowhere, a Resident's proximity to humanity seems to give them a higher status as well. In a LN1 interview, it was said that ALL residents wear masks (as opposed to just the Twin Chefs); we even see in LN2 that The Doctor makes and presumably sells these masks. A humanoid appearance is something that most Residents want. The more humanoid a Resident looks, the more powerful they are perceived to be (not always, because of The Ferryman, but he’s just chill like that.)

Kids and valuable teens/adults (like the circus performers and Otto from the podcast) feed The Nowhere kinda like how animals feed humans. Some Residents are given jobs to maintain this system. Some jobs require more power than others however, typically these are the jobs that require a Resident to keep control over an entire area, which leads me to…

The Cycle

The head honcho Residents like The Thin Man and The Lady are more humanoid and more powerful than the others, this is because they are handpicked and raised from birth to inherit these forms that are passed down over time. This one is super important to most of my points about Mono, so I’m going to spend some time defending it.

The Lady (prior to the Six stuff) had 4 predecessors, each represented by a different mask/hat that you can collect in VLN; This means that The Nowhere (at the time of the first loop in LN2) is on its 5th cycle. The Thin Man is also a mantle that is passed down, we see the previous one interact with Mono before Mono has even entered a time loop in the LN2 comics. This Thin Man, when datamined, notably wears a different hat than Mono’s iteration.

Furthermore, when asked if Thinny Lad is a mantle that is passed on or Mono in a timeloop in an interview, the devs had this to say:

The Pretender (VLN) is a good example of what I think Mono is supposed to be, and what the child forms of the 5th cycle Residents were. The Pretender is a humanoid child with supernatural powers and a strong sense of loneliness. She has her own mansion and Resident servants. The Pretender is the heir to a currently unknown position. She has a portrait of her and five past iterations on her wall, followed by another one of her and her two Resident parents. The Pretender is native to The Nowhere.

But… who is the boss of all the Residents? Who assigns these jobs? Who creates the natural Residents and brings others into The Nowhere?

The Eye

(you could argue its the ferryman but i think he works under the eye too. employee of the year)

I think most fans agree on this one so I won't spend too long on it, but basically I think the Eye is the unseen overall antagonist of Little Nightmares, overseeing everything and everyone in The Nowhere all the time. The Eye feeds off of misery and has a fate planned for everyone, it is not happy when anything throws a wrench into these plans. I don’t think we are meant to know The Eye’s motives, not yet at least, but if I had to guess; they have something to do with an extremely misguided and angry feeling of loneliness, as that is a prevalent theme in an insane amount of Residents. This finally brings me to Mono.

Mono’s Familiarity with The Nowhere

Mono is very familiar with Pale City, he is much more aware of his own fate, abilities, and world than he’s given credit for.

In the door/boat cutscene, Mono watches every TV in the water until it exits the frame. This early in the game, Mono already has an inherent connection to TVs.

Before Pale City comes into frame for both Six and the player, Mono is already standing, he is familiar enough with the route to Pale City that he knows they arrived without even having a clear view of their destination. This is because Mono has been to Pale City before, in the sixth episode of the LN2 comics:

In this comic, Mono met (and wasn't killed by) The Thin Man shown earlier. So to list off the amount of things Mono was already familiar with at the start of LN2: His connection to TVs, his connection to The Thin Man, and how to navigate Pale City. Mono having a lot of experience living in The Nowhere is demonstrated somewhere even more prominent too:

Kickass Character Design

Six’s character design intentionally makes her not fit in with her environment. While the color scheme of The Nowhere and its residents is mostly bland, monochrome, and washed out (sans the lighting), her jacket is highlighter yellow. This represents that Six does not belong in The Nowhere, she’s from the human world.

With this information to ride off of, Mono’s design becomes interesting. Mono’s design is a beige button up, tan trench-coat, and tan pants: A monochrome, muted outfit that fits in perfectly with the aesthetic of The Nowhere. Mono’s outfit including a key ring and a useful color scheme for camouflage further implies familiarity and experience with the way The Nowhere works. If Six’s simple, bright design represents her not belonging there, Mono’s muted, practical design represents the fact that he does.

