Podcasts about A113

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Hello hello! Today I've got for you another between-season bonus episode. This time we're breaking format to talk about i know the end, a module I published earlier this year about going back home after a long time away and all the horrors that entails. Because if you can't occasionally publish something self-indulgent in your podcast feed, what's even the point of having one?My cohost for this is my friend Nico MacDougall, the current organizer of The Awards, who edited i know the end and had almost as much to say about it as I did.For maximum understanding of this episode, you can pick up a free copy of the module here and follow along (or skim it in advance).Further reading:The original i know the end cover artThe “oops all PBTA moves” version of i know the endThree of my short filmsMy previous written designer commentaries on Space Train Space Heist and CouriersJohn Harper talking with Andrew Gillis about the origins of Blades in the DarkThe official designer commentary podcasts for Spire and HeartAaron Lim's An Altogether Different River, which comes with a designer commentary versionCamera Lucida by Roland Barthes, a photography theory book that we talked about during recording but which I later cut because I remembered most of the details about it incorrectlyWhat Is Risograph Printing, another topic cut from the final recording because I got basically everything about it wrong while recording (the background texture of the module is a risograph printed texture)Before Sunrise by Richard LinklaterQuestionable Content by Jeph JacquesSocials:Nico's carrd page, which includes links to their socials, editing rates, and The Awards.Sam on Bluesky, Twitter, dice.camp, and itch.The Dice Exploder logo was designed by sporgory, and our theme song is Sunset Bridge by Purely Grey.Join the Dice Exploder Discord to talk about the show!Transcript:Sam: Hello and welcome to Dice Exploder. Normally each week we take a tabletop RPG mechanic, bait our lines with it, and cast them out to see, to see what we can catch. But you hear that different intro music? That means this episode I'm doing something much more self indulgent, a designer commentary on a module I released earlier this year called I Know the End.And just a heads up here at the top, to get the most out of this, you probably want to have at least read through the module in question before, or as, you're listening. I threw a bunch of free copies up on itch for exactly this purpose, so feel free to go run and grab one. I'll wait.Anyway, I love designer commentaries. You can find a few of my old written ones, as well as links to a few of my favorites from other people, in the show notes. But I wanted to try releasing one as a podcast, because one, that sounds fun, and two, what's the point of having a podcast feed if you can't be ridiculously self indulgent in it on occasion?And I picked I Know The End to talk about because it is... weird. I don't know. It's weird. I describe it on itch as a short scenario about returning home and all the horrors that entails. But you'll hear us take issue with, I don't know, maybe every word in that sentence over the course of this commentary. It was a strange experience to make this thing, and I figured that might be interesting to hear about.It was also the first time I ever worked with an editor Nico MacDougall my friend and the organizer behind The Awards since 2023. Nico was excellent to work with and you can find their rates and such in the show notes and they are with me today to talk through this thing in excruciating detail as you probably noticed from the runtime we had a lot to say. Definitely contracted two guys on a podcast disease. Anyway, I hope you enjoy this. But regardless, I'd love to hear what you think of it. Should I do more? Never again? Want to organize the Dice Exploder Game Jam we mused about doing at the end of this? Hit me up! I'd love to hear from you. And now, here is myself, I guess, and Nico MacDougall, with a full designer's commentary on I Know The End.Nico: Well, Sam, thanks for being here on your podcast to discuss your... adventure.Sam: You're welcome.Nico: Yes.Sam: for having me.Nico: Very first question is adventure: is that really, like, the right term for this?Sam: Are we really starting here? Like, I, I don't know. I, I feel like I got, I really went into this thing with true intentions to write a proper module, you know? Like I was thinking about OSR style play for like the first time in my life, and like, we were both coming out of the awards 2022 judging, and a lot of the submissions for 2022 the Awards were modules. I thought that was great but it really was sort of like opening the floodgates of this style of play that I knew basically nothing about. And, at the same time that we were reading through all 200 submissions for the awards, I was also reading Marcia B's list of 100 OSR blog posts of some influence.And so I was really drinking from the fire hose of this style of play, and also, I wasn't playing any of it. Like, I was experimenting with Trophy Gold a little bit, which is this story game that is designed to try to play OSR modules and dungeons as, like, a story game kind of experience. And I was kind of figuring out how it works and like how I wanted to run it and how to make it go And Joe DeSimone, who was running the awards at the time was just encouraging everyone to make weirder shit and like, that was his ethos and those were the people that he got to submit to the awards. Like, it was just the weirdest stuff that I had ever read in the RPG space and... That's probably a lie. There's some weird stuff out there.It was just like so much weird stuff. It was like stuff on the bleeding edge of a whole side of the hobby that I didn't participate in in the first place. My intro to this part of the hobby was the bleeding edge of it. And I was like, alright, I, I just wanna make something there, I wanna try playing around there and see what happens.And Joe tweeted out the tweet was like, Now we're all making modules based on songs that make us cry. And I was listening to the Phoebe Bridgers album Punisher on loop at the time to inspire a screenplay I was working on. And the last track is called I Know the End, and just ends with this, primal scream.And it was, it was a hard fall for me, at the time. And the primal scream felt really cathartic. And I was spending a lot of time in the, small town where I grew up. And, this horror monster idea of a town that is, itself, an entity and like is a whole monster, and like, what does that mean exactly? I don't know, but intuitively, I like, understand it, and we're just gonna kind of drive... towards my intuitive understanding of what this thing is supposed to be. I just decided to do that and see what happened. And did that give us an adventure in the end? I don't know. Did that give us a 32 page long bestiary entry in the form of a module? Like, that sounds closer to right to me, but also, taxonomies are a lie and foolish anyways.I don't know, I made a weird thing, here it is. Nico: Yeah. So I was scrolling back in our, in our conversation to where you first shared this with me, and I... I would like to share with the audience the text that accompanied it. It was the Google Doc, and then it said, This might be completely unplayable, it might actually be a short story, or, like, a movie, but I'm gonna publish it anyway, and, you know... If that isn't exactly it, like...Sam: Yeah I like that stuff. I don't know, another thing I've been thinking about a lot this fall is writing by stream of consciousness. Like, I realized that I don't have a lot of confidence in any of my work that I feel like I created quickly. Like, the RPG thing I'm most well known for, I think, is Doskvol Breathes, which I just pumped out in an afternoon. It was just a thought that I had on a whim about how you might play blades in the dark maybe. And I finished it and then I released it and people were like, this is amazing. And I still get complimented on it all the time. I'm still really proud of it, but it, I don't have any confidence in it because it came so quickly.And, like, I know that this is something I need to, like, talk about in therapy, you know, about, like, It's not real art unless I worked on it for six months straight, like, really worked my ass off. But this process, I sort of looked back over my career as a screenwriter, as a short filmmaker, as a game designer, and started realizing just how many of my favorite things that I've made came from exactly that process of the whole idea kind of coming together all at once in like one sitting. And even if it then took like a bunch of months of like refining like it's wild to me How much of my favorite work was created by following my intuition, and then just leaving it be afterwards.Nico: Yeah, I actually did want to ask about the similarity between your, like, process for TTRPG design versus screenwriting, cause... While I have read, you know, edited this, but also, like, read your your game design work and know relatively well your thoughts on, like, you know, just game design sort of theory and stuff in general, I have never read any, like, screenwriting stuff that you've done. Although, lord knows I hope to see it someday. Sam: Well, listen, if anyone listening to this wants to read my screenplays, I'm on Discord. You can find me and I'll happily share them all. My old short films are largely available on the internet, too. You know, maybe I'll link a couple in the show notes.Nico: oh yeah,Sam: But I I think of my process for screenwriting as really, really structural.Like, I, I'm a person who really came out of needing a plot and needing to know what happens in a story, and to really especially need to know the ending of a story so I know kind of what I'm going towards as I'm writing the thing. I outline like really extensively before I write feature or a pilot, like there's so much planning you have to do, I think it is really, really hard to write any kind of screenplay and not have to revise it over and over and over again, or at least like plan really carefully ahead of time and like really think about all the details, revise a lot, run it by a lot of people for feedback over and over. But especially for me that, that having an ending, like a target in mind when I'm writing is so important. I just don't know how to do it without that.Except occasionally when I get some sort of idea like this one where I have a feeling of vibe and I just start writing that thing and then eventually it's done. And I, I've never had that happen for a feature film screenplay or like a TV pilot kind of screenplay.But I have had a couple of short films come together that way where I don't know what the thing is, I just know what I am writing right now, and then it's done, and then I go make it. And I I don't know why that happens sometimes. Nico: Yeah, I mean I would imagine length plays a factor in it, right? Like a short film, or, I mean, gosh, how many pages did I know the end, end, end up being? Sam: 36. Nico: But I find that really fascinating that, too, that you say that when you're screenwriting, you have to have it really structural, really outlined, an end specifically in mind, when, to me, that almost feels like, well, not the outlining part, but having an end in mind feels almost antithetical to even the idea of, like, game design, or, I guess, TTRPG design, right?Even the most sort of relatively pre structured, Eat the Reich, Yazeeba's Bed and Breakfast, like, Lady Blackbird games, where the characters are pretty well defined before any human player starts interacting with them, you can never know how it's going to end. And it's kind of almost against the idea of the game or the, the sort of art form as a whole to really know that.Even games that are play to lose, like, there are many games now where it's like, you will die at the end. And it's like, okay, but like, that's not really the actual end. Like, sure, it's technically the end, but it's like, we have no idea what's gonna be the moment right before that, or the moment before that. As opposed to screenwriting Sam: yeah, it's a, it's a really different medium. I still think my need to have a target in mind is something that is really true about my game design process too.Like the other game that I'm well known for, well known for being relative here, but is Space Train Space Heist, where I was like, I have a very clear goal, I want to run a Blades in the Dark as a one shot at Games on Demand in a two hour slot. And Blades in the Dark is not a game that is built to do that well, so I want to make a game that is built to do that well, but like, captures everything about the one shot Blades in the Dark experience that I think is good and fun .And that may not be a sort of thematic statement kind of ending, like that's what I'm kind of looking for when I'm writing a screenplay, but that is a clear goal for a design of a game.Nico: Yeah. even In the context of I know the end, and to start talking a little bit about my role in this as well, as, as the editor, I think the point of view, the vibe, the, like, desired sort of aesthetic end point Was very clear from the start, from the jump. And I think that in many ways sort of substitutes for knowing the end of the story in your screenwriting process.So that really helped when I was editing it by focusing on like, okay, here's the pitch. How can I help sort of whittle it down or enhance it or change stuff in order to help realize that goal.And sometimes it kind of surprises me even, like, how much my games shift and change as they reach that goal. Like, sometimes you can, like, look back at old versions of it, and you're like, wow, so little of this is still present. But, like, you can see the throughline, very sort of Ship of Theseus, right? Like, you're like, wow, everything has been replaced, and yet, it's, like, still the thing that I wanted to end up at.Sam: Yeah, another thing that is, I think, more true of my screenwriting process than my game design process is how very common that in the middle of the process I will have to step back and take stock of what was I trying to do again? Like, what was my original goal? I've gotten all these notes from a lot of different people and, like, I've done a lot of work and I've found stuff that I like.And what was I trying to do? Like, I have, all this material on the table now, I have, like, clay on the wheel, and, like, I just gotta step back and take a break and refocus on, like, what are we trying to do. I Think it's really important to be able to do that in any creative process.To Tie together a couple of threads that we've talked about here, talked at the beginning of this about how much this felt like a stream of consciousness project for me, that I really just like, dumped this out and then like, let it rip.But also, I mean, this was my first time working with an editor, and I think you did a lot of work on this to make it way better, like really polish it up and make those edges the kind of pointy that they wanted to be, that this game really called for. And that makes this, in some ways, both a really unstructured process for me, and then a really structured process, and... I don't know what to make of that. I think there's something cool about having both of those components involved in a process. Nico: Yeah, it is. I I very much agree that like, yeah, most of my sort of design stuff have, has proceeded very much the same way of just kind of like sporadically working on it, changing stuff, like revamping it, whatever. And it's like, it's sort of, yeah, in a constant state of fluxx up until the moment where I'm like, okay, I guess it's done now.What I was gonna say, I was gonna jump back just a point or two which is you mentioned Clayton Notestein's Explorer's Design Jam. And I was curious, like, what was your experience, like, using that design template? Sam: Yeah I really enjoyed it, I really had a good time with it. I had already gotten really comfortable with InDesign just teaching myself during lockdown. Like, that's what I did for 2020, was I, like, laid out a bunch of games myself and they all looked like shit, but they all taught me how to use InDesign