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waffliesinyoface · 3 years

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*looks at the comment sections of stuff involving Deltarune Ch 2 secrets*

ah. I see some fans are already missing the point in record time. (spoilers below cut)

okay, so. Undertale’s whole theme was talking about player choice. Especially in the murder route, where Flowey literally turns to the camera and goes “yeah I had fun saving everyone but then they got a little boring and stale because they just say the same lines of dialogue over and over. So, to mix it up, and to see more dialogue, I went around killing people to see what’d change!”

This is. a literal. direct. parallel. to what you, the player, are doing. He even mentions “some people are probably watching this right now, too scared to do it themselves”, ie: people watching a lets play because they want it to happen, but want to distance themselves from it because they’d feel guilty pushing the button.

Despite all that. The fandom latches hard onto the idea of “Chara”, and 99.999% of all discussion, art, and discourse about genocide is “look at chara, they’re so evil, they love killing people, poor frisk” and its like. no, no, they don’t matter, you get that, right? The Fallen Human is a footnote. An interesting tidbit of lore. The person. responsible. is. you. That’s the theme of the game. IT’S. YOU.

...So, how does this tie into Deltarune?

Deltarune’s theme, from what I can tell, is similar, but from a different angle, and in a different genre. It’s not just an RPG, it’s an RPG with [Party Characters]. And, for good or for bad, you have the final say in what those characters do.

This is why, in Chapter 1, only Kris has the [Act] command, where they can tell the other characters to do stuff. In Chapter 2, Susie’s like “hey that’s dumb, why can’t I decide?” and Ralsei* goes “uh, that’s Kris’s job-” before getting cut off and by Susie going “shut up nerd”

(*more on Ralsei later)

But then! You get Noelle. And that’s where the story can change. In the normal route, the expected route, she goes along with you, but at the same time is like “uh, I just have to do whatever you say? o-okay, I guess?? That’s kinda weird, but, uh, sure???” You tell her to spare monsters, and she does so without complaint.

But.

Even if she doesn’t want to, even if it scares her, the player is in control. And what do you do when you get a new, weak party member? You backtrack a bit to grind exp on weak enemies. She doesn’t want to. She has no say in the matter.

It’s the equivalent of a character like Marianne in Fire Emblem. She’s designed to be “The Healer”, she has the appearance, attitude, and dialogue of someone who wants to stay in the back casting heal spells. ...But that MAG growth sure is tempting, isn’t it? What if you reclassed her to be a Black Mage instead?

The only difference being, Noelle is vocally not fond of this. It doesn’t change anything, but you can see her becoming more and more horrified.

You get to town, and wander around a bit. You find a shop. Go through some dialogue options (where you affirm she’s not your friend, she’s your party member something else) and the shopkeep offers to sell you a ring.

“Sweet,” you think, “something better than the starting gear.”

It’s too expensive.

Well... that’s just too bad, isn’t it? But hey, that’s a common trope, an early shopkeeper with a rare weapon as a drop. It’s not like it’s something you haven’t done before, right? It’s a good weapon. You won’t come back here anyways, so there’s no harm done.

Anyways, this sort of behavior culminates in a spectacularly fucked up fashion, but the point of it is the same - you, the player, are in control. No matter what your party members say. Every button press is something you, the player are doing.

So, of course. Like “Chara” before them, I’m already seeing people assigning responsibility of these actions to Kris.

Despite the fact that this game literally has Kris wrest control away from the player to do their own thing. That, you can blame them for. But everything else is all you. For good or for ill.

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Anyways, unrelated to the fanbase blaming Kris, but still tying into the themes of “player control”, we have the secret boss. Who talks about severing puppet strings, wanting to be free, etc. And ends his dialogue with “maybe you can free yourselves as well” or thereabouts.

Susie, afterwards, is like “hey what the fuck was that all about? That was freaky, right?? And what was he talking about with all that crap about puppet strings”, to which Ralsei responds “no, you’re overthinking it, it’s just a weird superboss, don’t worry about it”

Which is interesting. First, he didn’t like the idea of anyone but Kris being able to [Act], and now he wants Susie and Kris to dismiss everything they just heard. Puppet strings? There are no puppet strings here. What are you talking about, Susie? Don’t be ridiculous.

Furthermore, an interesting trait of Susie is that you can’t un-equip her items. She won’t let you. If you want Ralsei or Kris to give you their equipment, sure, they’re fair game. Susie refuses unless you’re swapping it for something else. And she refuses to wear certain items. And (in ch 1) she initially won’t listen to you in battle at all. And she’ll override your choice with “why does Kris always get to pick, screw that, it’s my turn”

Kris is the player’s vessel, and as such, has no control over anything outside of cutscenes, when the player has no control. Susie, even in chapter 2, does things like “having opinions”. Ralsei is the player’s enabler, who wants their input on everything.

“Here, Kris, have a manual!” (a literal game manual) “Hey Susie, why not try letting Kris tell you what to do?” (become a proper party member) “Hey Kris, what do you think about this?” “Hey Kris, why not pick who you want to explore with?” “Hey Kris, do you wonder what Susie’s doing right now? Why not close your eyes and imagine...” (in the following scene, your choices don’t matter. At all. You have no control over Susie’s dialogue.)