His Mask

We actually know why Mono wears his mask, we have a direct answer:

You can interpret this as a representation of Mono being shy or insecure or a combination of multiple things, but I think it’s mainly meant to represent, as the description states: Mono hiding from The Nowhere, Mono running away from his fate. The Eye wants Mono to grow up and be the next Thin Man, but he doesn’t want to. Mono’s mask represents his fear, his refusal to use his Thin Man powers, his refusal to do anything that connects him to the world that hates him and wants him to fail; he wants to hide from that world, his future, and the reality of what he is. But ….

(straight up a post of Mono running from his fate)

Unexplained Powers

Mono’s OP reveal was the moment that shook me the most when I first watched my sister play the game; I’ve honestly always been shocked at how little it’s talked about in the community. To me, it was a reveal that told us we Did Not REALLY know much about the character we had been playing the entire time, and that was exciting.

When Mono fights the Thin Man and contorts the structure of Pale City, it is with ease. This is not his first time doing any of this, his body language does not match that of someone who just discovered/unlocked a new ability, him busting out the moves is framed more like a choice that he decided on just before removing his mask. The Thin Man boss battle is easy on purpose; because it's not too hard for Mono in universe, all he does after is wipe off his head nonchalantly and then he proceeds to warp reality. The ominous boss theme that plays during this fight isn’t even for the Thin Man, its MONO’S boss music. The Thin Man is the one who helps control The Signal Tower’s influence, Mono is the one interfering with it, he is the “Signal Interference.” The theme continues even after he’s defeated The Thin Man, further hammering in that it is his.

Mono has his own ominously powerful boss theme and the abilities of one of the most powerful Residents at his disposal; he is not a normal kid.

Mono even shares a power with the established Resident heir that we already know; The Pretender.

When The Pretender sees RCG eavesdropping on her crying, she yells so loud that it physically hurts RCG, causing the screen to glitch. I don’t think this is just a visual effect to show how loud it is to the player; I think this is an in universe ability. You know where else we see a powerful child amplify their voice on purpose to harm an enemy with a screen glitch/distortion effect? Mono in Chapter 5.

Mono and the fifth Thin Man

I think that Mono ran away from wherever it is he’s supposed to be, (probably the Signal Tower) and The Eye/ Thin Man want him back; this is why Mono is not killed by The Thin Man in the comic, just pursued by him

Loneliness

I don’t think I even really need to dissect how loneliness relates to Mono’s character, but he’s not the only character who deals with it. A huge recurrent theme with Residents is loneliness; the sense that they need something, they are missing something. The Lady has a bunch of dolls, The Janitor has.. a bunch of dolls in his own way. The Hunter too. The Pretender runs off to cry when her human doll friend gets messed up at her dinner party. The Resident we meet in Chapter 3 of the podcast is the most direct example so far of intense loneliness in a Resident, and not so coincidentally, it has a ton of parallels to Mono.

Narrative

For the rest of this post, I’m going to focus on how I think this theory fits into the story; because I think factoring in the cutscenes and storytelling beats is important when putting together something’s lore.

A little chatter about Mono

Mono is often characterized as a shy little boy who plays the straight man to Six’s feral goblin who loves eating rats, which is a whole other can of worms, but with this characterization I feel like some fun and interesting parts of his character are neglected, such as: The fact that Mono is an ominous little weirdo. His attempt at trying to save and comfort someone is to hack down her door with an ax with no warning, then proceed to chase her through the house she’s been trapped in; Mono is not too familiar with human interaction. Mono isn’t really a dashing hero who tries to save every kid he comes across either. In the comics, Mono finds an area that is away from the monster killing all the kids, but it’s not like he tells the other kids or tries to bring them with him or anything. I don’t think that this means he is a toxic manipulative character or anything because he is. 9 or 10 years old. I think if anything, this is a trait that experienced characters in The Nowhere have: RCG and Mono both know that indifference is the way to survive in The Nowhere, good deeds usually get you killed. It’s the way things are. I think overall Mono is a well meaning boy who just talks and acts ominously, because that’s what he is used to; he’s an eldritch overpowered being who lives in hell if it had a 1940s aesthetic.