as a program.And I think templates are really, really valuable. Like it's so much easier to reconfigure the guts of another template than it is to create something from scratch.And I like Clayton's template. I think it's nice and clean. I think you can see in all the publications that have come out using Clayton's template, how recognizable it is. How little most people stray from the bones of it, and on the one hand, I think it's amazing that you can just use the template and go really quickly and like, get something out.And also I just want to push on it a little bit more. I want something, like the template is designed to be a template. It is not a suit tailored to whatever your particular project is. But also, I think if I had tried to lay this out without a template, it would look substantially worse, and there are a few notable breaks here and there that I, you know, I enjoyed experimenting with. I like the use of the comments column for little artwork. I think that was a nice little innovation that I added.And, you know, I didn't write this originally to have that sort of commentary column as a part of it. Like, all of the text was just in the main body of it. And I like the way it turned out to have that sort of, like, director's commentary thing hanging out in the wings. lot of people have talked about how much they like that in Clayton's template. so I, I don't know, like I, think that on the one hand a template really opens up a lot of possibilities for a lot of people and really opened up a lot of possibilities for me, and on the other hand I do still look at it and I see the template And I'm like, I hope this doesn't look too much like every other person whoNico: Right, right. I mean, that is definitely the difficulty of providing those kinds of tools, because like, it makes it very easy to make things especially if you're sort of just getting started, or if you don't have a lot of confidence or familiarity with it inDesign or anything like that. But ultimately, I feel like Clayton himself would say that the Explorer's Design Template is not intended to be, like, the final template, right? It's intended to be, like, a tool that you can use to varying effects, right?Yeah, I was thinking about it when I was going through this earlier, and I was like, Oh, yeah, like, you only use the comments, column a few times, and then I literally only realized maybe five minutes before you said it, I was like, oh, wait, all the little artwork is also in that little column thing, like you just said, and I was like, oh, that's like, that's actually a really cool way to use the template, because that space is already provided if you include that column, but just because you have the column that's, you know, quote unquote, intended for commentary, doesn't mean you have to use it for commentary, doesn't mean you have to put text in there.Sam: Yeah, you definitely like learn a lot of stuff about the guts of the thing as you start playing with it.Nico: Yeah. is probably getting on the level of, like, pretty pointless, sort of what ifs, but I'm curious... If Clayton hadn't done the Explorer's Design Template Jam, or if you had, for whatever reason, like, not been inspired to use that as the impetus to, like, make this and get it edited and laid out and published or whatever, like, Do you think you still would have tried to use that template, or would you have just tried to lay it out yourself, like you've done in the past?Sam: Honestly, I think without the jam this wouldn't exist. I have like a long to do list of things at any given time, like creative projects I wanna on, youNico: Oh, yeah,Sam: know? And the thing that brought this to the top of that to do list was just wanting to have something to submit into that jam. You know, I wanted to work with you as an editor. I Always want to clear something off the to do list. I always want to have some kind of creative project. And, I wanted to submit something to that jam, but I think if you took any one of those away, I might not have put the thing out at all. Nico: Yeah, that's really interesting. But I guess that's also, again, kind of what a good template or layout or just tool in general can help is actually get these things made. Sam: That's what a good jam can do, too, right? I mean, there's a reason the Golden Cobra contest is something that I love. It's like 40 new LARPs every year and they only exist because the Golden Cobra is throwing down the gauntlet.Nico: That's very true. Well, maybe it's time to move along to more practical concerns Sam: Maybe it's time to do the actual commentary part of this episodeWe've done the waxing philosophical part, butNico: we, yeah, checked off that Dice Exploder box. Now it's time to do the actual game talk.Sam: your bingo cards Nico: Yeah, Sam: Yeah, so let's start with the cover.Nico: Yes, the cover, which I only realized it was a teeth, that it was a mouth with teeth open when you said in the outline, ah yes, it's a mouth with teeth. And I looked at it and I was like... Oh my god, it is. Like,Sam: I did my job so well. I wanted it to be subtle, but I always like looked at it and was like it's so obviously teeth, I'm never gonna get this subtle enough. But I'm I'm glad to hear that I succeeded.Nico: I truly don't know what I thought it was before, but it definitely wasn't teeth.Sam: Yeah. Well, it started as I'll share this in the show notes. It started as this image. It was like a 6x9 layout, and, the teeth were still there, and it was like, all black, and the teeth were this much wider, gaping maw, like, inhuman, unhinged jaw kind of situation. And then, in the middle of it, was a, like, live laugh love kind of Airbnb sign with I Know The End on it. It was like the mouth, like, eating the sign.And I liked that. I felt like, the problem with that was that... As much as creepy, live, laugh, love sign is kind of the like, vibe of this, I didn't really want to bring in the like, kitsch of that at all, like, I felt like that kitschiness would hang over the whole thing if I made it the cover, and I mean, this whole thing is just about my own personal emotional repression, right? And my feelings about my small town that I'm from, andabout like, my ambition, and, exactly, yeah.But I, I write a lot, and I make a lot of art about emotional repression , and I think the particular vibe of this game's repression doesn't have space for irony, or satire, or like, Do you wanna live, laugh, love? Like, I don't know how else to put it. Like, it just felt really wrong.It was like, if you put that into the space at all, it's gonna curdle the whole feeling. Nico: it's about the framing of it. I, know that Spencer Campbell of Gila RPGs has written something about this on his blog. I don't remember specifically what the context is, but he's a psychologist by training and is talking about how, like, the way that you frame something matters a lot to how people respond to it, right?So you like, if you're framing it as like, oh, you have, twelve things and I take away six from you, versus like, oh, you have nothing and then you are given six things. It's like, both scenarios, you like, end up with six but Sam: One feels like a letdown and one feels great. Yeah,Nico: yeah, and so I think in his article he was talking about in the, yeah, you know, tying that into the game design context, obviously.And I think it matches here where like, sort of runs the risk of like, priming people to expect kitsch, and I don't think that that's really present in the rest of the game. And that kind of mismatched expectations could really, like, lead to some problems when people are trying to, like, play the game.Sam: Yeah, absolutely. Yeah, I mean this cover is just kind of like, oh. Like, it doesn't it doesn't really tell you much other than just like there's something back there that's maybe vaguely menacing, and that's kind of it. That's kind of Nico: Yeah.Sam: Alright, speaking of which can we, can we talk about my favorite interaction between the two of us as we were working on this?Nico: Oh, yeah, I was not sure how to bring that up. yes, please do. Now that we're moving on to... For everyone following along at home, we are proceeding to the credits page.Sam: The comment I got from you while you were editing this was, IDK if it would look different in print, but having the text so close to the edge of the page is activating my fight or flight response. And I just replied, working as intended.Nico: It yeah, I had the feeling, I think, even when I sent that, I was like, this, this is not like an accident. Like, like, like no one makes this like no one does this by accident. But, yes, truly, I hope that you are following along at home because I believe that Sam generously gave a whole bunch of community copies of this game, or made them available. Sam: I believe it was 42, 069 I'm usually doing some number like that. This game, I might have done a different number, but that's, the other games that I've done.Nico: So, but the text on this, for credits page specifically, it's truly, like, at the edge of the page. Like, it looks like it could be cut off. It's like, in print, it would be like, cut off by the process of actually like, making it. In fact, feels like if you try to send it to a printer, they could almost send it back and be like, you've gotta give us some space there. Like, you simply can't do that. There needs to be a gutter, or bleed, or whatever the term is. Like, Sam: I love it. maybe one day I will print this. Honestly, like if I become a super famous game designer or something, like, this is one of the ones that I Nico: screen, slash screenwriter.Sam: yeah, yeah. This is one of the ones I'd like to go back and hold in my hand, but I also I don't know, I just love it. I, I love designing for digital as, like, a primary thing, because I just feel like most people who play the thing are gonna play it out of digital.And I don't know if that's, like, the primary audience for a lot of modules. Like, I think there are a ton of people out there who just, like, buy the zine and hold the zine in their hand and probably never get around to playing it. But I, I love the digital. I've always loved the digital. I don't know, I just like making for it.Nico: Well I mean I was even thinking about it in the context of like, you know, how you talked about how you changed the aspect ratio, I was like thinking about that and I was like, I mean, it's not like that would be impossible to print, but like, most standard commercial printers operate in like, one of the more standard like, page sizes. Even the risograph you said is what it's called, right?Sam: The, the RISO. Yeah, I don't know if it's Rizzo or RISO, but I'm gonna sayNico: The RISO background also makes the, again, just from like a fully practical point of view, it's like you're adding color to the whole thing,Like there are many potential barriers to this as like a physical product that would, that are simply not there when you're designing for digital, so like, it is nice to have that sort of freedom, like, when you're thinking about how to lay this out or, or put stuff on here, it's like, you're freed from a lot of those practical considerations.Sam: There's a few other details I want to talk about on this page just kind of like references I'm making that are not obvious.So the first is that the header font and title font of I Know The End is a font that I ripped from Lilancholy, which is this amazing book by Snow, which is ostensibly a game, but but also a reflection on childhood and personal relationship to emotions and trauma.And I love the look of the font, but I also intentionally wanted to reference that game while I was making something that felt really personal in a similar vein. And another another reference here is that the color of the whole game, like this red, is pulled from the cover art for the Phoebe Bridgers album Punisher that I know the end is off of. I, I just found the, like, most saturated red pixel that I could on the album and was like, that's the color! I love hiding little references in every little detail that I can. Nico: Yeah, it's so interesting because I did not know any of that, you know, prior to this conversation or seeing that stuff on the outline. What did you sort of hope to achieve with those references, right? Because I can't imagine that you're plan was like, for someone to look at it and be like, oh my god, that's the Lilancholy font, and that's the Phoebe Bridgers album Sam: that's one pixel from that album cover.Yeah.What am I trying to achieve? I don't know, like there's, so the Paul Thomas Anderson movie Phantom Thread Is an amazing movie, and it's about Daniel Day Lewis being incredibly serious, scary Daniel Day Lewis, making dresses, being a tailor, and an element of the movie is that he hides his initials inside the dresses, like, when he's making them, he, like, sews his initials in.And that's a real thing that, that people did, and maybe it's just for him. It's also kind of an arrogant thing to do, you know, that all these, like, women are gonna be walking around wearing these dresses with, like, his initials kind of, like, carved, it's like this power thing. But my favorite part of it is that Phantom Thread is PT, also known as Paul Thomas Anderson.Nico: Ha Sam: And, like, like, I, I just feel like when you're doing that kind of thing, it's just, what an act, it's just so beautiful and arrogant and satisfying. Like I think doing that kind of little reference and joke for myself brings me into the mindset of what I am trying to convey with the game.Like, if I'm thinking in the detail of the font selection, what do I want to reference? What do I want to bring to this game? Then, I'm gonna be I'm gonna be thinking about that in every other choice I'm making for the game, too. And even if half of those choices end up being just for me, I will have been in the headspace to make the other half that are for everyone else, too.Nico: Mm hmm. Yeah. Yeah. like, You could almost even call these, like, Easter eggs, right?But it also made me think about, I had to look this up actually as you were talking, because I was like, about that, the CalArts classroom number that like all of the animators that studied there fit into like Pixar movies and stuff, like, A113, A113. And I think that's also sort of a good example of it in some ways, because it's like now, with the advent of the internet, and you know, and a certain way of engaging with media, like, everyone knows what that, what that means now, or they could if they just looked it up, or they just see some BuzzFeed, you know, article that's like, you know, 50 easter eggs that you missed in the latest Pixar movie.But yeah, it's like, it's very interesting because it kind of asks who is the movie for? What's the intended or imagined audience for all of these things? And it sort of shows that, like, you can have multiple audiences or multiple levels of engagement with the same audience, like, at the same time. Maybe, I would say, it's very unlikely that any random person would just like, look at the cover of I Know The End and be like, oh, that's the Lilancholy font, but,Sam: I have had someone say that to me, though. Yeah.Nico: but, so, what I was just gonna say is like, but I don't think it's hard to imagine that like, the type of person who would, who would buy, who would be interested in I Know The End or Lilancholy, I think there's a pretty decent chance that they would be interested in the other if they're interested in one of them, right?And so it is interesting as well, where it's like, I am often surprised by like the ability of people to sort of interpret or decipher things that far outweighs my sort of expectations of their ability to do so.If only just because I have the arrogance to be like, well no one could ever have a mind like mine. Like, no one could ever think in the specific bizarre way that I do. Then it's like actually a surprising number of people think in a very similar way. Sam: Another thing I think about with making these really, really tiny references, easter eggs, it's the, not making a decision is making a decision, right? CentrismNico: Oh,Sam: Like, if you have literally anything that you have not made a choice about with intention, that is a missed opportunity, I