I think this is gonna be one of those things that people will go "huh? I don't see it" about for a while, since I know where the fascists need to go in the story for the story to be good.
operative phrase here would be 'boiling frogs'
i think you're gonna see some stuff, and if you know your history and your theory, you're going to go "oh, I'm starting to see some of this" but it's not gonna like hit you in the face until a different project
gotta lay groundwork first
I think once THIS game is done you could probably examine the game and actually talk about the fascism latent in the society in which the characters live, as well as identify characters who are pushing fascist ideology?
but actually recognizing and dealing with fascists will happen later. we need to lay the groundwork for this entire universe first.
i guess a way of putting it is that this shit doesn't emerge, instantly, in a vacuum.
it happens slowly. it happens _understandably_ (that is, we can understand the conditions that create it and figure out how to cut them out)
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i also think about this scene with harrison ford in working girl
i want to make these games where attraction is treated as natural, where desire is understood as part of the human condition, but what I _really_ wanna get at is the emotional connection between the characters more than anything
just as a reminder, waifu death squad, which we were pitching for a while but decided was too ambitious, is now waifu death squad 2, so if you search that name you'll find some stuff that definitely isn't gonna be in the game currently codenamed waifu death squad
the tl;dr is that i wrote a game that takes place in the aftermath of an incident seven years prior, and now I am writing the game about the incident seven years prior.
depression is an annoying illness to have because i'm actually pretty happy right now and depression is like some guy across the hall yelling "stop it! stop having fun!" my dude i am about to have more fun than you could possibly imagine
Writing a game is an act of magic. Nobody writes stories or plans games like we do, it seems. I want to make the act of making and expressing ourselves joyful.
Some of you, I think, will play a game that's about examining the dead for one final story and you'll wonder how this could have been a joy to write. But I can see the ending. So I will take you there. It will take a little while.
I remember feeling like this way earlier on in my career and it took forever to mature past this mindset.
the easiest way to get past any of this is go "okay, why is the player interested in my game RIGHT NOW?" and if you can't do it then you should probably cut that part
you can do this with anything. writing a movie? why does this scene exist? does it accomplish anything? can you articulate why you needed it to go here? no?
is your gut powerful enough to go "yes, this NEEDS to be here even if I can't articulate why"? no?