I think that Mono doesn’t start the game a sweet perfect little boy whose ending is sad because he gets betrayed, that’s not a character arc. I think Mono starts off relatively morally gray out of necessity, mostly helping Six out because it was kinda his fault she got captured. He develops into someone who is willing to fight his fate, fight the Nowhere and stop resorting to the escapism his mask provides, only to get crushed to rock bottom in spite of his growth. After all, the villain of Little Nightmares is The Nowhere itself.

How this creates character conflict in the plot

Anytime Mono goes into a weird TV trance, Six is horrified. Her body language tenses and she moves away from him. Six has seen first hand that even the kids like her in The Nowhere cannot always be trusted or relied on (RCG shutting the door on her). Some kids like the Pretender aren't even normal kids, they have powers they use to kill people. The one person Six is starting to trust, and he’s showing signs of possessing supernatural powers? Terrifying. Mono notices these reactions, they give him more cause to hide what he truly is from her. Residents scare and disgust Six, he doesn’t want to lose the only person he has.

This conflict leads me to another point; you know those moments of Six being sadistic and angry towards Residents? How an ominous music cue plays when she kills the bully and breaks the mannequin’s fingers? Earlier in the game, when Six first catches Mono, his part of Togetherness II plays briefly to show his feelings in that moment, which implies that the music cues we hear when a story beat happens are Mono’s reactions. I don’t think these scary music cues are because Mono is scared of Six being creepy, Mono himself likes to beat up Residents. I think that Mono is scared in these moments when he sees the extent of Six’s hatred towards Residents, because even though he doesn’t like them either… Imagine how she’d react if she knew about him.

It is only the Thin Man fight when Mono is finally pushed to the point of using his powers, because in the plan to get Mono to the Signal Tower: The Thin Man took Six as bait. Six was constantly pulling Mono out of his TV trances, Six was supposed to die back at The Nest, Six has been a problem for the Eye since the start and now it’s time to kill two birds with one stone, to sentence Six to her new fate and to crush Mono’s spirit so hard that he finally resigns to his.

The drop is its whole own debate, but whatever you think about it, I think at least one factor in Six’s decision is that from her perspective: Mono has revealed himself to be an entity she cannot trust, he didn't tell her either; he's been hiding it this entire time. Why didn’t he use this power to help them all the previous times they were in danger? What are his motives? What IS he? This, mixed with other factors, causes the drop. (a lot of manipulation on the part of The Nowhere is involved too imo but this isn't a Drop analysis)

Mono is crushed, he loses Six and any true feeling of empowerment that he had before. Rather than The Eye trapping him in the Signal Tower and forcibly transforming him into a resident, I think Mono actually accepts his fate because hes just. That depressed. He actually ages pretty normally for most of the sequence (except for being straight up like 12 feet tall, the podcast confirmed that Residents are just super super big as opposed to the kids being really small, bros got Resident genes) This sequence from the art book leads me to think that Mono knows what the hat entails, Mono chooses to run the Signal Tower like The Lady runs The Maw. The chair sequence is not actually him sitting in a chair for that long, I think it just represents his resignation more than anything.

BUT! Mono is an “uncommonly single minded boy,” who also has control over time, i.e. Mono Thin Man slowing down time in his chase just to fuck with you or the clock sounds in The End of The Hall. Whether you think he goes back for revenge or to stop the downfall of everything, he goes back in time. I think it's on purpose, I think every TV in the background of the first scene implies that Mono has gone back to this point in time over and over again, failing repeatedly, leaving a new TV behind and forgetting the past attempt each time.