think.And... I have so much respect for people who will just pump something out, like, write a page of a game and, like, upload as a DocX to itch. Like, Aaron King is a genius, and I know a lot of games that are put out that way, and I love that stuff. But for me, like, the kind of art creation process that I enjoy and like doing is so based on finding meaning in every crevice, finding a way to express yourself in every detail. just love doing it.Nico: you are the English teacher that the, the curtains are blue meme is referencing, in fact.Sam: Yes.Nico: The curtains are blue in I Know The End because,Sam: Well, and I know the end they are red, but Nico: yes.Imagine that being the new version of the meme: the curtains in this are red because there's a Phoebe Bridgers album that has a single pixel that is that color.Sam: Yeah, I don't know. It's true, though.Nico: Exactly. it is in fact true. But so would, in some ways, any other interpretation of...Sam: Yeah.Nico: of the red color, right? It's like you picked it because of the association with the album cover. Someone else could be like, Oh, it means this otherthing. And like that interpretation is correct. Sam: Yeah, I mean, I also picked it because of its association with blood, you know, like I, I wanted to kind of evoke that feeling too, so.Shall we do the table of contents? HehNico: Yeah, absolutely. I mean, I think the most interesting thing to talk about, and I want to know when this entered the sort of the design process, is the blacked out Table of Contents entry which corresponds to an almost entirely blacked out, or in this case, redded out,Sam: Yeah, Nico: messily redacted,part of, the book,Sam: Yeah, I think this was always there, I think I started writing a list of locations very early on, and on that list of locations was, like, I work in Google Docs to begin with for most of my stuff, and it was a bullet pointed numbered list, and the last list item was struck through, and it was your mom's house.And I just thought that was a funny little joke. It's like really dark? Another, just like a little detail, I have such a great relationship with my parents. Like really just a better relationship with my parents than anyone I know. And, so much of my art ends up with these like, really bad, fucked up relationships with parents, and I don't know what that's about.But, there's, there's something about, there's a piece of your hometown that is like so traumatic that you can't bring yourself to look at it. There's a piece of yourself, or your childhood, or like, where you came up, there's something from your origin story that you can't bear to face is a lot of what this is about. And even as the climax of this thing is I think in a lot of ways turning to face everything that you left behind.I mean the whole module is about that but I think fact that even when you are doing that, there's one piece of it that you can't bear to look at is really tragic and a mood to me. You know, it really felt right. Nico: it's sort of like, yeah, I'm finally gonna stand my ground and face my fear, or whatever, except for that thing. That thing, that part over there, for whatever reason, because I'm actually just very afraid of it. It really, as always, is sort of like the exceptions to the rule make the rule, or emphasize the rule. You're kind of carving out the negative space around it. And it makes it clearer in so. so Well, Yeah, so like, then the first thing of the game text itself, so to speak, is like the front and back of a postcard. And where's the picture from? It looks kind of old timey in a sort of non specific way.Sam: It's from Wikimedia Commons, I believe. I was looking for pictures of old postcards, and I wanted a small town, and, this is what I found.The postcard image is actually like a hell of a photo bash too. The stamp on it is from a real postcard I received from my cousin. The handwriting was me on just like a piece of paper that I scanned, and then the postcard is another like open source postcard image.Nico: Yeah. I am, once again, sort of showing, showing a lot of my bias here. I am often kind of against a lot of little, like, accessories, or sort of, like, physical things that are often part of crowdfunding, like, stretch goals, you know, like, it's, I don't know. I don't think it's, like, ontologically evil or anything like that, it's just, I understand, it's part of the reality of crowdfunding, and, like, attracting attention, and yada yada yada, I just personally don't love that reality. Which, of course, is easy to criticize when you're not part of a project is trying to do that, but that aside, I think it would actually genuinely be very cool to have, like, this postcard as, like, a physical object like, if the game were to be printed.Sam: You gonna make me like, handwrite every one of the postcards too? Cause that isNico: I did not say that. Oh, is that really? Well, but then, then you have it already, you can just print it off, like, or you make that the, like, I don't know, the hundred dollar stretch goal, you know, they back it at that level and then the postcard just appears inside their mailbox. Like,Sam: That wa that is creepy. I will tell you that,Nico: You say that as though it's happened to you before. You're like, well, let meSam: well, I'm not, I, I revealing nothing. How autobiographical is this? Nico: Yeah. so I guess, yeah, so getting, So this is the introduction page, the background, the introduction, giving the context to what this module, extended bestiary, what have you, what it is. My question here from a sort of meta perspective is like, how much are you trying to sort of give away at the start of this? How do you pitch this to , like to someone you know?Sam: that's a great question. I'm pretty proud of the execution here. I think I do a good job of, like, leaving some juicy hints here as to what might be going on without giving anything away. Like, the fact that I advertise this as maybe closer to a bestiary entry than a module, like, uh, what? Like, like you, you have an idea of what that means, but also like, where's the monster, what is the thing that I'm looking like, that is kind of planted in your mind in a way that I think is intriguing and sets expectations without giving the whole thing away.And, also, this is just me, like, trying to figure out how to describe this thing in real time as I'm writing. It really came from intuition. Nico: yeah. I know that, you know you're on, very much on record talking about how, you know, like, taxonomy is fake and, you know, et cetera, et cetera. Sam: As much as I love it.Nico: right, right, exactly, I mean, I feel the same way, but I, I am curious as to like if you were trying to sell someone on the idea of even just playing this game, like, how effective do you think it is of like communicating whatever this is, you know, like, is it effective to say it's kind of this, or it's not this, or maybe it's this, like, Sam: I think this is going to be really good at reaching the kind of person who will love this, and really bad at selling this to like a mass audience, you know? But luckily, I'm not trying to sell this to a mass audience. I'm like trying to make Joe Dissimone proud, you know? Like I'm trying to make like something as weird as fucking possible.and I think there's a kind of person who really appreciates that and this struggle to define what this is using existing terminology, I think is going to really appeal to the people who like this.Nico: yeah, I agree, I think it signposts well hey, you, there, like, look at this thing. Isn't that interesting. And if they're like, If they're like, no, that's confusing and I don't know what to do with it, and they go somewhere else, in some ways, it could be argued that that is like, working as intended, right, likeSam: I kind of find it interesting in the sidebar here to watch me sort of like struggle with how you're supposed to play this game, like what rule system are you supposed to use?I do think with some distance from this, the best way to experience this is as a solo game. Like to just read the thing but pause and journal about your character's experience as you sort of walk through it. I have started playing more solo games since I wrote this in preparation for a Season 3 episode of the show, and I think this would serve that experience really well.I considered even, like, rewriting this to be more of explicitly a solo experience, but I, ultimately was really happy leaving it in its sort of nebulous, provocative, what if, is this, what is this sort of state. Nico: Yeah. I would genuinely be interested to have like, the two of us play the game, like this game, like one running it, one as the player, because I don't necessarily disagree with what you said, might be better suited as a solo game, but I really do think that there is something that can be gained about, like being in a room with, like, one other person, or, you know, being on a call with one other person, or whatever and going through this,Sam: Yeah, yeah, I can feel the intensity of that as you describe it. And it sounds harrowing and... Amazing. I do, I do have this dream of like running a Mork Borg dungeon, like over the course of like three sessions, and then like taking one of the players who survives and being like, I've got another module that I think we should play with the same character. Nico: yeah. Anyways, you go home and you think you're safe, but actually, like, Sam: I do think that this as a response to OSR play is really an interesting way to try to play the game, like to Nico: just sort of experienceSam: Yeah, to try to take the kind of character that you would have coming out of that and the experience you would have coming out of that and then like get tossed into this, like that disorientation I think would serve this really well and would do something that I found I really like to do with the OSR kind of play of like finding ways to bring in more character stuff, to just have people to reflect on their person, rather than on the logistical problem solving.Nico: Mm hmm. Which, of course, in some ways also is like, I don't want to say direct contradiction, but like, moving perpendicular to a lot of the sort of OSR principles, rightSam: But yeah, I mean, fuck em. Nico: exactly, I mean, I'm not, saying that to discourage you from doing it, I'm just saying, like, I just think it's an interesting for those to come into sort of, conflict or, or whatever in, in that specific way.Sam: I mean, that's what the bleeding edge of something is all about, right? It's like, what are our principles? What if we throw them out? What does thatNico: Right, right. What if we smash things together that, like, should sort of repel each other like magnets? Like,Sam: Yeah.Nico: Let's move on to the town?Sam: Yeah. So this is the, like, GM spoiler page.Nico: Right.Sam: I don't know that I have a lot to say about this particular page. It's, it's the town. There are, like, two suggestions in the first chunk of this book that came from you that I think are really valuable to this. Like, the first is that the town is always capitalized throughout. Which I like sort of was doing, but you really emphasized, and I think was a great decision.And, the second is that there aren't any contractions in this book except for possessives. And, that was another suggestion that came from you, to have this sort of stilted, formal, slightly off kind of language of not having contractions, that I think serves it really well and is just really cool.Nico: Yeah, I have to give credit for that, to the Questionable Content webcomic, which is a webcomic that has been running forSam: God, is it still going?Nico: oh, it very much is still going, I, it updates Monday to Friday, and I, am reading, I am seated and reading,Sam: stopped reading that like a decade ago.Nico: It is officially 20 years old. It started in 2003.but so one of the characters in that she initially never uses contractions. It is always, it is, it is never, it's. Do not, not, don't, you know, is not, not, isn't and over time, as the character sort of gets more comfortable and starts to open up about her kind of mysterious past, and they'll deal with a lot of the sort of like, serious emotional turmoil that is present in the character, she like, starts to use contractions.And so, it's a specific device that is very weirdly ingrained in my head at this point, because I remember, like, realizing that when it was called out the first time, and then I will fess up and say I have re read the webcomic from the beginning several times. I have a lot of time on my hands sometimes. And it is always kind of a delight to go back to the beginning and see this character and to really notice that device because you know where she ends up and how much more comfortable she is and so to see that difference in the beginning makes it very effective on a reread in a way that is sort of present in the maybe subconscious the first time on the way through.Thank you. And I feel like it's similar here, not quite the same because I don't know if you would ever necessarily actively realize, like, oh, there are no sort of contractions here.Sam: and the town is never gonna stop being a entity of repression.Nico: Yeah, exactly. And so it's giving this like underlying anxiety kind of like,like, you're just like, Ooh, this is Sam: Yeah. It's like, what is going on? What's wrong with the language here?Nico: Yeah. And you might not even really be able to, articulate it because it's sort of hard to articulate the absence of somethingSam: And like, that's the feeling of the whole module. yeah, It's, it's just, it's a great decision. Nico: Yeah. And then of course, capitalizing town, you know, are you even really a game designer if you're not capitalizing some random words in Sam: yeah. gotta have one at least, come on.Sam: I will say I really enjoy the fact that I give no origin story for the town. I think that's also really powerful, of leaving a hole that people can fill in if they want.The mom repression stuff is kinda like that too, the like, the blacking out sharpie. Of like, that's a hole you could fill in in play if you wanted to, but I, I'm not going to. I'm gonna intentionally leave that hole there.Nico: It also is the kind of thing, right, of like, oh gosh, Nova was saying this in the Dice Exploder Discord recently, where like, part of the reason the OSR can be so sort of rules light and stripped down is because like, it is relying a lot on the sort of cultural script of like, what is a fantasy role playing game, or even just like a fantasy story in general, you know? What your knowledge of an OSR game is.And this, in a similar way, is sort of like, you know what a hometown is. Like, you know, I don't need to tell you what the backstory of this is, because you know what it's like to be from somewhere. Cause it's also worth saying, like, this game does not give any character creation instructions, right? I mean, actually, I guess that's not entirely true, because underneath the postcard, you know, it just says, A decade or more gone since you fled the small backwater town that spawned you.And it's like, yeah, that's basically all the sort of character creation information you need, like,Sam: yeah, yeah, like wait, gonna play yourself and you're gonna be sad about this, like uh, Nico: Right, or, like, or if you're not playing yourself, you are playing a person who's sad about it, like, you know, it's like, it's kind of all you really need, Sam: you have internalized the tone of this thing, like, your character is in ways the negative space of the voice of the text. Nico: Like, a weird relationship with your small hometown, we just don't need to spend very much, time covering that broad background. It's much better spent covering the specific, like, locations and people in this town that also sort of help to convey that, feeling, that information.Sam: Temptations and terrors?Nico: Yes, probably The closest thing to a system that is in here, inasmuch as it's taken roughly verbatim from Trophy Dark Sam: yeah, I do think it is notable that when I wrote this I had not played Trophy Dark, and Trophy Dark is the one where you definitely die,Nico: Right. Right. Sam: My intention was not that you would definitely die in this. I really want escape