Messages

Willem is very upset that you guys haven't guessed his movie yet.

Not The Bunker! Indeed: Never The Bunker.

It is none of these, but I pledge to seek out a copy of Picasso Trigger to watch soon.

Argh! I misread and for some reason thought Ilyich had already answered. Sorry! I'm away from my movie collection right now, so here's one from the internet. No cheating:

There have been at least two sequels. I haven't seen the newest one, but I liked Kirikou and the Wild Beast. It was hard as hell to track down a copy, though.

Hard as hell / you can buy a copy on Amazon.

I don't think it's that obscure for those who appreciate animation, of which I'd guess there are many on this board. Not available on Netflix, Ponch, but there's an English version available in chunks on YouTube.

Oh shoot! I haven't seen that movie in a decade. That is James Urbaniak, isn't it?

Untitled Parker Posey Project

That's my favorite indie band too!

Better yet, show don't tell. Stick that newspaper as a readable object in an office starting room.

I'd love to see this retrospectively for this year's games, even.

Apocalypse cheerleaders with machine guns.

Heroes in a half-shell! Turtle power!

I'm curious to see some data on this. Could somebody make a list of all games nominated for the last three years, and point out how many of them are commercial? Are all or most of the winning games actually commercial games?

If I've read everything correctly....

2010: Unsure of this data -- 11 of 17 by Journey Down, which wasn't a commercial game at the time, but is now, right? I wasn't around yet in 2010.
2011: 9 of 17 by commercial games (Gemini Rue & Blackwell Deception)
2012: 12 of 17 by commercial games (Resonance -- actually 13 of 17, if you count a bake sale game, RAM Ghost)

So 61% in the past two years have been won by commercial games (64% if you count RAM Ghost). That 64% stands if you count Journey Down as a commercial game and spread the stats over three years.

Source: AGS Wiki

One thing I might suggest is that there be more attention paid to the credits in listing the nominations. For instance, in the Oscars, the producers get to stand up for the Best Picture award, the director for Best Director, all the way down to the technical positions. All of the nominations were listed as being for Vince, and he had to clarify in his thank-yous who actually did the work. Part of the reaction might be to Resonance as a monolithic entity winning all of the awards, whereas Vince was careful to say, "Credit for this award goes to Shane Stevens / Janet Gilbert / Nikolas Sideris / etc."

I know that Bicilotti had a ton on his(?) plate though. I hope to be able to offer to help out more next year. Another thing that might help is some sort of showcase in between the nomination and voting phase, where each game has a write-up, a screenshot, some commentary from a person not affiliated with the creation of the game. Maybe a stand-alone webpage or PDF. The wiki is nice as a record of events, but it provides little context besides links for someone interested in the games. This showcase might also serve as a sort of outreach to other gaming sites, like a press release, to better achieve the mission of the awards, which I assume is to spread word of the games, as well as the engine.

Money where my mouth is: unless my life is completely topsy-turvy next year (like it was/is this year -- sorry again, Bicilotti), I'll volunteer my time and skills to help out with such an effort if anyone thinks this is a good idea.

I thought about these people on abydos in stargate too, but I've seen the movie way too often to know it's not from the film so I didn't post at all.

You may think you're a Stargate fan, but have you ever played Stargate-themed laser tag? For some reason, when I was a kid, that's what our local laser tag place was.

I wonder if part of it is the shift to thinking of adventure games as shorter serials. I've seen and played a number of "Chapter 1" games this year -- Anna's Quest, which was nominated for best game was one -- that may, in the olden days, have been considered a demo.

Feel free to playtest the next playable build, though

Is this an open invitation?

You're not the team behind the paper, "Live Hypernarrative and Cybercartography: You Are Here, Now" are you? I just ordered a copy of that for potential citation in my dissertation.

Oh my gosh, this bit:

I just want to confirm that this game will not be continued. Matt has decided to move in with his father and so there is no relevance in completing this series when he doesn't live with us in this house where the inspiration and entire story takes place.

gut-punched me right in the soul.

I know nothing of grain, so I'll talk about composition and lighting. I really like images 2, 4 and 5, and hope that you'll be able to use the LightLevel (someone will correct me if I'm wrong on this) so the character will match the lighting dynamics of the rooms.

Image 1 pales compared to the others because the lighting is all the same. I think if you strengthened the light source to provide some more contrast, this one would look better. The hard edge of the triangular light ray of image 3 bothers me. That's the only thing. I love the set up and composition of this room, especially that icebox.

As always, my comments come with the caveat that you do this much better than I would ever be able to.

Indeed! Haggis has it right. Why would Disney not get Robert Stevenson, director of Old Yeller, Darby O'Gill, Mary Poppins, The Absent-Minded Professor, The Love Bug, and tons more, to direct Swiss Family Robinson based on the book by Robert Louis Stevenson?

The only thing that boggles my mind more is Sam Shephard playing Chuck Yager, Scott Glenn playing Alan Shepherd, and Ed Harris playing John Glenn in The Right Stuff.

I'll post another screen when I get home tonight, but here's a convoluted hint in the meantime: It always bothered me that this movie wasn't directed by another director who made popular films for the studio that produced this one, if only because he has pretty much the same name as the author whose book this film is taken from.

Nope and nope!