This could all be wrong, maybe Mono is just a really badass 4th grader from the human realm who got his abilities like Six, just off screen. But one thing I love about LN is all of the different, creative and interesting interpretations of the fans. So here’s mine regarding Mono lore. Sorry this was so long and I write posts weirdly it is 4 AM. I hope you enjoyed

[teaveetamer]

"It's on the devs if they can maintain a newbie boom" Did this guy went into FE thanks to 3h ? Everyone knows IS hardly keep the same formula

I don't really want to focus too much on the content of the statement, I prefer to keep the focus on the "wtf why did you screenshot someone else's ask (who has you blocked) and reply to it? You're not the fucking president of the United States. No one was specifically going to seek your input on this completely mundane observation, and if they did then they would have sent the ask to you in the first place." But I do just want to point out a completely obvious observation, which is clearly what OP of that ask was getting at: not every series *wants* to keep their "newbie boom". Sometimes the newbie boom isn't healthy or desirable for a series.

Technically speaking companies do want to appeal to the most people possible, but companies are also aware that you cannot please everyone. Broadest possible appeal is not always the move that is going to make you the most money. In some cases it's far better to have, for example, two more narrowly focused series that strongly appeal to two different core demographics rather than one series which middlingly appeals to two different core demographics. Call of Duty and Stardew Valley are both massively popular games, but no one would honestly decide that mashing them together would be a good idea.

That is to say, if the people who joined the FE series with 3H enjoyed things about 3H that are antithetical to the existing FE series, it is not in any way beneficial for the series to try and keep those players. Attempting to would, most likely, just result in both groups being unhappy at best or driving off the previous core playerbase at worst. I'd say the Resident Evil franchise is a pretty good example of this kind of corporate "mass appeal" strategy backfiring. You can only go so far before the thing people enjoyed stops being the thing people enjoyed.

[canmom]

knife missile simulator 2024

played through Children of the Sun by René Rother - thanks to @teitomonogatari for the rec! Here's a trailer:

...wait, hold on, that's not right. here's a trailer:

I was hoping for a game that would scratch that Neon White itch, and... kinda?

What we have is a sorta... sniping-based puzzle game is a decent way to describe it. It's a game of clearing a field of enemies with one bullet - feasible because you can steer this bullet with your miiiiind. Every time you hit an enemy you can launch the bullet in a new direction; later you gain the power to steer the bullet in flight with certain restrictions. At the end of the level you get a nice linear visualisation of the path of your bullet, tracing out some kinda crazy zigzag.

This is not really a game about stealth. Your enemies are totally helpless - later they don armour and even generate their own psychic shields, but there is really fuck all they can do to stop the bullet taking them all out in a matter of (without the slowmo) seconds. What it brings to mind to me is the 'knife missiles' from Iain M Banks's Culture novels, both in how the bullet moves and how completely unstoppable it is as a weapon.

Narratively, this is the story of a psychic girl who was raised by an American cult and is now on a one-woman revenge mission to kill every member and finally its leader. The exact beliefs and practices of this cult kind of left vague, but the leader wears a distinctive beard and sunglasses and there's suggestion of human sacrifices and maybe sexual violence depending on how you intepret a particular dream sequence. Probably the major inspiration is the infamous Jonestown, though history furnishes us with no shortage of other possibilities.

As far as the cult theming goes... as this kinda wanky guy says, it is honestly pretty superficial and tends to pull its punches. Given that this is mostly a solo dev effort (with the exception of some illustrations and the dynamic music), it's understandable that it can only go so far with narrative elements - thus we get fragmented comic-like memories wrapped in heavy glitch effects.

Honestly, the main issue that I have as a story is that it didn't seem to be saying anything new - the cult are pretty much stock villains, and while there are some suggestions that the girl gets off on killing and so on, it doesn't really give you that much to get invested in about her as a character. The final twist, in which the cultists appoint her their new leader, mostly merits a 'oh, ok sure lmao'.

As a story about an abusive cult, I think part of the reason it stumbles is that the player is only ever in a situation of overwhelming power. With only vague snatches of what the cult did before the start of the game, you don't really get much of a sense of 'these bastards' - they are more like walking targets. But the game doesn't seem interested in going further with showing your effects on your victims either.

Rather than say more about that, I want to comment on the mechanics. The comparison to Neon White makes a lot of sense: both are games about optimising a route through 3D space with certain restrictions. Both require you to hit every enemy, and exploit those enemies to reach places you otherwise couldn't.

