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Yeah, the noise on the ship looks distracting. Main problem for me is not the grainy look, but the fact that the grain doesn't change. It just floats on top of the screen. But you can very easily change that. As it seems you're using Cycles, check the Render settings, under "Sampling", click the clock on the seed setting. Now the grain should change from frame to frame instead of being "stuck", which even might give it a more analogue feel. That being said, the grainyness on the ships should be reduced nonetheless. It seems to be a problem with the light sources and the reflections, as you have pointed out.

Yeah, it is Identity

Older than that.

Maybe with another clue?

Newer than True Romance, older than Deathproof.

No.

Wow, I've seen it many times, but that shot just didn't look familiar. It was the shotgun clue that got me to recognize it.

Next:

Doesn't look like it, but: Jurassic Park?

Tremors?

Kumpel's right. It is from Prisoners.

Next:

Is that from Rubber?

The Fall?

Depth?

The years are going by pretty fast ...
Thank you all

Noct or Darkwood?

Harald Töpfer?

It grinds my gears that in Chrome, I cannot go to the last page with backspace anymore. It was so convenient, and ALT + left cursor isn't.

Thanks. I've gotten a hold of the dialog problem now.

Will update soon with new screenshots.

Thank you for setting that up. Looking forward to seeing some more folks in the channel.

I very much enjoyed Nobody Cares, and I think you nailed the mood. I think everyone who does some kind of art can relate to the feeling that you want to tell the world about it, and nobody cares, because why should they. It also managed to make me uncomfortable, especially in the dinner scene, where I didn't like to choose one of the dialog options because they all seemed so mean to me. Usually in video games, there is at least one option which the player can relate to, but it's refreshing to see a character for which I want to care and whose life I want to get better, but I can't. Congrats on that.

In a way, I like Mandles idea of an epilogue, because

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not only does it mirror Weiniger's live and death, but in a way, also Kafka's, whose works also have been published posthumously. But in a way, I also don't like it, because I feel it should be left open if his last work really was a masterpiece or if it was just another piece of trash by a delusional writer.

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It is sad to hear that all the typos weren't made on purpose, because I think that would add another fine layer to it. There is an expected connection between the quality of writing and the quality of orthography, when many good novels are surely riddled with grammatical mistakes and typos before the editor got hands on it. I also

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tried to tie Francis' mistakes to Natalie's notes, implying that Natalie (or at least the notes) was just a figment of his imagination and the notes were made up by himself.

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