#deltarune #deltarune chapter 2 #underneath the readmore: Spoilers; more spoilers; and spoilers which require context #its a free game and you can play it in a couple hours so just do that first if you really care cmon now #undertale #also gets a mention

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majorshiraharu · 3 years

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Discussion of Limitations in Live Action & Style Choices

This will be all spoilers for the new episode of the Mandalorian. I’m putting it under a cut so no one accidentally gets spoiled. Fair warning it is long af, I tried doing a mix of my opinions and information from the show, films, etc. I tried putting the more opinion parts in italic, might have forgotten some parts tho. I spent way too long on this lmao

--------------SPOILERS BELOW------------------

I'm putting my thoughts for each time I watched it. That way, you can see how rewatching changed my mind some. I also had almost a whole day to process the episode before I watched it again, then I had a few hours to think about it and add to this, and then now I've watched it for the third time. This will be a mix of my reactions and opinions and then some information about The Mandalorian and things I think many people are overlooking. Especially in a time when we have major blockbuster films with pretty amazing CGI and people have come to expect that level of detail in everything. If you don’t want to read my reaction/opinion parts, skip down past “3rd Viewing” (the sectioned area)

1st Viewing When It Dropped; Right After Watching: — Okay honestly not the biggest fan of this Ahsoka, I feel like they could have done a bit better with her lekku, montrals, and the contacts because they kinda took me out of it a few times. She didn't move a lot like Ahsoka, but then again she does move and act more like the Rebels version, so if you haven't seen that I can see how this would be more off-putting. She's much older at this point and probably can't move as well as she used to. Also, I know we've come to expect the effects of high-budget films and their fancy CGI, but this show is not that and I think they truly did the best they could with what they had. I'm too tired now, but will write about that stuff in my second viewing section. Overall, I think in the scenes where she interacted with Mando and the child were very well done and felt like how I thought Ahsoka would be after the journey she had over the past years. Those moments felt like Ahsoka to me, and I really enjoyed. 2nd Viewing; About 16 Hours After First Viewing: — So I took some time today to think about last night's episode, I also decided to hop on social media and see what people's reactions were. I was surprised how on Twitter and Reddit I hardly found anyone who disliked this version, longtime fans, new fans, people who didn't know Ahsoka. It seemed like most people really loved it and were extremely happy to see her in live-action. Some people didn't like the way her lekku & montral looked but otherwise enjoyed it, and then there were a few people who said it didn't feel like Ahsoka to them. Now here's my opinion on the second viewing, I liked her more after watching it again. As mentioned above she's definitely more like her Rebels version, and we have a few years when she and Sabine were out searching for Ezra and Thrawn. We don't know what she's been through but clearly, she's much calmer and wiser, which I think fits, it's not like how she was in Clone Wars but it's been like 25+ ish years, so she's had a lot of time to grow and shouldn’t be the same. The actress who played her was pretty stiff and monotone during more scenes than I would have liked, but all her scenes with Din and the Child were excellent, and felt pretty close to Ahsoka, really liked her in those. The action scenes were very cool at the start. Her fighting style was more like her fighting in Rebels. I would have liked a few more shots of her with her signature lightsaber hold, but they included them during the right moments, so that doesn't really bother me that much. Now for the mostly on Tumblr infamous lekku & montral, on second viewing I didn't mind them as much because it wasn't as shocking. The length should have been longer imho, and they definitely needed to change the montral, that's what I have the only real problem with. The montral just looked too short, was angled back quite far, and yeah, just didn't look like any animated version, concepts, or even any cosplays I've seen. This was the only thing about her that I really just didn't like and bothered me some. 3rd Viewing; Most of my opinions stayed the same, I watched it this time with some of my friends who love Star Wars and one who loves Ahsoka as much as me, so I wanted to see their reaction. They all loved her, tho they agreed the length should have been longer and the top should have been different. But they all really loved the episode and her.

--------------------- Now all that said, here are some counterpoints and information because I thought it was important to look into why it might be that way, and I will also include ways that I think it could have been done better. Besides having some cosplay experience of my own, I have no idea what they went through to pick or make this look, and it could have been always ended up a lot worse. First off they need to consider the actress, the material, how it moves, how heavy it is, how it looks in movement, fight scenes, etc. - There is concept art that shows many types of looks for her, and while I think they picked my least favorite of them, people need to understand that there was a reason. We don't know and may never know, but it was a choice made. Concept art from the end of the episode:

It could have also been that it looked better in person, or that they wanted a distinct look for it in live-action to make it feel more realistic or unique. Here is other concept art of Ahsoka from Rebels and The Clone Wars, Link Here

----------------- Also, many people aren't aware of this, but the Mandalorian is made to look a lot like the OG movies. They specifically try to only use camera angles/ movements from that time. They try to do action that fits the original films style and also is similar to old westerns. They have a very specific look they're going for, and a lot of people don't know this. This also includes the use of miniatures, puppets, and as many realistic things as they can for costumes and the interactive parts of the set. They use CGI and new tech too, but aside from the large screen they use for scenery they seem to only use CGI when it's really needed and not for everything like blockbuster movies or even some shows do, aka they don’t overuse it.