to be a big possibility at the end and so it's interesting that I went with Trophy Dark as, like, the obvious system.Yeah, I like these lists. This is just a lot of tone setting, basically, right? I don't have a lot to say about the details here. The first terror, a children's toy, damp in a gutter, is a reference to another song that makes me cry. The Rebecca Sugar song for Adventure Time, Everything Stays.But most of the rest of this is just, vibes. Here's some vibes. I don't know, I re read these lists and I was like, yeah, they're fine, great, next page. But I don't know, is there anything that stands out to you here?Nico: I mean, I think the most important thing about these lists, these kinds of things, you could maybe even sort of broaden this to like pick lists in general, is that, they kinda need to do two things, like they need to both give you a good solid list of things to pick from, if you're like, at a loss, or if you just are like, looking through it, and you're like, this is good, I want to use this.Or, the other purpose of using it is to have it sort of identify the space that you're playing in to the point where you can come up with your own thing that like, could just be the next entry on that list, right? For me at least, the whole point of like, buying a game is like, I want something that I like, can't essentially come up with by myself, you know? Because I like to be surprised, I like to be sort of challenged, I like to be inspired, and so I think a really good game is one that you sort of like, read it, and you're like, okay, like, there's great things to use in here that I'm excited to use. I also, after having read this, am coming up with my own ideas. Like, equally long, if not longer, list of things that like, fit into this perfectlySam: Bring the vibes of your small town. Nico: Yeah, exactly, that I could also use. It's like, and so it's like, it's kind of funny that like, for me at least, the mark of a good game is like oh yeah, you both want to use everything that's contained in it, and also you immediately get way more of your own ideas than you could ever use when you're running the game.Sam: Yeah. Next?Nico: Yes. Act 1. Sam: I love this little guy, I love Wes he's just kind of a pathetic little dude, and I feel sad for him.Nico: It's so funny, too, because this particular little guy, like, doesn't look very pathetic to me. Like, he looks like he's kind of doing okay. Sam: I definitely like drew, like all the art in the book I drew, and I did it by just drawing a lot of little heads, and then assigning them to people. Like, there were a couple where they were defining details about how the people looked, that I knew I needed to draw specifically. But in general, I just drew a bunch of heads and then doled them out, and like, this is the one that ended up on Wes. And, I think that the contrast between, like, in my mind, Wes is this skinny, lanky, little kid, you know, he's like early 20s, finally making it on his own, and he has no idea what the hell's going on with the world, and he always looked up to you, and he's finally getting out of town. And then he's, he's like overcompensating with the beard for the fact that he's like balding really early, and like, you know, he's, I don't know, like, I think the contrast is just fun.Nico: I love this whole life that you have for this, this little, this little guy, like, which is, I can't stress this enough, mostly not contained in the text,Sam: Yeah. yeah. I think a good NPC is like that. I think it's really hard to transcribe the characters we get in our heads.Nico: yeah, Sam: I really like the, the pun in the Town Crier, I mean like the Town Crier feels like a horror movie trope, like the old man who's gonna be like, You got don't go up to the cabin! But it's also, like I wrote that down first and then just started describing this Wes guy and then I was like I'm gonna just like make a pun out of this.This is something I did all the time while writing this, was I had, like, a little oracle going, actually, at a certain point, like, in the same way that you would in a solo game with an oracle. Like, if I was stuck for an idea, I would just roll on the oracle table and then, like, fill in a detail that was somehow related to the oracle. Nico: Mhm. Sam: That, that didn't happen here, but the idea of, Oh, I want a little bit more description for this guy, like, what should I do? I, like, pulled the word crier, and then was like, Oh, that's really interesting, like, when would this guy have cried? Like, oh, that's a great question, let's just, like, put that to the player. I'm always, like, a thing in screenwriting that is really hard to do, and that I'm always looking for is, like, really good, pithy character descriptions.Like, a friend of mine loves the one like, this is a woman who always orders fajitas at a Mexican restaurant because she loves the attention that she gets when the fajitas come out.She hates fajitas. And that description just says Nico: That's Sam: much. It's so good, right? And that one's even a little bit long for like a screenplay, but it'd be great for like an RPG thing, right?And something about like Here's a little bit about this guy. You remember when he was crying once, like a baby? What was the deal with that? Like, it's such a, like, defines everything else about him. Like, I, I, I'm really proud that.Nico: Yeah. No, that's, that's how I felt a little bit with I ran Vampire Cruise at Big Bad Con this year. And that game has some of, like, the best random NPC generating tables that I've, like, ever seen and played with.I remember one specifically, it was, like, I was like, rolling to generate a passenger, and I think it was like, the secrets part of the table, or something like that, and what I rolled was like, regrets that she never got to see the dinosaurs, and it's like, what does that mean?Like, like, Sam: She had a traumatic experience at a science museum as a kid, or maybe she's like 10 million years old, like, I don't...Nico: or, yeah, or she's just like a weirdo who like really loves dinosaurs? It's like, it's, Like, it really gives you sort of what you need to just sort of like, spin a world out of that specific detail. Sam: It's weird because I like completely agree with you, and you know, I was tooting my own horn about like this question about Wes sobbing and also like, in every single spread of this thing, I'm taking like two full pages to talk about like one or two NPCs, which is a terrible way to do the thing that we are talking about doing. Like,Nico: That is true, that is, it must be said,Sam: it makes it feel so much more like a short story, or maybe like a solo game, right? It's like, eh, spend two pages, like, getting to know this guy. Nico: who won't come up again, spoiler alert, Sam: Yeah, it feels like the right call for this thing where like, I mean it's like the text is forcing you to sit with the memory of this guy, it's like forcing you to come in and like spend more time than you would like to like back at home with these people.And there's some like location context built into all these descriptions too, and we like learn about the bakery thing here and like old stories and stuff. And like, already it's like, do we need that shit to run this game? Like, absolutely not, like, get, get out of the way, like, but also, I don't know, it feels right?And it's one of the things that makes all this weird and, you know, unrunnable.Nico: Which is of course the goal, we don't want people to run this. Yeah, no, that's something that I've thought about in my own games as well, is, is, and just sort of like, my life, I guess, is sort of like, what makes a place that place, you know, like, what makes a town a town, what makes a city a city, like, is it the people who live there? Is it the places? Like, again, kind of back to the sort of Ship of Theseus metaphor, it's like, if everyone you know leaves, and a lot of the stores turnover, like, is that still your hometown? Like... Does your relationship to it change?And so I, in defense of, of what we're doing here, it makes a lot of sense to spend so much time thinking about the people and the places that are here because that also basically is the game, right?Like, like, this is not a dungeon crawl, right? Like, this is not a hack and slash thing, It's not a dungeon crawl, like, Sam: it's a person crawl. Nico: Yeah, exactly, you're yeah, the point of you coming home is you're trying to find Sidra, the person who sent you this postcard, asking you to come home, and yeah, you're basically doing a point crawl, trying to find this person.And then there are various conditions that need to be in place for you to actually find them = And yeah, so it's like, using more words than a sort of your standard OSR like dungeon crawl or point crawl or whatever, or hex crawl, but like, it's kind of the same way where it's like, yeah, but like, that's the game, that's the adventure, like, Sam: yeah, yeah. Another detail here I'm really proud of is the like, offhand remark about how Wes and Sidra aren't talking for what are probably romantic reasons. Because the implication, there's like a strong implication that you, player, have some sort of romantic history with Sidra, like, whether it was ever consummated or not. And I love the just sort of, like, offhand, Wes and Sidra had a thing that didn't work out, because it both... leaves open your potential romantic relationship with Sidra, but also like complicates it and like darkens it from whatever sort of nostalgic quote unquote pure like memory of it you had.And I love that it just sort of brings a little complexity into what happens when you leave for 15 years. And then like what it feels like when you like, hear, oh yeah, your ex has been like, dating someone for a couple years. What were we talking about? Like just that, like sometimes like a bolt of like, information about like, someone from your past that like, you care a lot about will just hit you and you'll be like, oh, wait, what? And we're just I'm supposed to just like, take that and move on? Like, yeah, yeah, Nico: It's also a very small town, right, where it's a sort of like, oh yeah, passing reference to this because everyone knows this already, right? Like, this is old news as well as, like, in a small town, it's like, there's a small pool of people your age that you're interested in, so, not like you're gonna get with all of them inevitably, but it's like, yeah, there's a pretty high chance that you might.Last thing I did wanna say on this, do you wanna share what Wes's name was in the first draft of this that I received?Sam: What was it? I don't rememberNico: It was Glup Shitto. It was, it was one of the first comments I left! It was one of the first comments I left! I was like, Sam, you've gotta know this can't be the final thing, right?Sam: knew it couldn't be the final name. But there was something really funny to me about like the one person who like doesn't fit into town, like this little fucking Star Wars fanboy like schmuck kid is just Glup Shitto. And he's leaving town cuz like when you got that name, it doesn't fit anymore. You gotta get the fuck out of there.No wonder the town couldn't absorb him. His name was Glup Shitto.Nico: I want to say, like, I might have, like, made my first round of comments because I was, like, yeah, feeling the same way of, like, okay, obviously this is not the finalSam: yeah, yeah, I just didn't change it and you were likebruh Nico: and then, yeah, and then you, like, made changes based on the comments that I left, and I went back to it, and I'm like, it's still Glup Shitto. Like, it simply can't be this! It's not allowed! It's, it's not legal! Like, Sam: there ought to be a law.Nico: yeah.Sam: Alright, let's do Act 2 gosh.Yeah, so I made this little map. I like the little map. This is just my hometown, incidentally. Like, there's so much in this that is just, like, pulling details directly from my hometown. That oracle that I mentioned earlier, like, Northfield, Minnesota was, like, one of the things on the oracle. And you can see that here in like, the riverwalk and this little bridge over it was very Northfield. the Rube, which we're getting to next, these two bars, the kind of cowboy themed bar thing was a thing.Nico: Again, it's a very small town of just like, no sort of reasonable business person would have these specific Sam: yeah, but they, they exist here for some reason Nico: it almost feels like the kind of thing where it's like, like they can exist in a really small town, because it's sort of like, well they're the only things here, and they can exist in like New York City Sam: yeah. Nico: everything's in New York city, and like every kind of place is there, but like anywhere in between, people would just be like, I don't understand, and then it goes out of business,Sam: Exactly. Yeah. Yeah, doctors always also a big portion of my childhood and my past always coming up in my stuff just because I spent so much time in hospitals as a kid. So the, inclusion of a doctor here is also very much something coming out of my hometown.I like the little mechanic here of, like, rolling and you, like, add one every, every time. I think that's a nice sort of way to handle trying to find Sidra. Nico: as like a classic Nico mechanic 'cause I simply haven't made and published that many things. But in my mind, my narcissistic fantasy, it is a classic me mechanic.Sam: I believe that came from you.Nico: I fucking love a table that like evolves over time.And it's not like I invented it, but like, I think my more standard thing is sort of like you have a table of like 12 things, and then you change which die you roll on it, you know, it's like, oh you can do like a d4 through d12 or whatever and that's like, I really like the ability to sort of go back to a table and, like, use it multiple times as opposed to, like, Okay, we have one table for this, we have a different table for that, you know.Sam: Additional persons. I really like this format for sort of generic NPCs, like, I'm not gonna tell you anything about this person, but I am gonna tell you what you think about them and your relationship to them.I think it's a really cool way of doing... Oh, do you just need to, like, bring someone in? You, like, met someone on the street or whatever? In a lot of other settings, you would just have, like, a random person, and it would be, like, the Vampire Cruise thing. If you give them an interesting detail in here, it'd be a cool thing.But I think, especially in, like, a small town format, the, like, here's your relationship to this person, because everyone knows everyone, and, every character that comes in, like, is gonna have to inspire some kind of feeling and past in you. I think this works really cool, reallyNico: It also feels very sort of true to life in terms of, at least, how I often GM things. Someone will be like, hey, can I, like, ask just, like, the next person I see on the street what they know about this thing? And I'm like, I mean, I fuckin I guess, like, it'll shock you to learn I don't have a name for that person, but, you know, I just have to, like, come up with, like, here's a weird voice, and like, a random thing they know, and like here's a name, Sam: This is a great way to turn that experience back on the player.Nico: exactly, yeah, there's this random person, you're like, alright, this is someone who owes you an apology, why is that?Like, Sam: yeah, Nico: I also wanna say that I feel like this was actually a relatively late addition to theSam: Yeah, it was. I always intended to write these, but it was like the last thing that I wrote.Nico: Yeah.Sam: Yeah.Nico: There was definitely some time when I sort of came back and looked at it, and all of a sudden there was this relatively large additional persons section in here, and I was like, huh, interesting.Sam: Yeah. I'm happy with how it came out. I think these are my best little guys. Nico: Oh yeah, Sam: I really like the unfinishedness of these little guys that you can project a little bit of yourself onto them while there's still some, like, major details there. This someone you seek vengeance upon looks a lot like a penis, and I don't know how I feel about that one, butNico: I was gonna say, I find that one fascinating as the ide

