So Josh wanted to do Honest Hearts. We overruled him in favor of getting on with the game. We’re all getting a little tired of New Vegas and we’re wary of having a repeat of the whole BioShock incident.
Deep down, I’m pretty sure Josh just wants to play Honest Hearts because he wants the
incinerator shiskebab, which is (arguably?) the most OP weapon in the game. (I don’t know, I’ve never crunched the numbers.) Josh spent the week punishing us for this. His gameplay tortured us until Rutskarn went crazy and read an extended section on lizard penises from Wikipedia, which drove me crazy…
Yes. I goaded him into suddenly doing Honest Hearts, even though we had specifically agreed that we wouldn’t be doing that. After we had already endured his punishment, I rewarded him for his misbehavior by giving him what he wanted.
I have no explanation for my actions. Others have suggested I was suffering from Stockholm Syndrome.
And then, after we recorded this episode, several people said that we should definitely do some other DLC which is not Honest Hearts. Which means we have managed to find a solution in which absolutely everyone is unhappy.
Anyway. Am I the only one who thinks the Honest Hearts radio transmission sounds like the Old Spice guy?
There's a wonderful way to balance difficulty in RPGs, and designers try to prevent it. For some reason.
Please Help I Can’t Stop Playing Cities: Skylines
What makes this borderline indie title so much better than the AAA juggernauts that came before?
There are two major schools of thought about how you should write software. Here's what they are and why people argue about it.
The Opportunity Crunch
No, brutal, soul-sucking, marriage-destroying crunch mode in game development isn't a privilege or an opportunity. It's idiocy.
WAY back in 2005, I wrote about a D&D campaign I was running. The campaign is still there, in the bottom-most strata of the archives.