Here are two links for more info on this. They are long but have a lot of cool insight into the show: link for filming style here — link for the tech they use for filming here They have the tech and probably money to have made Ahsoka's lekku & montral CGI, but it was a deliberate choice in style not to do this. Was it a good idea, maybe yes, maybe no, maybe a mix? In Season 1 Chapter 6 of The Mandalorian when they had the Twi’lek Xi’an and I saw how her lekku moved I was concerned for if they ever included lekku in a more prominent role.

As you can kind of see in the above gif, they didn't have enough weight to them and were too foamy/rubbery in their movement. It seems like the same stuff was used for Ahsoka's, which resulted in the same problem. Since we've only known her in animation where they can change things to a much more finite degree, it's off-putting in live-action, and it kinda falls into the uncanny valley which I think is why it's slightly weird to see. If we had seen her in live-action first this probably wouldn't have bothered people as much.

Video Link to show it better

I included the older Clone Wars version of Ahsoka in here because I believe they mixed her looks together to come up with the live-action design. - We saw Shaak Ti in live-action years ago and many people are pointing to that as what they should have gone with for Ahsoka. A reminder that was done for a film, not a TV show, so there will be differences in quality and style. I do think they could have used that as a model to base Ahsoka on, they should have access to old headpiece unless it just deteriorated with time. Here’s a video that includes behind the scenes looks of Shaak Ti, Youtube Link Here

Also here’s a look of Ayla from the Prequels and from the original trilogy of the Jaba palace Twi’lek to compare how they look with the Twi’lek in the Mandalorian.

I think the original trilogy looked better than the lekku in The Mandalorian so if they’re using similar material to keep it more fitting to that time, maybe they need to make them longer to hold more weight and look like actual flesh and not foamy rubber.

They could have also gone the route of making different headpieces with other material depending on what they were being used for. Again it's a TV show, not sure if they have the time or money to do this or think it's worth it for just one episode. But they could have had one made of that foamy material for action scenes, and then one that looked more like Shaak Ti's for scenes where she just talked or moved some. Honestly, this would have been their best option, and as far as I can tell, that wasn't done. I see people mention they could have done no action or less action and made better lekku, but there are already people complaining that there wasn't enough action or movement in her action scenes. You can't please everyone, and I think they struck a good balance.

----------------

Other opinions of mine on her live-action version. I think Ashley Eckstein should have been the one to play Ahsoka in live-action, or I think they should have dubbed the voice. The actress playing her in this wasn't bad, but honestly, she brought nothing new to the role and didn't do enough to capture the smaller nuances of Ahsoka's character. Some of these problems could have been fixed by dubbing her voice, even if she didn't move or look like how people wanted Ahsoka to in live-action, having her voice would have made a big difference. I don't know if Ashley was brought in on this; she hasn't mentioned anything as far as I have seen. I would find it strange if she wasn't involved since Dave and her are friends. Both really love the character, but he doesn't have full control over the show and maybe she wasn't made a part of it for one reason or another. But if she wasn’t, I think that was a bad choice, she’s the one who brought her to life in the Clone Wars. - I also think that we don't always need a big name or famous person playing a character, we could have a dubbed voice and had someone performing it who was a stunt woman or an actor who isn't as well known, this has been done in Star Wars before.

Also look at this cute cosplay of Ashley as Ahsoka:

--------------------- TLDR: Lekku and Montral are not easy to make or look real, I think the creators did the best they could with the style they try to achieve (again we don’t know behind the scenes stuff or their choices), there is stuff that could have maybe improved the look. Many people don’t understand the amount of work that goes into something like this and that sometimes choices are made for a design that you may not like, but that doesn’t make it wrong. Art is a creative thing which includes taking risks, putting a unique spin on something that exists, and sometimes making choices that not everyone will like.

--------------------

But still I’m happy we got to see live action Ahsoka and I’m glad she was able to bring joy to so many people. I’ve watched the Clone Wars since I was a kid and have always loved Ahsoka and while I have my nitpicks about her live action version, overall, I think they did a good job. I was disappointed at first, but now not so much, and instead I just view her as a different version and that she’s unique in her own ways. I remember when Rebels Ahsoka came out a lot of people hated that version, personally I loved it, there are aspects of her design I didn’t like as much tho.

I also feel this was her only appearance in The Mandalorian, I don’t think she will return again, as far as the story goes, I don’t think there is a need for her to return either. I personally would prefer to have Ahsoka stay as an animated character if she got her own show, animation suits her better and has fewer limitations for the creators.

#enjoy my long info dump #about the new episode of the mandalorian #also spoilers below the cut #sorry info dumping is a thing i like doing lol #i spent way too long on this and should actually be sleeping #whoops #the mandalorian spoilers #manod spoilers #mandalorian spoilers #mandalorian season 2 #mando s2 #the mandalorian #spoilers #ahsoka tano #live action ahsoka tano #shira info dumps #at 2 am lmao

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phoenotopia · 5 years

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2019 August Update

"Shoot for the moon. Even if you miss, you'll land among the clouds." That's a quote ... that I think succinctly captures what transpired these past 2 months. A lot of progress... but the game is still not done >_<

(extra note: actual quote is land among the "stars", but stars seems like a higher goal was achieved, so I modified the quote).