Pixar's Inside Out. Just because it's animation doesn't mean the film is only for kids. People of all ages can watch and enjoy this film. To quote Guillermo del Toro, Animation is cinema. I hope in the sequel, they elaborate on the many things they just mentioned in this film. I did spot a A113 reference and a Pizza Planet delivery truck but I didn't speak about it on the podcast. Hop on the Awesome Pod Mix and rediscover the film as I react and talk about the many mental health references, metaphors, and cinematic details I spotted while watching the film. You can listen to the Awesome Pod Mix and subscribe to it on Apple Podcasts, Spotify, Amazon Music, Google Podcasts, and Goodpods. If you like what I'm doing, you can support me on Patreon at pateron.com/awesomepodmix. Thanks for listening.

Fredos back! Join in this week as they talk about his trip to Mexico including the agriculture, tacos, Mexican pizza and Fredos heimlich heroics. Daniel takes a day trip to Solvang for pastries, casinos, and fishing. They talk Target homeless people, The crooked Hilary hurricane, A113, sleepy Joe and the upcoming election, Jewish climbers, and public meth activities. 

" Turning Red - Speaking of 4*Town… To create the music for Meilin's favorite band, Pixar turned to Billie Eilish and her brother Finneas (who voiced one of the members of the group as well). For anyone that remembers the heydey of boy bands like N'Sync, Backstreet Boys, and 98 Degrees, the results are basically a time machine that will whisk you back to the start of the new millennium.And finally, the 4*Town tickets that are featured in the Turning Red closing credits feature "A113" as a seat number. A113 is hidden throughout Pixar and Disney movies, and has even appeared in some Marvel movies and shows, like WandaVision, too.In 2002, Meilin "Mei" Lee is a 13-year-old Chinese-Canadian girl living in Toronto. She helps take care of the family's temple dedicated to their ancestor, Sun Yee, and works to make her strict, overprotective mother Ming proud." --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/theysusannamaeohagan/support

Why has the same California license plate been showing up in movies and TV shows for two decades? Support the show and listen to over 50 episodes of our bonus podcast by joining our Patreon! Show notes: 01:39 – Buffy the Vampire Slayer, "Villains" episode 02:16 – The Xandermobile 02:54 – A113 summary 03:43 – Screengrab of the plate in "A Star Is Born" 04:11 – Screengrab from "Matchstick Men" 04:52 – Screengrab from "Ray Donovan" 04:59 – "Furious 7" scene with 2SAM564 06:21 – Flim 26:19 – ISS Props 27:40 – Vehicle registration plates of California 29:27 – California DMV Sample License Plate Order Form (PDF) 33:52 – 2GAT123.com's License Plates 35:34 – Studio Graphics

Camilo pinto

L'info Expresso - Le siège préféré et la pire place des voyageurs en avion - On va pouvoir charger entièrement la batterie de son téléphone en moins de 10 minutes Le winner du jour : - Elle roule sur le pied de son père - À 7 ans, il sauve sa famille de la noyade en nageant une heure pour alerter les secours La chanson du jour : Kajagoogoo "Too Shy" Le savoir inutile : Le code A113 dans l'univers Pixar Le Flash-Back du Double Expresso : "Iron Man" (2008) La chronique surprise - le bilan de Jonathan Le bonus du Double Expresso : Des escalators qui dépassent des quais Le jeu surprise (le plus ou moins) : Yoan de Coti Chiavari près d'Ajaccio repart avec un séjour en Club Bélambra. La Banque RTL2 : Virginie de Rochesson près d'Epinal repart avec un séjour pour 4 au Parc Astérix. William de Lévignac près de Toulouse repart avec une croisière Le Boat.

This week's Out Now with Aaron and Abe is a big cat and mouse chase. Aaron and Abe are joined by the lovely Ana Bosch to discuss Tom & Jerry, the modern update of the classic Hanna Barbera cartoon. The group digs into how to take this newest version of the cartoon and whether or not it’s worth anyone’s time, even as a streaming title. Tune in for Out Now Quickies™ (3:50), Trailer Talk for Luca (11:26), the main review (17:29), Games (1:01:13), and Out Now Feedback (1:11:20). So now, if you've got an hour or so to kill... #tomandjerry #warneranimationgroup #hannabarbera #hbomax #timstory #chloegracemoretz #michaelpena #colinjost #robdelaney #kenjeong #timstory #pallavisharda #luca #pixar #a113

Today, Jake and Eli share their unpopular Pixar opinions, review Monsters Inc, and try to find A113... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/the-movie-majors/message

Have you heard people talking about A113? The Pixar Ball? The Pizza Planet truck? You probably have no idea what these things mean, and if not, you're in luck! Today, Jake and Eli break down the history of the famous Pixar easter eggs... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/the-movie-majors/message

Not to be mistaken with A113, this quarterly release of Elijah Craig's Barrel Proof is full of surprises.  Full Proof and rich, Brandt and Scott try our another version of the  “If you came here to learn, drink what you have learned.  If you came here to share, share what you drink. If you came here a stranger, may you exit as a friend; and if you came here for and adventure, drink up!” Facebook Group

It appears from all the signs and events we are witnessing these days; that we might, in fact, be drawing ominously near towards the fulfilment of the biblical "Mark of the Beast" End of Days prophetic words of the Bible. With many "out there" giving us teachings about the number 666, I would like to present my thoughts about the way in which we will be able to identify this "beast," though not just "him," but also to identify the movement or spirit that is pushing the 666 agenda. On this episode, we will look at the secret society number "A113," which is linked to the technology called "AI" - Artificial Intelligence. We will also have a look at the well-known Hollywood big screen number "322" as it links to Genesis 3:22. Plus, we'll look at the number of man, which is "45" and "311." These are all secret society codes and symbols for the New World Order and you will see how they are used to tell the world what's coming and yet what is not coming. Join me for about an hour and I'll explain things as I am perceiving them being fulfilled in these days. This is Program episode 021, Part 2 of 2 parts. Support the show (https://www.paypal.com/biz/fund?id=23WBKCMBHKDT8/Ancient Roads: Real Israel Talk Radio)

Do you like finding Easter eggs in movies? Do you love Pixar? Then this is the episode for you! Join us as we discuss all of the hidden things found in Pixar movies such as A113 and the Pizza Planet Truck!