And this is a scoreboard game; it has a fairly involved scoring system factoring in where you hit the enemies, distance travelled by your bullet, time and various other factors. It's not an incredibly hard game - I placed within a few thousand of the top of the leaderboard on most levels, and within the top 100 or even top 10 on a couple, generally speaking just by getting lots of headshots and maintaining my multiplier streak. It usually took a decent number of tries to clear, though, because it is quite a fiddly game - especially with the time pressure, an enemy might move slightly causing you to miss them by a few pixels, or you might slightly screw up the angle and be unable to make a curve shot, etc. etc. Admittedly this is because I tried to play for score from the start - if I had taken my time more and aimed for centre of mass, I'd probably have cleared each level sooner.

Compared to Neon White, where the basic route is usually pretty obvious even if shortcuts aren't, figuring out a viable route is also a challenge here. Conveniently, you can mark the locations of each enemy and it also auto-tags one if you kill it on any given attempt, so you don't have to remember enemy placements, and there is also a pretty informative crosshair which can confirm when you're pointing at a valid target. So, in each run, you gradually figure out more of your path: 'that guy, that guy, go over there to get distance for an armour piercing shot, then those two guys' etc. etc., then keep trying until you nail it.

Neon White's predictability was a huge point in its favour as a speedrunning game - if you screw up, it was nearly always be due to a fumbled input rather than bad luck, and you could rely on enemy placements regardless of your pace. Children of the Sun is also pretty deterministic... but it features a number of enemies who move on cycles or patrol routes, meaning several levels involved waiting for enemies to reach the right position to take your shot, waiting for gaps in moving trains, etc etc. It's usually not a huge obstacle, but the variations caused by small differences in timing added to the sense of 'agh nearly had it'. And since there is no music per se, but musical sounds associated with your actions in game, it doesn't have the same continuous 'flow' when you try a level over and over.

Possibly the reason for these timing-based levels is that it needs them to provide depth, because in general, movement here is much more straightforward. There is no gravity: your bullet travels in a straight line and can squeeze through the tiniest gaps, so generally if your crosshair says you will hit, you will only miss if an enemy moves.

Neon White's movement is in significant part about verticality and gravity: many of your movement tools give you options to gain height or cancel a fall. White's default state is to fall downwards unless he's on a platform; the bullet's default state is to go in a straight line, no matter what.

Additionally, in Neon White there is no slomo, but you can have moments of parabolic motion where you have a chance to line up your next dash or jump. Children of the Sun on the other hand has multiple speeds of slow motion: when the bullet is in flight, when you are aiming, and when you are adjusting trajectory, time advances at different rates. These are very necessary: you'd need esports level flick aiming skills to play the game otherwise. But the sense of speed and rhythm came across a lot more strongly in Neon White.

Why make such a point by point comparison? I'm thinking about this because the THRUST//DOLL project involved a very similar style of movement to the bullet: you pivot with the mouse and click to accelerate in a particular direction. My plan was to have you dodging patterns of moving bullets, but I'm starting to see this would be even more annoyingly hard to predict than the slow-moving cars and trains in Children of the Sun, forcing the player to rely heavily on slomo - which would in turn undercut the sense of speed.

A lot of Neon White's sense of rhythm came from the fact that you didn't have to think too hard about the next place to go. It was often possible to complete levels, and even score a gold, with just one or a few tries. Getting the boxes was more puzzle-y, but generally speaking involved making a plan and executing it - I'll get this weapon from here and jump from here - once you already had all the info.

Meanwhile, Children of the Sun is, at least the way I played it, more about feeling out the route with trial and error, and carefully lining up your mouse while time mostly stands still. Which can totally work - I did complete the game! - but was a different vibe.

One thing I didn't do here was unlock all the challenges. There is a challenge in each level, and each one has a vague hint suggesting what you have to do to get it - typically shooting through particular things or blowing up specific targets. But you only get confirmation when you actually do it, so you need to either mess around until you figure it out, with no indication as to whether you're on the right track, or else look up a guide. The challenges give a decent point bonus so they're important to exploit if you want to get the really high scores. I kind of understand why they took this approach - otherwise it seems like a bit of a box-ticking exercise - but after solving the levels I never felt much inclination to go back and look for the challenge trigger, the way I liked to go back and search for the boxes in Neon White.