Anywho, here are some of the things we have accomplished in the past 2 months.

--- ALBUM ART ---

With the sound track essentially done, Will requested some album art. So Pirate and I compiled a bunch of album art that we liked from other games, and from that Pirate made a bunch of concepts - and then we narrowed it down from there, with the 3 of us interjecting our opinions throughout the process, and Pirate doing all the heavy lifting. The album art will be revealed later. For now, here's a teaser of our initial brainstorm process.

(round 1 : brainstorming and concepts)

(round 2 : Survivors from round 1 progress a little more)

--- NEW BOSS ENCOUNTER ---

I thought the scope of what needed to be done for the game was settled, but while writing out the new ending sequence, one part started to drag. There was too much exposition, so after brainstorming a bunch of ways for how this new ending sequence could flow better, it became clear... There needs to be another boss encounter! This boss would really help the pacing of the scene, and it made nice thematic sense and tied up the game's whole story arc in a more satisfying manner. To avoid spoilers, I won't talk it too much, but here's a little silhouette teaser.

(hint: it's not a bat)

--- WRITING ---

Writing doesn't happen linearly since I'll skip around fairly often. It's a delicate balancing act - if I force myself to stick in one area before I move on, progress will grind to a halt, snagged on those last few unscripted lines due to writer's block. But if I skip around too much, the context switch takes some time in itself, and the game can't be enjoyed by playtesters. So for that reason, the beginning and ending sequences are now finished (excluding the credits roll...). But there's still a lot of middle parts to fill in and plenty of side quests still.

For example, there are ~90 NPCs in just Atai town. And each one will talk about 4 text boxes of dialogue (some more, some less). A bunch of NPC dialogue will also change when a big event occurs in the story. So there needs to be a healthy mix of NPCs that push the important story bits, NPCs that push side quest hints, NPCs that talk about geography or history, NPCs that are just for fun, etc. So there's a lot of variables to keep track of.

I've started thinking of better ways to manage it all. One of my new workflows is to use a spreadsheet.

Topics to cover exist in a column on the left. Lines to be spoken by NPCs are stacked to the right. A cursory glance at the spreadsheet lets me see which conversational topics could use more coverage, and so on.

I even took on new writing help in a young Mr. Cody. Taking on a new writer has been a process because it is not as simple as tossing them some NPCs and letting them run loose. There has to be a ramp-up period for the writer to become familiar with the lore and writing style. There are also unspoken rules about Phoenotopia's universe I implicitly understood and never had to think about. But now that I'm cooperating with someone, I've had to think about verbalizing what those rules are. It takes up more time, but in a weird way, having an outside perspective also helps me understand Phoenotopia more. I also find that I can push through my writer's block more easily when coming from a corrective angle.

I've been quite the strict taskmaster to the new writer, but he's been very resilient and teachable. He's also a great ideas guy. So look forward to Cody's contributions in the finished game!

--- PLAYTESTING ---

The long road of playtesting begins! As mentioned in my previous blog, my goal was to have my brother playtest the finished game during our trip. He didn't get to playtest the *finished* game, but he did get to playtest through a good 40% of it. The game is pretty complete in a linear fashion up until the 40% mark - after that, the rest of the game world exists but the NPCs have placeholder dialogue, and the cutscenes to connect the story events together are still unscripted.

But that wasn't too big a limitation because my brother only reached the 40% mark during the tailend of our trip. My brother preferred to play in 1-2 hour chunks throughout the trip (no marathon session on the plane as originally planned). I think it took him about ~15 hours to get through the game's first 2 chapters and a little extra - unfortunately, the game's timer bugged out so I don't have an exact figure.

Tons of useful information came out from his play test. I wrote down *127* things to fix based on his playthrough - some were small things, like adding more signposting. Others were big issues - a boss stage needed to be redesigned, a needed change to the control scheme, item dupe bugs, etc. I'll speak on some of the ones I've fixed so far here:

A. Warehouse Visibility Low

For some reason, when starting out my brother completely missed the warehouse where you'd find the starter weapon. He ran past it a few times. Upon inquiring him about it, he said he didn't think it was interactive. Sure enough, all the doors on the left start open, so I see how the misconception could form. When players experience a game for the first time, they're developing a mental image of the game's rules - what's interactive and what isn't. And this early on, the language for doors is still unclear. Per his suggestions, I made this door start open, and moved the camera's edge left a bit to make it less likely to be missed.

B. Eating instructions unclear

Another thing that didn't go as planned was the food eating tutorial. Early in the game, an NPC gifts the player a potato and asks the player to eat it there. After doing so, the NPC gives the player additional tips regarding food. But my brother actually just ran away with the potato so the rest of the tutorial didn't occur. But now with an additional subtle dialogue box, the player is more likely to behave as desired.

(If you design it right, the player won't know you're holding their hand at all)

C. Gear Ring Too Sensitive

youtube

One of the game's new features is what I now call the "Gear Ring". The player can equip 8 items to it and quick-access items/tools with a flick of the right control stick. My brother HATED this feature since it was too easy to flick it accidentally when reaching for the regular face buttons. I've now guarded the quick-equip behind an addition RIGHT-CLICK press. Add in a few more FX, and it now works and feels better!