Ep 006 - This episode has only one topic. Pixar Theory. Since it’s not a true conspiracy theory, we can’t cover it on the Mystery In Our History Podcast, but we can talk about anything we want here so na na na boo boo. Anyway, Billy walks JR through Pixar Theory and JR wears his skeptic hat as he does in MIOH. Even if PT is a complete crock, it’s pretty interesting to think about. Links: http://www.pixartheory.com

We can't believe we've gone this long without actually talking about this subject, but there's no time like the present. Tony and Ryan dive into grief and loss as Ryan returns from his grandfather's funeral. What is grief and how does it work? How can churches and individuals handle grief and loss in their communities better? These are the questions we try to answer, and more. Check out our sponsors for this episode: www.thehaystack.org  To support financially: www.theabsurdity.org/donate Music and editing by Kendall Foote. To contact him about your own production, you can email him at kfoote1221@gmail.com Twitter: @ryan180becker, @tony_anobile Email: ryan180becker@gmail.com Facebook: facebook.com/Absurditypodcast www.theabsurdity.org Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://absurdpodcastnetwork.supportingcast.fm

Le haut-parleur des havrais et des havraisesEmission du mercredi 23 octobreEn direct et en public à la Médiathèque de Caucriauville A retrouver dans cette émission : A 2’30 « Micro-biblio »Un micro-trottoir dans la bibliothèque c’est le « micro-biblio » ! Réalisé par des jeunes de la médiathèque auprès du public présent. A 13’00 « Les prodiges – Interview Gaëlle Alméras »Un extrait du « Super week-end de l’espace » sous forme de fiction radiophonique suivi de l’interview de l’autrice du livre Gaëlle Alméras. Réalisé par « Les Prodiges » de la médiathèque. A 29’00 « Karen »Lecture et interview de Karen, employée de la médiathèque de Caucriauville. A 37’30 « Interview des danseuses par Kimani »Interview des « danseuses du terrain de jeux » réalisée par Kimani. A 42’30 « Caucri 76 – Interview Lynel »Interview de Lynel, rappeur du quartier, dans « Caucri 76 ». Réalisée par Asta-Lee et Meg_972, jeunes de la Fabrique du Pré Fleuri. A 68’30 « Paroles d’habitants, d’habitantes »« Paroles d’habitants , d’habitantes » ce sont les mots des personnes qui apprennent le Français avec l’AHAM à Caucriauville. A 91’20 « Feu d’artifice à l’école du Mont-Lecomte »Tel un feu d’artifice, les enfants de l’école maternelle du Mont-Lecomte se raconte en mots, en contes et en chansons. A113’20 « Débat entre ami(e)s au Pré Fleuri »Des micros, des sujets choisis par chacun et chacune, de la bonne humeur et des choses à dire… Débat entre ami(e)s à la Fabrique du Pré Fleuri. Artistes musicaux havrais et havraises présents dans l’émission : DEF – Vague à l’ÂmePink Flamingos – Umbrellas (Fuck Them)Agathe Cipres – El Puerto Prochaine émission le samedi 11 janvier de 14h à 17h à la Fabrique Ste Catherine sur le quartier du Mont-Gaillard.

We Initiate Dave and Lizzy Lake into the rest of the ensemble... That's not Curtis of course. Hit up the Gmail if you Boyzs at home got questions or discussions for us! Follow the socials for more updates on this summer's hit Disney-Infused Marvel universe "EARTH A113" coming soon. silentzwastaken@Gmail.com @DJslashM on Twitter & Instagram Youtube: https://www.youtube.com/user/hjcinc1/videos --- Send in a voice message: https://anchor.fm/harrison-cordle/message

I read from albatross to alcalde. Apologies for saying arabian instead of arabic. dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.patreon.com/spejampar 917-727-5757

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. The German and Serbian dubbed versions of the film swap the genders of two main characters: Toaster is voiced by a man, and

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. The German and Serbian dubbed versions of the film swap the genders of two main characters: Toaster is voiced by a man, and Lampy is voiced by a woman. Recording sessions did not take place at Disney; the crew found and renovated a small derelict property in Hollywood. Rees' direction primarily consisted of ensuring the performances were as natural and realistic as possible, and ended up using many of the actor's improvised lines in the final film. Unusual for the time, some of the recordings were done in group sessions. Yes, we know that it isn't a "Walt Disney" movie....

Are we killing Disney's magic? And why do we take personality tests? [18:02] This week, Aaron and Joey talk about Avengers End Game (no spoilers), The Pixar Theory, retro-futurism, MBTI, the Chinese Zodiac, and enneagrams. They don't talk about the beautiful world of grit size. references Pixar Theory and A113. Aaron's reading/watching list all about Disney: The Carousel of Progress Spaceship Earth Epcot's history Disney's Progressland GE on Progressland, cont. A whole host of personality tests courtesy of UPenn's Positive Psychology Center (find "Grit" under Engagement Surveys). Thanks, Marty. Adobe's long Creative Types test. Enneagrams vs Spirographs.

Since scheduling is a real son of a gun I'll be realizing different meeting for our next HUGE podcast "EARTH A113" Twitter-- https://twitter.com/DJslashM Instagram-- https://www.instagram.com/dj_slash_m/ Email--silentzwastaken@gmail.com --- Send in a voice message: https://anchor.fm/harrison-cordle/message

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In today's show, I'm going to walk you through the process of how to niche down while still remaining on the path of your existing freelance business. You are going to have to put some time and effort into it without a doubt. But I will game plan out the steps to do this test.

I've got a whale of a tale to tell you lads, a whale of a tale indeed, about the guys in the vault and their special guest, a traveling bard by the name of sunset, and they'll watch a movie! You would totally get that if you watched this episodes movie 20 Thousand Leagues Under the Sea. 

Hey wait, where is Crankshaft today? Out and about you say? Well I suppose the show will have to go on without him. In his absense we learn more about Dr. Torg's new play about himself from the actor that is playing Matt in the soon to be masterpiece. They also watch Rob Roy, The Highland Rogue, which they seemed to just want to be more like The Sword and the Rose.

  In episode 60 of the Pixar Post Podcast, we share our complete interview with Ralph Eggleston (Production Designer), Bryn Imagire (Shading Art Director), Philip Metschan (Visual Designer) and Nathan Farris (Sets Supervisor) as we dive into how the team created the worlds of Incredibles 2. Earlier, we shared an article that dove into how the team created the Parr's new home in the film and now we're going to share the entire 40-minute interview that explores the home, the cities in the film, as well as the research behind the design choices which were made. SHOW NOTES: At the beginning of the episode, we chat about all-things Incredibles 2 (no surprise) and highlight the Pixar Post Forum and the breadth of conversations going on — from sharing bus advertisements, to concerns about continuity between the two films, if you haven't signed up or shared your views, check it out. Next up, we discuss the Incredibles 2 soundtrack being available for pre-order as well as our thoughts on Michael Giacchino's punny titles. We also follow up on two recent posts that we completed where we dove into The Art of Incredibles 2 book as well as some early Easter Eggs which have been spotted in the film (the reused Chinese food takeout box and the famed A113 has been spotted). There are quite a few early-screening opportunities for Incredibles 2 and we list out at least 18 different choices you have - (D23 Gold Member Gatherings, D23 Gold Member Complimentary Tickets, AMC Double-Feature tickets and even some options at AMC IMAX theaters as early as June 6. Before we get to the main interview with the Pixar crew, we also shared details on the amazing marketing of the Parr family home listing on Zillow. INTERVIEW: The main portion of this episode (starting at 30:20) is our interview with Ralph Eggleston (Production Designer), Bryn Imagire (Shading Art Director), Philip Metschan (Visual Designer) and Nathan Farris (Sets Supervisor). Listen in as they share wonderful details about how they held back the animation quality of the new film at the very opening of the film so it wouldn't be as visually jarring if someone watched The Incredibles and immediately wanted to turn on Incredibles 2. They also discuss some amazing details about how the crafted complete cities for the film (even some buildings in the background).   Chat about Incredibles 2 with other Pixar fans in the Pixar Post Forum dedicated to the film.

It's just the Vault boys this time, watching a very entertaining movie from the far past. Listen to them discover the sass inherent in the characters, and delight in the fun dialogue as they comment on the fun dialoge. Also Dr. Torg has some big news about his acting career!

You can fly you can fly you can fly! Well not really, but listening to the dulcet tones of special guest Emma Fyffe playing an encrouching warlord queen will have you walking on air, which is basically the same thing. Also the vault crew watched the Disney animated classic Peter Pan. 

Looking for tales of adventure, daring manouvers, and an odd amount of arrow murder. Well the Vault Fellas (not sure if that one will stick) have just the movie for you! The Story of Robin Hood and His Merrie Men. They also find a space boy who is a refugee from the harrowing times of the 1990s. His tribe tried to escape the looming spector of Y2K, but could have have stumbled upon a much worse fate? Yes, the answer is yes because Y2K didn't really do anything... or did it?

Be careful of what you wish for, or not, I'm not your parental unit. Do what you are going to do. Oh, and by the way, if what you are going to do is listening to this particular transmission then you are in for a treat. The Vault gang finally has a guest again, just when things needed to be shaken up some. Their new pal Frankie the cactus is going to remind you about how cool your particular time period is, and make his way right to your heart. Don't believe me? Just listen and find out!

Yarr, it be time for another Vault A113, this time round the Vault Crew watches the classic tale of treasure and islands; Treasure Island. Will they understand the deep themes of the film, or get caught up with a young boy shoots a pirate in self defense? Hard to say. Also there's a little extra treat after the credits.

Been wondering where those vault boys have been, what with their madcap adventures and zany antics? Well wonder no longer because the boys are back in Vault A113, ready to dive into some of life's most difficult questions. They don't actually struggle with any of those this episode, but I imagine those kind of questions are on their way. Either way, it's good to be back!

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The Year is 2512, and Matt Acevedo, an unfortunate PA just out on a run, is thawed out in the Disney Vault. These are the chronicles of his adventures in surviving the harsh outside world... and watching all of the Disney movies with his friends. This week the vault dwellers watch a movie that is well before it's time, Cinderella! They are also joined by an expert on crypto-zoology named Gwendolyn. Dr. Torg is also back... kind of.

This week the vault dwellers watch a movie that is well before it's time, Cinderella! They are also joined by an expert on crypto-zoology named Gwendolyn. Dr. Torg is also back... kind of.

This week the vault is visited by a long dormant hyperdimensional cube. He brings with him amazing insight on the multiverse, and how Ichabod Crane is the grand reason behind all life. We also learn about why it's a bad idea to let a frog drive.

From the Pit is a metal/hardcore podcast from four metalheads based in the Jersey/Philly/NY tristate area. We focus on bands of all varieties of metal/hardcore descent, and bring new music to your attention every week. Not only that, but we dive deeper behind the scenes to let you know whats coming in the future. If you’re also a part of the same tristate area as us, you’re in luck because we let you know about all the new shows/festivals coming to town. This week Frank, Mikey, and Phil talk about; Six Grammes Eight https://sixgrammeseight.bandcamp.com/album/six-grammes-eight-aldebaran Wounded Pig https://woundedpig.bandcamp.com Follow the white rabbit https://followthewhiterabbit.bandcamp.com Falls Apart https://fallsapartoh.bandcamp.com/ A113 https://a113.bandcamp.com/album/begin Cara Neir https://caraneir.bandcamp.com Église https://eglise.bandcamp.com/ Anal Trump https://analtrump.bandcamp.com/ and more!

