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Prikvačeni tweet
I do too many pol tweets. So tldr, Brexit's a disaster, Trump's an idiot, racists are turds, and I'm a feminist. There, you're up to speed.
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Jonathan L. Howard proslijedio/la je Tweet
this is beautifully written and tremendously affecting. go give it a read.https://twitter.com/suntorya/status/1225463051773718528 …
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I wrote a THUNDERBIRDS screenplay for fun. It was always a given the climax would be a rescue requiring the deployment of all five Thunderbirds machines. Giving them all something to do, plus what's going on at command, yes, that got complicated, but it still flowed smoothly.https://twitter.com/LaraRouseWrites/status/1224911455843246081 …
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"There's nothing here to spend your money on, but gambling and whores."
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One thing I can tell you with confidence, however, is a story an artist friend told me when he went to the US in the '90s seeking work. He interviewed at Westwood. They wanted him, but offered him risible compensation. When he questioned it, they told him, hey, it's Vegas.
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I'm not going to name names, but there was somebody senior at Westwood who was VERY influential at VIE US, and the evidence seemed to indicate he was using that influence to screw us over to maintain Westwood's position. I emphasise it was all circumstantial, but telling.
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We did a manual count, going through gaming magazines and counting ads. TOONSTRUCK received better than three times the ad space CIRCLE OF BLOOD did, which got nowhere near the ad spend promised. Our strong suspicion was Westwood got most of our agreed ad budget.
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Then there was the curious case of the marketing spend. Westwood's TOONSTRUCK was stuck in development for ages, and missed several release dates. Everyone one of those was heavily advertised. CIRCLE OF BLOOD (bleh), by contrast, barely got any ads.
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We argued strongly against it. It was a bad title, it was an irrelevant title, and why hadn't we even been consulted? Didn't matter; we were overridden, and US gamers expecting a game called BROKEN SWORD were wrong footed. We never got a clear explanation for the change.
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Whether it was by intent or just by coincidence, I can't tell, but either way it was a pain in the arse. We'd done a lot of pre-release publicity work for BROKEN SWORD in '95 when the word came through that it was going to be retitled CIRCLE OF BLOOD in the US for no good reason.
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When people think of Westwood, they tend to think of C&C, but they also did point'n'click adventures. When Revolution was part owned by VIE, we were nominally a sister studio to Westwood. We did not like them, as we kept being shafted in the US market in ways that favoured them.https://twitter.com/Darren_Mooney/status/1225095300488081408 …
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Jonathan L. Howard proslijedio/la je TweetHvala. Twitter će to iskoristiti za poboljšanje vaše vremenske crte. PoništiPoništi
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There they go, Walkin' down the street, Into obscurity, So let me repeat... HEY HEY WHO WERE THOSE GUYS? *Song stops abruptly*https://twitter.com/hellothisisivan/status/1225083914491961347 …
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If Appalachian Eldritchness appeals, then come hither. Even if you *think* it's not for you, GHOST DAYS is a beautiful artefact with gorgeous artwork (internal art FTW) that would grace any shelf (ITS,TJ is a novella featuring the same protagonist). Do iiiiit...https://twitter.com/asher_elbein/status/1225078323660959747 …
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For example, "Well, it's..." (checks watch, starts to put it away again) "ten past..." (strikes him he didn't check the hour, fishes it out again) "...four." It's done seamlessly, just a man checking a pocket watch, but it's the inevitability of it that makes it funny.
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He's constantly checking his watch, never anticipates it read 4:10, and is able to navigate his way through the day with that. Jones plainly loves this conceit and finds variants on it (it's one of TGOMH's joys that everyone is constantly working, reacting, thinking).
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So, hurrying down from his room at ten past four one afternoon, he stumbled on the staircase, fell, and broke his neck. His watch stopped with his heart and now it is eternally ten past four. The gag is that, somehow, that works for him.
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(As an aside, there's a quiet anti-imperialist air to TGOMH; Sir George is the British Empire incarnate, blustering, paternalistic, but the one time we see him given real power, he runs amok with it. Most of the time, however, he's powerless and is bearable like that)
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Sir George (Freddie Jones) was a career soldier whose proudest moment was attending the opening of the Suez Canal. As a general, he was a far greater threat to his own troops than the enemy. It's not surprising that he didn't die in battle, but -- it's implied -- hurrying to tea.
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Keep thinking back to THE GHOSTS OF MOTLEY HALL. So ridiculously well written, and with so much world building quietly slid into the narrative. I especially liked a running gag about the death of General Sir George Uproar that's so lightly handled, it doesn't come over morbidly.
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Jonathan L. Howard proslijedio/la je Tweet
GAMES NARRATIVE PEOPLE! Writers, designers, students, employers...
@TheWritersGuild has published guidelines to help those in videogames narrative since 2006, and now we're updating them! Please give 10 minutes to help us shape our industry: https://surveymonkey.co.uk/r/6JTSG36 pic.twitter.com/9rST5cBkn1Prikaži ovu nitHvala. Twitter će to iskoristiti za poboljšanje vaše vremenske crte. PoništiPoništi
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