D. Wrecker Too Hard

(In the old boss arena - the 3D printer on the ceiling just made the fight more confusing)

The game's difficulty to players is a big blind spot for me. My brother's no slouch when it comes to gaming. He's beaten all the Dark Souls games and he loves a challenge! So to see him get pulverized in 10 seconds (literally) was a clear sign that the boss was too hard. The boss is able to easily corner the player and there’s no clear opportunity to escape. So I've decided to rearrange the arena - get rid of the 3D printer above and add 2 platforms to the battlefield's edges. This makes the fight more manageable (for the first encounter).

E. Aerial Attacks Too Hard

(Each hit fills the meter at the bottom. Hit the speed bag 10 times in quick succession to win a prize!)

I love the current aerial attack system but there's a steep learning curve to it. Gail takes time to wind up her aerial swing so the player has to time it so that Gail's jump trajectory and swing coincide with the target. Swinging the bat too close to the ground will result in Gail not only failing to attack, she'll be punished with a short "landing lag" recovery state. So aerial attacks are hard it seems. Instead of revamping the system, which I'm still fond of, I've introduced an aerial training course disguised as a mini-game.

So that's a small snippet of some issues I'll sort through with playtesting. Once the game is further scripted, my plan is to do another round of playtesting, followed by fixing. Then rinse and repeat until the whole game is all polished. It seems there's still a long road ahead... So I apologize if I've gotten your hopes up!

--- FANART ---

Three new fan arts popped up in the last 2 months.

The first one is thanks to Cody. G, who's made many fanart submissions before. He continues to improve - really interesting choice of angle and great water effects!

The next two are thanks to Shafiyahh on reddit. Both depictions are of Gale in 2 different art styles and angles. I really like the sparkling effects! Gale also has 2 different eye colors. Which do you think is more fitting?

That's all for now. We'll continue working diligently, and be back with another update come end of September.

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ocgear · 3 years

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Devlog #6 Writing, Music, and Art

Hey y’all! I wanted to give an update since I’m pretty sure everyone thinks I’m dead ^^;

For quick updates on the project: OCG is being produced in two parts now. Part 1 will contain the many mysteries that the world of OCG has to offer and part 2 will be a sort of answer arc. The first draft of OCG part 1 is written and I’ve been hard at work revising and editing the prologue and chapter 1 of the script. For part 1, there is roughly 6-7 chapters of planned content. I’m hoping that at the end of the day, Part 1 will resonate with you, the reader.

Covid has been extremely hard on my ability to complete the project. I won’t get too personal on a devblog, but my health and finances were impacted. I apologize for the delays and this account’s inactivity. I feel like I'm letting down the people who want to read OverClock Gear and I just want to let everyone know that I'm still committed to working on the project and that despite the inactivity, I'm still working hard to improve every aspect as much as possible.

I'd like to share some of the things I learned along the way so that maybe future devs can learn something from my struggles.

WRITING:

As a warning, I want to say that none of the following are hard rules of writing. These are just things that I've observed as a writer and as a consumer.

Probably the most challenging part of a Visual Novel is writing a script that works with the format. The rules for VN writing are different from traditional novels and screenplays as many elements will be shown on screen but usually not enough to get a full sense what's going on. This is more of an opinion, but I feel that the descriptions should supplement the action and we should pick and choose when to show with sprites instead of describing. This is especially true when considering dialogue and internal monologue will make up a majority of the script akin to a movie.

It's not to say you should ignore everything you know about writing, however. There's still things about structure and character arcs that are useful.

Speaking of characters, balancing your cast is also a challenge. Every character is fighting for enough screen time to develop enough for the reader to care. As I'm writing OCG, I am trimming down and trying to give each cast member enough time to breathe while keeping in mind the characters' backstories and motivations. There's also the delicate balance between backstory and current events to keep in mind. I think it's especially hard to figure out how to reveal backstory without dumping a history lesson on the player.

There's also the issue with paragraph length for display purposes. VNs have a unique format that breaks down text into easily digestible chunks. However, overutilizing the space can sometimes make the reading experience worse.

There are a lot of things to consider visually too when writing your script. I've had to think about the actual space that they occupy so that chain of events make sense. Since there will be visual elements to the story, I need to try to figure out how those elements fit in too as I'm writing. For instance, how characters will appear, do gestures, and different CGs that need to appear are crucial to the format and needs to be considered.

From a general storytelling perspective, I've been toying with the idea of including gameplay. However, I realized that in trying to do so, I'd have to create a bunch of excuses to play the minigame which would be:

1. Unsatisfying without enough stages to challenge the player

2. Disrupt the story to challenge the player

I think that if I wanted to have gameplay, I should plot out the game in a way such that the story fits the gameplay and not the other way around. Since I'm working on a primarily story driven experience, I won't be including any minigames that would take the player out of the experience. However, I have ideas for games that could take place in the world of OverClock Gear. Those are sitting in the vault until I release OCG part 1.

There's also something interesting I learned about twists and keeping people engaged in stories. Maybe this is something of a beginner's trap, but when people say a character isn't interesting it's usually because a character doesn't have anything meaningful to say or do, or they're simply floating through the story without influencing it. Giving a character powers and an award winning backstory isn't really enough to make someone interesting in a story. Giving a character flaws also doesn't make them automatically interesting. It's how you tie all these traits into story and their impact on other characters that make it interesting.