The final level of Children of the Sun is something like two levels rolled into one. You have to kill the outer enemy group, which removes a shield covering the inner enemy group, which removes a shield covering the boss. In practice this meant: I had to do the first half of the level many times, with the same strategy every time, occasionally messing up, until I figured out the second part... which naturally involved a bunch of tricky shots and unclear routing. It's the classic problem of a multi-phase boss or a long level without checkpoints.

I don't usually find this bothersome, and I think the reason is that usually there's still room to tighten up your execution of the first phase, and when you get good at it, you can knock it off really quickly and you get the fun feeling of doing something really sick. By contrast, once I'd figured out my route through the first set of guys, there was not much more to learn: I continued to shoot them in the same way. Maybe it's just that the first shot was really annoyingly precise!

The real lesson for me: it's pretty essential for games like this to keep their levels short. But it was fine in the end, I got the bastards >:)

Overall... Children of the Sun was definitely a diverting five hours, and it's definitely interesting to see an implementation of a mechanic I was trying, but I feel like it didn't quite work for me the way Neon White did. Still - I appreciate the rec! I'm always glad to see a game with a unique mechanic and aesthetic, it's a very impressive showing for a largely one-dev project, and I'm excited to see what he comes up with next.

[lilyvalleygames]

I found your demo through 14dwy and I'm so glad I did :D I enjoyed playing it and now I'm left patiently craving for more

If you're still answering questions- did you have any inspirations in mind when creating the characters? If thats too much to answer then perhaps just Johann specifically? He is giving Mr. Darcy in the best way

Hello! I am absolutely answering questions, and thank you for asking one! I told myself that I would take two weeks off of dev stuff but here I am, already plotting out how Day 2 is going to go haha

As for character inspiration, there have been a LOT of characters that have inspired me! I'm a big Pride & Prejudice fan myself, and while Johann wasn't intentionally pulling Mr. Darcy (I'm a longtime fan of the 1995 BBC mini-series adaptation) I can definitely see where you're coming from!

Before I started on CC, I had a few different OCs floating around my brain that eventually coalesced into the Johann we know today! Johann actually really solidified in my mind while I was sketching out his different expressions way earlier in development. I wanted someone who was deeply obsessed with the MC (naturally) and willing to do just about anything to get them. At first, I was imagining a more moody, taciturn version of Johann, who desired power for power's sake, and believed that acquiring power would eventually let him marry whomever he chooses-- like getting so OP that no one can really tell him who to marry anymore, given his status.

From there, I started thinking about how that might work in high-class social circles. Moodiness isn't exactly a great trait for making connections in business, so I did some reworking and decided that he'd be the type to maintain composure in almost any situation. Frankly, I find that kind of personality to be more frightening.

Later, I started developing characters that would eventually be his school chums (they'll be revealed in Day 2) and I realized that the composed persona crumbling in front of the right people could be super entertaining!

I am a longtime P&P fan but Jane Austen's characters tend to be (imo) less conniving and more... gentle, I guess? There's an element of comfort and decency that I find in Austen's characters, and I love that about them! But my characters are distinctly a little more... Brontë adjacent, I'd say? I'm definitely going for something more gothic and tangled.

TL;DR Johann has more social skills than Darcy but much fewer scruples lol

[jesawyer]

Hi Josh,

I'm curious of your opinion as a person with lots of experience in the industry. I've talked to a coworker recently about our experience with Directors in different companies. We both seemed to agree that combining the responsibilities of a Head of Studio and Director into one person isn't the best idea, especially if the studio can afford to separate these roles into two people. I pointed out that I'd much rather see the Lead Designer drive the direction of the game, as they are much closer to the people that actually have to execute it.

Obviously, none of use are in these positions, we are just the recipient of the consequences. I wonder if you have some opinions to provide on the topic on who should drive the game's direction, and how much this person should also be involved in running the studio.

Thanks!

In my experience, the responsibilities of a game director and lead designer are much closer than the responsibilities of a studio head and game director.