Doctor Torg is out and about again, so Matt and Crankshaft decided to catch up on answering questions. They also try a new method of recording that might still need a little polish.

Sorry to say, but this week Doctor Torg is out of comission, too much tainted molerat meat, we've all been there. Elsa is very dissapointed, and can you blame her? That means it is up to Matt and Crankshaft to welcome their guest this week, Dronnie! Dronnie recently left the train that circumnavigates the globe to stretch his legs after a 32 year long trip, and he showed up just in time to watch a Disney movie that is positively a diamond in the rough. That's right, the Disney classic So Dear To My Heart. The classic tale of a boy and his sheep. Trust me, if you haven't already watched it, it is definitely worth a watch, especially because it make the commentary at the end even better.

This week absolutely nothing is out of the ordinary. Occasionally Melody time gets mentioned, but it's pretty much just business as usual.

This week the vault dwellers are visited by the self appointed Elsa, a student at the university, and Doctor Torg's biggest fan. Who knew? They watch the two part movie Fun and Fancy Free. The first half of the film is about Bongo the Bear, who grew up in the circus, but now must try to survive in the wild and use the skills he has aquired performing to make his mark, all the while being literally hit on by a girl bear. We've all been there right? The second story is that of Jack and Beanstalk, but with the classic trio of Donald, Goofy, and Mickey. They learn a little more about package films and try not to explore what may or may not have been some tension.

This week the Vault Dwellers tackle a pretty divisive film; Song of the South. They handle this movie with all of the poise and professionalism that you have come to expect from them. This week they are joined by somebody who can help them empathize with other people Cordon Blue, a fan of the Raiders of Oakland. They share their thoughts on the movie and learn about the raider nation from somebody on the inside. 

This week the vault dwellers meet one of largest and friendliest of the wastelanders, Delilah the enormous bear! She is a ravenous hunter, and her prey is... an education. Well, she is in luck, because the movie this week is Make Mine Music, which is like 4 movies in one. Together they talk about hat based stockholm syndromes and whether or not Heaven is closed for good. Trust me, most of it will make sense. 

This week the vault welcomes royalty... kind of. In the aftermath of X-Mas The king of New New Zealand joins the vault crew to watch The Three Caballeros, which turns out to be a really strange movie. They learn about what is going on with New New Zealand, and find out just how heavy is the head that wears the crown. Or, there might have been a gas leak. Hard to say.

This week Matt learns about the wasteland Decemember holiday of choice X-MAS! (Insert sweet metal guitar riff here) It's a no holds barred bloodsport that draws crowds from all over the wastes. Needless to say Crankshaft is getting into the holiday spirit. They watch the little known but historically interesting interesting movie Victory Through Air Power, a Disney feature about both the history of manpowered flight and the need for more air power in World War Two, there are mixed reviews. Also, no guest this week, just the regular vault boys. Also if you want to shoot us an email the email addess is VaultA113@gmail.com.

This week the vault is visited by Maggie, a wasteland aristocrat who loves shiny things, and hates to be alone. Crankshaft got a new arm and Dr. Torg tries deperately to impress their guest. Matt... probably did stuff too. The movie this week is Saludos Amigos, a semi animated look at life in South America. It raised some interesting points, but it also exposes Dr. Torg's deep disdain for ducks. Will the airplane make it over the mountain? Does Donald survive falling off of a broken suspension bridge? Does Goofy do something, well, goofy? You'll have to tune in and find out on Vault A113!

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. This week we are joined by Gafunkle, a sentient and adorable plush hedgehog, and boy does this toy have a story to tell... I think I'm getting ahead of myself. He joins the Vault Crew as they watch the classic tale of Bambi. I think more things happen on this episode of the podcast than in the actual film, but that's just me. 

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. A rare treat for just about everybody this week when Paulo an incredibly intelligent tapir stops by the vault, bringing with him not only knowledge and experience, but also a little espresso for Matt. They discuss the film Dumbo, and why tapirs are definitely not elephants! Also, Crankshaft figured out a way to get the recordings to Matt's time, which I guess is how you guys have been hearing this.

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. This week Dr. Torg is on a field trip, so it's up to Crankshaft and Ben the pig farmer to keep Matt company while watching The Reluctant Dragon. They discuss the finer points of pig rearing, and Ben makes some interesting points about relationships. If there was ever a movie to watch before listening to an episode, this is it. I wouldn't say it's a classic, but it's certainly an experience. 

Hop aboard the Axiom as the Rotoscopers visit the world of Pixar's Wall-E (2008).  Join along as we take the world's "hardest" Pixar quiz, talk about Wall-E's life on earth, the Wall-E/Eve relationship, directive A113, and more! Full show notes, links, and more: rotoscopers.com/133 Learn more about your ad choices. Visit megaphone.fm/adchoices

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. The Vault has a special visitor this week, the renowned holo-artist Anton Wormhole. He is known for his elegant creations and humanist approach to both artwork and ex-girlfriends. But hey, that's neither here nor there. They also decide to contemplate the nature of art by watching Fantasia. Discussions ensue, with only minimal snoring. 

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. This week the Vault has a new visitor, a cricket named Ira, who is here to set the record straight on the great cricket/grasshopper debate. She also shares a thing or two about the cultural background and timeline of the movie Pinocchio.

It's the year 2512 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. This week Matt, Dr. Torg, and Crankshaft relax and enjoy Snow White, while waxing philosophical on the nature of modern dwarves. 

It's the year 2520 and Matt, a recently thawed P.A. is coming to terms with his new living arrangement by watching his way through the entire Disney filmography. This week Matt, Dr. Torg, and Crankshaft watch the flagship of the empire that ended up being the Disney Media Empire: Steamboat Willy. 

Show Notes:  In this episode of The Tiara Talk Show, Mike Cedeno chats with host Tammy Tuckey about being an animator for “Atlantis: The Lost Empire” & “The Hunchback of Notre Dame,” working alongside the late Leonard Nimoy as he voiced the Atlantean King, taking art classes as a teenager at CalArts along with other members of A113 and more! Visit Mike’s official website here: www.mikecedeno.com   Follow Mike Cedeno on: -Facebook: www.facebook.com/cedenoimages -Instagram: @MikeCedenoArt Be sure to… - Follow us on Twitter at @TiaraTalkShow: www.twitter.com/TiaraTalkShow - ‘Like’ our Facebook page: www.facebook.com/TheTiaraTalkShow - Follow us on our Tumblr page: thetiaratalkshow.tumblr.com - Follow us on our Google+ page: google.com/+TheTiaraTalkShow - Follow us on our Instagram page: instagram.com/thetiaratalkshow Want to give us your thoughts on this episode? Call us at 1-407-413-9390 and leave us a voicemail! Thanks for listening! “The Tiara Talk Show” is edited, created and hosted by Tammy Tuckey. The Tiara Talk Show is Copyright © 2013-2016 by Tammy Tuckey. All rights reserved.

Tomorrowland: A World Beyond er en velmenende science fiction-film med charmerende George Clooney og søde/småskøre Britt Robertson i hovedrollerne. Det handler om fremtiden og om at redde fremtiden. Det handler om gode robotter og onde robotter. Det handler om wacky science-fiction-set-pieces og storladent space age-design. Og så handler det først og fremmest om at tænke positivt. Men hvad filmens plot reelt går ud på, og hvordan det hele hænger sammen — det aner jeg ikke! Tomorrowland: A World Beyond udkom på dansk blu-ray fra Disney d. 8. oktober. Hør mere om filmen i podcasten, og læs mere om blu-rayen på bloggen.

(Recorded on 08/18) Our Friendly Hosts Discuss what they have been up to for the last few weeks. Their Adventures brings them to expose the secrets of A113 and other tangents that our Knowers are used to. And also D23 record breaking coverage. If you like this, please rate the show or join the conversation by emailing Chris@NerdEXP.com. Level Up Knowers!

In this week’s episode: Joshua 12-15.  In the shortest TanakhCast episode to date, we catch up with an old friend from the Spying days (and his nephew) as we uncover an easter egg omelet in Joshua 15. And here are some samples of Al Hirschfeld's work and the list of A113 references in every Pixar film - as promised.

Jambeaux, everyone!!! Welcome to another episode of the Magic Our Way podcast. We appreciate your listening to our show and we hope it brings a smile to your face. We also appreciate your feedback and are committed to listening to our listeners. Factoid of the day: the stones used in the construction of Cinderella's Castle are non-existent. We are proud to announce that we are presenting to you, the listener, our very first book review!!! We lead off with an awesome one: Lou Mongello’s 102 Ways to Save Money For and At Walt Disney World. As a disclaimer, Lou did send us a free PDF copy of his book to review. But, other than that, we have no affiliation with Lou Mongello or WDW Radio “world.” All thoughts and opinions expressed in this show are solely that of Danny and Kevin and the Magic Our Way community. But first, some news. In the Queue. we cover the following news stories: No more of Danny’s favorite frappe: athio Kouzzina More of Kevin’s lectures: Pixar, A113, and CalArts Trader Sam’s, fountains, and the Polynesian Village….Resort AND an article about the Trader Sam’s in Disneyland Killer, unique t-shirt designs by Nomeus Gronovii through Redbubble: available at The Department of Citrus and much, much more! Yes, indeed!!! You read that correctly! We are presenting our very first of hopefully many book reviews here on the Magic Our Way podcast. An opportunity to review a new book by one of the “Old Breed” of the Disney-fan community came to us and we decided to take it. We are review Lou Mongello’s new book, 102 Ways to Save Money For and At Walt Disney World. We appreciate the opportunity that Lou has given us to review his new book. In a nutshell, we loved the book and it will be a great resource for Disney travelers for years to come and we explain why. If you would like to purchase the book, you can download it to your Kindle or get a hardcopy from amazon.com, you can download it to your Nook book from Barnes and Noble, or you can purchase it directly from Lou’s website at WDWRadio.com. This book comes highly recommended from Danny and Kevin of the Magic Our Way podcast. If you have the book or will be purchasing the book, let us know what you think and let Lou know that you heard about it from the Magic Our Way podcast. Send Lou an email. Send the Magic Our Way Podacst an email. As always, we promise to give the Disney fan a voice! Production Note: for next week’s show, we will sit down with a Walt Disney World College Program alumnus and get completely geeky with her. If you have ideas for shows that you want to hear in the future or want to ask our guest a particular question about the college program, send us a message at magicourway@gmail.com.  As always, if you like the show, please rate us and leave a review in the iTunes Store. We do appreciate you taking the time to do so. Also, you can find us on Facebook (www.facebook.com/magicourway) and follow us on Twitter (@magicourway). With Facebook and Twitter you will be able to find out when we are recording our show and ask us a question while we are recording. You may hear a shout out for you and your question being answered on that week's show. If you have any suggestions or comments for the show, please do not hesitate to contact us at magicourway@gmail.com. We will be sure to read your email on the air, unless you tell us not to. We do want to hear from our fans and we want you to be part of our discussion. Also, check out our slowly growing website at www.qmarkproductions.com and our soon to be website on www.magicourway.com. Also, you can now find us on Stitcher, Blackberry, Blubrry, and Double Twist for your listening convenience.    Thanks again for listening to us. We do realize that you have many choices when it comes to Disney podcasts and we appreciate your attention. The Magic Our Way Podcast always lets the ghost host lower the safety bar for us.