In today's day and age, readers have become more critical and perceiving than ever before, so it may seem like you'd need to hide more information to make your twists have impact. But I think it's better to show some of your hand. Twists also need room to breathe. They need to be logical but unexpected. A reader needs to convince themselves that it was possible through several minor clues leading up to the event. But balancing what to show and what to hide is a challenge in itself. Through showing off my script edits, I came to the conclusion that setting up expectations is a lot more satisfying than trying to make everything a mystery. Readers seem to get frustrated when the mystery leads nowhere in a story for an extended period of time. However, that's not to say every mystery should be revealed in a quick fashion. I think it's a balancing act, one in which we have to reveal what we can to keep the reader engaged while hiding the bigger stuff behind the curtains. In a way it's like slight of hand: We try to misdirect the audience with "true" events in the story and then blow them away with something they never saw coming.

An example of a bad twist from a scrapped project that I did several years ago: The main character meets a super secret organization who protects her from a military government. One of the people who protects her is a commander in that organization and seems to know a thing or two about the MC. However he is shot and killed before anything could be revealed.

There are elements that we can anticipate from the scenario: The MC is caught up in some crazy conspiracy with rogues and the military. However, the characters don't come off as interesting because they aren't given room to breathe. The organization became a device to set up the premise of the story. The commander doesn't impact the story and basically anybody else could've stepped in to save the MC. The MC isn't given time to bond with the commander and as such the twist at the end doesn't come across as earned.

These are just some thing that I've been thinking about as I've been consuming media and writing. There are too many games and fictional works that I've ruined for myself by being too critical. But through this, I'm hoping that the final script for OverClock Gear will be something I can be proud of.

Art:

I'm studying animation production to try to incorporate some of that knowledge into my VN. I want to be able to create a more immersive experience and make my VN more visually appealing. Some works that I really like are Muv Luv and Phoenix Wright. They're both unique in their presentation and utilize different parts of visual media that make them stand out.

The Muv Luv team are masters at using dynamic camera movement to craft visual spectacles. Despite the sprites being mostly non-moving, the way they are tweened and the few pose changes they have are combined with the camera in a way that almost makes them feel alive. Even in the first cutscene of Muv Luv Alternative, the parallax effects and strong camera angles help to sell that cinematic feel that isn't really found in any other VN's I've read.

Phoenix Wright's sprites are a joy to look at. The animations are done with such strong key poses that I sometimes forget the game's animations were meant to be limited. In the modern day, there are many tools that are used to create smooth looking animations with complex actions like 3D models or Live2D. I'm honestly not a huge fan of Live2D animations as it often looks as if a puppeteer is handling the rig. 3D also presents the issue of having to create specialized rigs that can handle weird scenarios like foreshortening. For example in Dragon Ball Fighter Z, there's a lot of model distortion in cinematics that is pretty complicated for someone with no 3D expertise. Facial expressions are also a huge part of making visual novel character appealing which can be difficult to do well on a 3D model. Not to mention, to emulate a 2D style, the frames need to be displayed at 24fps which means chopping frames in-between the interpolated keys. It can be a lot of work to create something that closely resembles "Anime". There is also a charm in a more traditional approach to animation that I think more visual novels should employ. Though I recognize that for complicated sprites, a traditionally drawn 2d animation isn't practical at all, I want to use the idea of strong key poses to create more lively sprites as well as play with depth to further immersion.

There are some more ideas that I have for creating a better visual experience, but I don't want to go into too much of a tangent ^^;

Music:

I went back to learn more about music theory and I came across some great videos that emulate the Japanese video game/Pop style. If you're curious, you can check out Gavin Leper's channel on YouTube. That being said, something I realized about music in Visual Novels and Film in particular is that sometimes the music should accompany the dialogue or actions in the work instead of overpowering it. There are moments when elevator music is important and when it's important to use a swelling emotional piece. Not everything in life "goes hard" and I think that also applies to music in stories as well. Music in games is also designed to loop in contrast to film where individual pieces can be created for specific scenes. This adds an entirely new thing to think about since it needs to be repeatable without getting annoying. I don't really have a clean answer to this, but to observe songs from games you like and see how they transition from the end to the part that loops.

This was a long post and there's so much more I want to talk about but I'm trying to stay productive and get the script done. For anyone else struggling with finishing their VN, "Finish the Script" by Scott King is an excellent book. Wishing everyone the best!

- OCGDev

#visual novel #gamedev #anime #writing #music #art

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hellosaltysaladcollectionstuff · 5 years

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Back to Sundance we go for another year of discovery. What's on the line-up this year? Out of the 110+ films showing at the 2019 Sundance Film Festival, I've chosen 10 that I'm looking forward to seeing the most. To keep things well balanced, I've chosen 5 feature films and 5 documentaries from the line-up. There are so many films playing at the fest, and so many I'll end up seeing (30+), that this is a quick list to get everyone acquainted with some of the work premiering in 2019 (I just want to go see everything). There are new films from filmmakers like Ritesh Batra and Lulu Wang, and incredible documentaries that are also worthy of our attention, plus many other films. You never really know what will good or bad, but here's my first few picks.