In fact, I'd say there's virtually no overlap between what a studio head does and what a game director does. The studio head is responsible for the entire studio, encompassing everything from payroll to outsourcing contracts to interfacing with publishers. They're also responsible for steering the studio's future as a whole. The game director is not responsible for any of that but is responsible for the creative direction of their project, specifically. They interface with developers directly on a daily basis on creative and logistical issues.

A lead designer does the same thing but their scope is limited to design rather than every discipline (and they are subordinate to the game director). Ideally, the game director is giving clear direction but leaving space for the leads to work with their staff to achieve the vision. On larger projects, the game director simply doesn't have the bandwidth (or expertise) to continually direct the entire staff on individual tasks; that's why the leads exist.

Again, in my experience, the studio head spends so much time involved in things completely unrelated to day-to-day development that I think it would be extremely challenging to maintain their vision with the rest of the dev team.

There may be studios where the studio head hands off all of the logistics/admin tasks to other people and operates as the official or de facto game director but that seems odd to me, personally.

[wormdramafever]

Patch update for Goodbye Volcano High!!!

Hot Off the Presses, Patch 1.06 is Here! 🙌🏼 The devs have been hard at work in the Goodbye Volcano High patch update mines, and we’re so excited to share it with you! All Platforms -Fixed “A Different Kind of Album” achievement/trophy—old players who were previously bugged may need to get missing photos again to complete this. -Added the ability to maintain photo progress across playthroughs—go to Settings and toggle on “All-Time Photo Collection” to activate this. -Reduced affinity requirements for seeing Trish’s final scene and unlocking her final photos. -Reduced affinity requirements for unlocking Reed’s final photo. -Updated final lyrics writing minigame to work as it was originally meant to—player only chooses two lines to change, with the original two lines carrying over from previous lyrics writing minigame. -Fixed Battle of the Bands minigames overlapping if autoplay is toggled off. -Cleaned up compression artifacts on certain character’s faces (Ms. Roberts, Naser, Trish) when playing at resolutions under 4K. -Added user icons to social media posts. -Fixed various camera placement and zoom issues. -Fixed various issues with VO getting cut off. -Fixed various issues with Affinity icon not appearing when it should or appearing at the wrong time. -Fixed rare issues with settings not applying correctly, reverting back to default, and having mismatched button states. -Fixed “static” choice bubbles occasionally staying onscreen after being selected. -Fixed the episode 6 montage music not respecting master/music audio settings. -Fixed subtitle colour setting not respecting LnL text. -Fixed VO toggle not affecting LnL character VO. Thank y’all so much for your bug reports—we really appreciate your help! <3 If you have reports, send them our way at support [@] ko-op [dot] com 🌟 PS: GVH is verified on Steam Deck for all your on-the-go queer dino needs! Happy gaming, y’all!

[slugdragoon]

Devlog #0.2

Wow, I have had an incredibly productive past two days in terms of my game development. I've been sticking to naming my devlogs 0.x because I didn't consider them "real" until my prototype was playable/not embarrassing, and I didn't want to start with #1 until I thought I'd be doing it regularly, but all of a sudden, it seems very close.

I thought that, after my Devlog #0, I wouldn't post about it at all for some time, but it's been 24 days and I felt the need already to provide two more updates. Every time I post my thoughts about other games (which is fun), I always think I'd love to have something to show for mine, and coming back keeps me connected and working on it.

I think posting on Tumblr has really motivated me. Really, indie devs, and particularly solo devs are so motivating to me (shoutout to artists too), and I feel more accountable to the 5-10 or so people who have been viewing my posts so far. If that's you, thank you, if you even just took a small look.

Just a text post this time, but just in the past two days:

Party members are now implemented with their own stats and skills. Currently I have dummies hard-coded in there, but it is possible to add new ones to the party. Probably recruitable enemies will have a method to create a party-version of themselves.

The basics of the battle system work. There is a system in place to maintain turn order between party members and enemies. For the player turn, we have skills that target either your own party members (healing spells) or enemies (hurting spells), and both have single and multi-target variations. Enemies do basic attacks. Death of party members is not yet implemented.