This is my 13th year in a row returning to Sundance, starting back in 2007. I'm so excited to be attending Sundance once again, and can't wait to dive into the films more than anything. There's so many I am curious to watch from this year's line-up. For now, here's my Top 10 most anticipated films before the fest begins.

Alex's Most Anticipated \Sundance 2019/ Feature Films:

Hala Directed by Minhal Baig

I've been following filmmaker Minhal Baig (mostly on Twitter @minhalbaig) for a while now, and she is ready to finally break out big and show everyone how talented she really is. Hala is her second feature film following her debut 1 Night, and it's much more personal this time. The story is about a Muslim teenager named Hala - played by Geraldine Viswanathan - who lives in Chicago with her immigrant parents from Pakistan. There she copes with the unraveling of her family as she comes into her own. It's a coming-of-age story but told from an entirely different angle that we rarely see, as Sundance explains that Baig "brings a vital and layered female perspective to the coming-of-age genre." They add that she "crafts a character and story with immense relatability and unexpected consequence." I've been looking forward to seeing this ever since I first heard about it, and I'm excited that it's finally ready to premiere at Sundance. Congrats, Minhal.

Photograph Directed by Ritesh Batra

Back in 2013, I fell in love with a little film called The Lunchbox, starring Irrfan Khan and Nimrat Kaur. After making two other English-language films, Our Souls at Night and The Sense of an Ending (both from 2017), filmmaker Ritesh Batra returns to his roots and his hometown in India with Photograph. Set in Mumbai, the film is about a struggling street photographer, pressured to marry by his grandmother, who convinces a shy stranger to pose as his fiancée. The pair develops a connection that transforms them in ways that they could not expect. As a photographer myself, I'm already intrigued. But I've also got a good feeling this might be a magical, lovely new film from Ritesh Batra and I'm looking forward to seeing where he takes us. If it's anywhere close to as sweet and as honest as The Lunchbox was, it will be another instant favorite.

Little Monsters Directed by Abe Forsythe

There's always one or two films in the Midnight section that I have to see, just because they sound so crazy and fun. Little Monsters is exactly one of those that I'm going to stay up late to watch. Described as a "film dedicated to all the kindergarten teachers who motivate children to learn, instill them with confidence, and stop them from being devoured by zombies." The massively talented Lupita Nyong'o stars as that teacher, taking on an extra bloody role that will hopefully allow her to show off more of her badass side. Plus there's always room for more zombies movies, right? Why not, they're always entertaining. "Armed only with the resourcefulness of kindergartners, [they] must work together to keep the monsters at bay and carve a way out with their guts intact." I'm fairly certain this will be a good one, especially with the late night audience.

I Am Mother Directed by Grant Sputore

One of the few sci-fi films playing at Sundance, which means I have to see it no matter what. But it also looks and sounds compelling. I Am Mother features a robot designed by Weta Workshop in New Zealand, and marks the directorial debut of an award-winning commercials director from Australia named Grant Sputore. And yes, the story seems quite promising. A teenage girl is raised underground by a kindly robot "Mother" - designed to repopulate the earth following the extinction of humankind. But their unique bond is threatened when an inexplicable stranger arrives with alarming news. This reminds me a bit of Moon (which premiered at Sundance 2009) mashed up with other sci-fi concepts. The robot's design is familiar but sleek, and the handful of images they've released so far all look better than expected. Don't let me down, Sputore.

Velvet Buzzsaw Directed by Dan Gilroy

So, this looks awesome! And totally insane! And weird, and captivating, and funny, and twisted, and sly, and wicked, and frightening. Velvet Buzzsaw is the latest film written & directed by Dan Gilroy, a screenwriter who turned director (or perhaps became a true auteur) making his debut with Nightcrawler in 2014, and following that up with Roman J. Israel, Esq. in 2017. This time he attacks the art world, with a film that seems to be about pieces of art coming to life and killing people. Something like that. The cast also is quite impressive: Jake Gyllenhaal, John Malkovich, Toni Collette, Rene Russo, Daveed Diggs. And this looks like the perfect follow-up to Ruben Östlund's Palme d'Or winning film The Square, with both films mocking and lambasting the absurdity of the modern art world. I'm so there. Watch the official trailer here.

More Feature Films I'm Looking Forward To Seeing: Lulu Wang's The Farewell, Rashid Johnson's Native Son, Paul Downs Colaizzo's Brittany Runs A Marathon, Nisha Ganatra's Late Night, David Wnendt's The Sunlit Night, Makoto Nagahisa's funky We Are Little Zombies, Noble Jones' The Tomorrow Man, Bert&Bertie's Troop Zero, JD Dillard's Sweetheart, Patrick Brice's Corporate Animals, Tayarisha Poe's Selah and the Spades, Daniel Scheinert's The Death of Dick Long, and May el-Toukhy's Queen of Hearts.