New UI elements (ugly ones for testing functionality) have party member stat windows in-battle displaying their remaining health and magic, which update when they change. These windows are outlined in a highlight currently for the player whose turn it is, and selector arrows are shown for targeting of spells at both the party and enemies.

Oh, also for at least few days before the last two of coding, I wrote out a decent bit more in my design doc for planned skills/mechanics/enemy types, and worked on some art. They go hand-in-hand in my workflow, and each side pushes each other along, as I need to know what's going in the game to know what assets I need, but sometimes drawing and animating makes a idea clear that goes back in the design doc. Just in a creative zone right now!

The next stretch will be doing some work on items, NPCs (especially shops, and an out-of-battle menu for accessing Party Info, Skills, and the Items.

[peregrinefashion]

Help me help us all by submitting user feedback!

From what I’ve seen on here and on discord, I’m not the only one who feels this way. So let’s submit some feedback! They’ve already shown they’re pretty receptive to it, so if we’re polite about it they might fix it.

Here is the official feedback form for US players (with a link to xseed Europe on the page I believe): https://www.xseedgames.com/contact/

If you struggle with format, here’s the outline I used:

Thanking the devs for the game, and saying how much I enjoyed it

What I was looking forward to about the event

How half the patterns being single use only with no way to get more makes me not want to do the things I had been looking forward to

A polite request that they make the shoes/ear cuffs/wings/etc. permanent patterns, or at least provide a way to get more than one of these patterns

Thanking them for their hard work, both with the update and the emergency maintenance.

Be polite, and keep your sentences simple, because the person who reads this feedback might not speak English as a first language.

Thanks for helping! Hopefully they’ll fix this with the emergency maintainence. But if not for this event, hopefully for the next one.

[mydnd]

The Problem With Stock Art in TTRPGs

Disclaimer: I think stock artists are great because they provide affordable, high-quality images (in most cases) that allow indie developers to do what they need to do. Without these talented artists, many creators would struggle to find cost-effective ways to add visual appeal to their work. However, there are a few pain points, especially when browsing through platforms like DriveThruRPG and Shutterstock.

The Style Problem

One of the most frustrating things about sourcing stock art is the lack of cohesive styles across different assets. If you’re creating a small adventure module or a supplement, this isn’t a huge issue, you can probably get away with a few stylistic mismatches. But for those trying to produce a full core book or a substantial project, finding enough art in a similar style is like pulling teeth. You either have to compromise on visual consistency or resort to commissioning custom art, which isn’t always feasible for small indie devs on tight budgets. Especially if you come from a developing country.

Limited Variety

Let’s talk about variety(or the lack thereof). Need an illustration of a character in a wheelchair? Good luck finding more than one, and that’s probably in a very specific, cartoony style. What if you need an image of a character shielding another character in a dramatic pose? Forget it. The limited range means that if your project requires anything outside of basic fantasy tropes, you’re likely out of luck. This shortage leads to the same stock art being reused over and over in different publications, making products feel less unique and contributing to an oversaturated visual landscape. Which leads me to my next issue...

Artistic Monopoly

Another significant issue is the market dominance of certain artists, which is evident on platforms like DriveThruRPG. There’s one artist, in particular, who understood the assignment (am I using this right?) and filled the gaps in style consistency and variety, producing a large volume of good-quality art (DAZ3D saving the day). While this benefits publishers by providing a reliable source, it stifles competition and diversity among other artists, making it harder for new talent to get noticed. For publishers, this reliance can lead to projects looking visually similar.

Solutions

So, what’s the fix? If you’re an artist and have a particular style, consider creating multiple related pieces to form small thematic sets. A collection of characters in a consistent style, or a series of action poses, can go a long way in helping publishers maintain a cohesive look. Think about the niches that are underserved: inclusive depictions, unique character interactions, or scenes that go beyond the standard “hero posing heroically” motif.

In short, stock art is essential to the indie TTRPG community, but there’s room for growth. With more comprehensive, varied, and thematically consistent sets, artists could fill a critical gap. So, if you’re an artist, consider expanding your portfolio; the community will thank you.