Alex's Most Anticipated \Sundance 2019/ Documentaries:

Memory: The Origins of Alien Directed by Alexandre O. Philippe

A documentary about the making of Ridley Scott's original Alien! Say no more, I'm already there, I wouldn't miss this for anything. This is the latest doc film made by Swiss filmmaker Alexandre O. Philippe, who has been making docs about cinema and filmmaking for a while - including The People vs. George Lucas, and 78/52: Hitchcock's Shower Scene just before. I'm curious how much this will cover and how much it will uncover. It seems to focus more on how they came up with the original ideas and designs for the film, less so the filming or release. "Philippe's real interest lies in the deep resonance of myths and our collective unconscious. The strange symbiotic collaboration between Alien creators [Dan] O'Bannon, Scott, and H.R. Giger suggests a greater synchronicity across history, art, and storytelling, a synchronicity that gives us the Furies, creatures of Renaissance painting, and even chest-bursting aliens." Sounds damn good, right?

Moonlight Sonata: Deafness in Three Movements Directed by Irene Taylor Brodsky

Another documentary that sounds exceptionally unique. The short Sundance description grabbed me right away: "A deeply personal portrait of three lives, and the discoveries that lie beyond loss: a deaf boy growing up, his deaf grandfather growing old, and Beethoven the year he was blindsided by deafness and wrote his iconic sonata." It's a multi-generational portrait of people dealing with deafness, capturing the complexity of silence and hearing. And I am more than intrigued to find out how filmmaker Irene Taylor Brodsky (of Hear and Now previously) examines these themes and weaves these three stories together. Sundance talks it up even more in their description of the film: "Brodsky explores the meaning of deafness, loss, and the power of silence as her son discovers his unique voice and her parents confront a new chapter of their lives," adding that it's "buoyed by a perceptive soundscape and luminous animation." I really want to see this doc.

Midnight Traveler Directed by Hassan Fazili

There's always a remarkable doc discovery, or two, hidden in the Sundance line-up telling an unforgettable story from somewhere else around the world. Read about this film and you'll instantly get a feeling that it's going to be something special. Midnight Traveler is a documentary made by a filmmaker from Afghanistan, Hassan Fazili, who flees his home country and takes us on a perilous journey with his wife and two young daughters as they travel as refugees across Europe searching for a new home. It seems to be a very personal, inside look at the life of a family just trying to surviving on the run from certain death. "Chronicling every step from inside the action", Fazili's camera captures "not only the danger and desperation but also the exuberance and tenderness of this irresistible, loving family." Just look at that shot of them all in the snow above! They seem so loving, wonderful, and authentic. I want to see this just to meet and learn about them.

Apollo 11 Directed by Todd Douglas Miller

I'm a space nerd. I'm a big time fan of NASA. I'm surprised we haven't seen a documentary like this before, but I guess In the Shadow of the Moon is close (focusing on all of the Apollo missions). And I loved Damien Chazelle's First Man, which is also about Apollo 11, so I'm totally ready for this next. The documentary is purported to be an exhilarating cinematic experience, something that demands to be seen on the big screen. NASA has been digging out old footage and photographs and other artifacts from the vaults, putting all of the original footage from the Apollo 11 mission online + uncut audio recordings and more. Produced by CNN Films and Statement Pictures, this film "features never-before-seen, large-format film footage of one of humanity's greatest accomplishments." Oh yes. Can't wait to experience this. Watch the teaser trailer here.

Hail Satan? Directed by Penny Lane

A documentary about the rise of the Satanic Temple religious movement? I'm certainly curious. And it's the latest doc film made by Penny Lane - a quietly talented, quirky, fun filmmaker behind other fantastically weird documentaries like Our Nixon, The Pain of Others, and Nuts! (about a guy who sold people a goat-testicle impotence cure - it premiered at Sundance 2016). I don't know how deep this is going to go, but I am intrigued to find out. Sundance references this eye-brow-raising part of the Satanic Temple's history in their description: "Through their dogged campaign to place a nine-foot, bronze Satanic monument smack dab next to the statue of the Ten Commandments on the Arkansas State Capitol lawn, the leaders of the temple force us to consider the true meaning of the separation of church and state." Sounds like something I have to see for myself, at the very least because no one else is making films about this fascinating topic anyway.

More Documentaries I'm Looking Forward To Seeing: Kenneth Paul Rosenberg's Bedlam, Steven Bognar & Julia Reichert's American Factory, Ben Berman's Amazing Johnathan Documentary, Ljubomir Stefanov & Tamara Kotevska's Honeyland, Petra Costa's Edge of Democracy, Garret Price's Love Antosha, Hepi Mita's Merata: How Mum Decolonised The Screen, Karim Amer & Jehane Noujaim's The Great Hack, Ursula Macfarlane's Untouchable, and Alex Gibney's latest The Inventor: Out for Blood in Silicon Valley.

For all of Alex's Sundance 2019 reviews and updates: Follow @firstshowing

For more Sundance 2019 previews around the web, highlighting early picks and potential breakouts, see: The Film Stage's 20 Most-Anticipated Premieres, and Indiewire's 21 Must-See Films At This Year's Festival. You never know what might be a big hit, and it's vital to have a pulse on the buzz – even before the festival starts. There's plenty of exciting and hopefully superb gems hidden in the 2019 line-up, bring on the films.

You can follow our Sundance 2019 coverage and updates in this category. The festival kicks off January 24th and runs until February 3rd, with lots of films to see every day. Let's jump right in and start watching.

from FirstShowing.net http://bit.ly/2FGN8w1

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