New Movie Review: The Amazing Spider-Man 2Also, we dig into my pile of old movie tickets and talk more movie memories, we cause change in the restaurant world, unspoilable movies, the A113 code busted, plus Moovie Newz (Star Wars!), the teen hearthrob who turned down every superhero movie AND MORE!Tweet at the show! @IHeardThatWasGd Interact with us! We're ready to BELIEVE you.

Week 2 of the Element3 Church Series LEGACY

Week 2 of the Element3 Church Series LEGACY

Sejam todos muito bem-vindos ao LivroCast número trinta e cinco. Na segunda parte do podcast de hoje, Marcelo Zaniolo (@celo_zaniolo), Diego Lokow (@Lokow), Lucas Conrado (@OLucasConrado) e Ricardo Herdy (@ricardoherdy) falam do livro “Filhos do Fim do Mundo”. Na segunda parte do LivroCast 035: Qual o enredo do livro “Filhos do Fim do Mundo”, personagens, pontos fortes e fracos, opiniões e muito mais. Tempo de Duração: 53 minutos. Compre o Livro do Episódio de Hoje Link na Saraiva Compre o livro “Filhos do Fim do Mundo” Link no Submarino Compre o livro “Filhos do Fim do Mundo” Link na Livraria Cultura Compre o livro “Filhos do Fim do Mundo” Ouça a Primeira Parte do LivroCast 035 LivroCast [Parte 1] – Fabio Barreto Comentados no Programa Livrarias Curitiba, parceira do LivroCast Julgando Pela Capa – Filhos do Fim do Mundo Resenha – Filhos do Fim do Mundo Papo di Minero, podcast do Lucas Conrado Resenha do Lucas Conrado sobre o livro “Filhos do Fim do Mundo” Ghost Writer, podcast do Ricardo Herdy Ghost Writer 026 – Fábio Barreto e Flhos do Fim do Mundo Locais em que A113 aparecem nos filmes da Pixar Críticas, Sugestões e Dúvidas E-mail: livrocast@lokotopia.com.br Twitter: @Lokotopia Twitter: @LivroCast Lokotopia no Facebook: http://www.facebook.com/lokotopia LivroCast no Facebook: http://www.facebook.com/livrocast Outros Links: LivroCast no ITunes Feed do LivroCast Informações Sobre o Episódio Aperte o play no topo da página para ouvir o LivroCast ou clique com o botão direito em download e escolha a opção “Salvar Destino Como” para baixá-lo em seu computador. O post LivroCast 035 [Parte 2] – Filhos do Fim do Mundo apareceu primeiro em LivroCast. O post LivroCast 035 [Parte 2] – Filhos do Fim do Mundo apareceu primeiro em LivroCast.

Disney in a Minute™ - Hidden Pixar Reference in the Disney Parks Walt Disney World is full of hidden references and tributes to Disney films, characters, extinct attractions, Imagineers and more. But do you know about the hidden detail that can also be found in every Pixar film? Lou Mongello takes you into the parks and explains the A113 reference, what it means, and shows you were you can find one inside the Disney Parks. ******************************** Do you know where else you can find A113 in the Disney parks? Let me know where in the comments section! What would you like to see covered in a future Disney in a Minute? Leave your comment below and let me know! ******************************** To learn more, visit http://WDWRadio.com and subscribe to the podcast FREE in iTunes - http://bit.ly/wdwit Download the FREE WDW Radio Disney podcast app for iPhone, iPad, and Android devices at http://WDWRadio.com/app THANK YOU for your support by voting WDW Radio Best Travel Podcast for 2006, 2007, 2008, 2009, 2010, 2011 and 2012! ------------------------------------- Twitter: http://Twitter.com/LouMongello Facebook: http://Facebook.com/WDWRadio YouTube subscribe: http://YouTube.com/subscription_center?add_user=wdwradio Google+: http://LouMongello.com/gplus Pinterest: http://Pinterest.com/LouMongello To learn more or work with Lou, visit http://LouMongello.com Thanks for watching! - Lou Mongello

Real People, Real Faith (14b) Graham Wakeman teaching from Micah Ch. 6 v1-8 on "Humility, Integrity &&name; Justice" - Micah walked with God, knew God's heart, saw God's perspective and took action to seek God's transformation. In response to God's amazing grace revealed to us in Jesus, we have the priviledge to do the same through the empowering of the Holy Spirit.

Real People, Real Faith (14a) Terry Regan teaching from Micah Ch. 6 v1-8 on "Humility, Integrity &&name; Justice" - Micah, a little known contemporary of Amos and Isaiah, issues us with a powerful challenge to live in an attitude of humility, mercy &&name; justice. What can we learn from this prophet about how to live in the 21st century?

Real People, Real Faith (13) Martyn Groves teaching from Daniel Ch.7 v19-28 on "Lessons from Daniel - God First" Daniel would not be forced to deny his God - and as a consequence he faced death and hatred and discrimination. What can we learn from this hero of the faith and how do we stand for God in our world and our society?

Real People, Real Faith (12) Keith King teaching from Judges Chapters 6 - 8 on "Lessons from Gideon - God can use anyone" We so often behave as if we are insignificant and we do not matter - but Gideon is a lesson in God taking someone who thought he was a nobody and making him into a somebody!

Real People, Real Faith (11) Joyce Gledhill teaching from Luke Ch. 7 v36-50 on "Lessons from a sinful woman - Giving God our best" Sometimes people can make you feel like your love for God and your worship of Him is superfluous to requirements - but Jesus' words to Mary about her washing her feet with her hair reminds us of the great importance of putting God at the centre of our lives and giving Him our very best.

Real People, Real Faith (10b) Malcom Duncan teaching from Job Ch.13 v15 on "Lessons from Job - Trust in the middle of pain" Where is God when our lives fall apart and how do we keep on trusting Him, no matter what happens? Job has key answers that help us make sense of life when it goes horribly wrong.

Real People, Real Faith (10a) Ruth Geisner teaching from Job Ch. 13 v15 on "Lessons from Job - Trust in the midst of pain"

Real People, Real Faith (08b) Stephen Gaukroger teaching from 1 Chronicles Ch. 29 v 10-20 on "Lessons from David - Longing for God" (Sermon notes can be found on page 3 of the weekly bulletin.)

Real People, Real Faith (09) Malcolm Duncan teaching from Judges Chapters 4 &&name; 5 on "Lessons from Deborah - Integrity". Outline: Deborah was a great leader of Israel. She captained and marshalled the people of Israel and reminded them of the greatness of God and His power at work in our lives. What can we learn from her example and her life in the 21st century?

Real People, Real faith (08a) Martyn Groves speaking on "Lessons from David - Longing for God" (Sermon notes can be found on page 3 of the weekly bulletin.)

Real People, Real Faith (07a) Malcolm Duncan teaching from Philippians Ch. 2 on "Epaphroditus - risking it all!"

Real People, Real Faith (07a) Keith King teaching from Philippians Ch. 2 v25-30 on "Epaphroditus - risking it all!"

Real People, Real Faith (06a) Malcolm Duncan teaching from Nehemiah on "Lessons from Nehemiah - take a stand"

Real People, Real Faith (06a) Jim Graham teaching from Nehemiah on "Lessons from Nehemiah - take a stand"

Real People, Real Faith (05) Maria Bond teaching from Ruth on "Lessons from Ruth - Loving and Longing"

Real People, Real Faith (05) Malcolm Duncan teaching from Ruth. Intro: A story of faithfulness, hope and commitment? 1. In a time of great hunger we search for food. 2. Commitment means decision - a tale of two sisters - the power of choice. 3. Commitment means action. 4. Learning to trust. 5. A kinsman-redeemer. Conclusion: Ruth's choices lead to Christ's birth. We stand in her shadow.

Real People, Real Faith (04) Miriam Westendarp speaking on "Lessons from Esther - stepping out in faith"

Real People, Real Faith (03) Malcolm Duncan teaching from Genesis Ch. 37-50 on "Lessons from Joseph - dare to dream"

Real People, Real Faith (02a) Brian McCarthy teaching from 1 Samuel Ch. 1-2 on "Lessons from Hannah - don't give up"

Real People, Real Faith (02a) Eric Lynch teaching from 1 Samuel Ch. 1-2 on "Lessons from Hannah - don't give up"

Real people, Real Faith (01a) Stepeh Walker-Williams teaching from Genesis Ch. 16 v1 - Ch. 21 v7 on "Lessons from Abraham &&name; Sarah - trust God always"

Real people, Real Faith (01) Keith King teaching from Genesis Ch. 16 v1 - Ch. 21 v7 on "Lessons from Abraham &&name; Sarah - trust God always"

The German Wirehaired Pointer Pointer.

The German Wirehaired Pointer Pointer.

Gehen? Über eine Autobahn? Das konnte man am vergangenen Samstag auf der neuen Strecke der A113. Korrespondent Ivo Lotion hat sich dort mal umgesehen. Welche Leute ihm begegneten und was man so alles machen kann, auf einer unbefahrenen Strecke, seht ihr hier.

These thirteen things about The Brave Little Toaster my not be the greatest thing since sliced bread, but we guarantee you that they're no burnt offerings. 13. During pre-production, Jon Lovitz was cast in Saturday Night Live. Jerry Rees, who had been writing the character of Radio with Lovitz in mind, pleaded with him to stay in Los Angeles long enough to record his voice tracks. Lovitz agreed, despite protestations from his agency. Rees quickly finished the screenplay and hustled Lovitz into the recording studio, where his entire performance was then captured in one, marathon session. 12. Halfway through filming, Donald Kushner thought that the nightmare scene should be cut from the film; due to the clown being extremely frightening to younger children. He also stated that the junkyard scene "Worthless" should be cut from the film, due to one of the cars driving into a crusher on purpose, using a suicide reference. For unknown reasons, the scenes were left in the film. 11. Was originally in development at Disney, with John Lasseter set to direct. Lasseter planned to use a combination of traditional hand-drawn animation and computer generated imagery for the characters, making it the first animated feature to attempt it. Executives, however, lost interest when the projected costs became too high. Lasseter was fired by Disney and then co-founded Pixar, while the rest of the team took the film outside and managed to produce it independently. The completed film was eventually bought by Disney, shown on the Disney Channel and became a cult hit. 10. In 2006, the official website of Hyperion Pictures posted a image of a possible fourth film in CGI; however, that film was never produced. 9. When Blanky imagines the Master arriving home, there is a brief shot of him floating down the stairs. Behind him on the wall are four paintings, each representing the functions of the other four appliances: a candle, a radio, bread on a stick over a fire, and a broom. 8. The hanging lamp (voiced by Phil Hartman) is based on Peter Lorre in both voice and appearance. The Air Conditioner, also voiced by Hartman, is based on the voice and intense acting style of Jack Nicholson. 7. According to Jerry Rees, very few prints of the film were made for exhibition due to limited funding. The print that Disney ultimately used for home video release is believed by Rees to be one that extensively toured the festival circuit, due to his recollection from each screening of noticing the picture frame "wobble" very early in the film. On the other hand, Prim Leisure's DVD in the UK uses a fresh transfer from an international print. However, the film has yet to receive a High Definition transfer even 30 years later. 6. This film is considered by many to be the prototypical Pixar film. Many of Pixar's most important members, including Joe Ranft and John Lasseter, were involved with The Brave Little Toaster's production. It also contains tropes that have become common in Pixar films: objects with human-like qualities, a long journey that changes the characters, and dark adult themes hidden in the guise of a children's film. Even the famous code A113, which is seen in all of Pixar's films, appears as the Master's apartment number. 5. In the scene where the TV tries to convince the Master to go to Ernie's disposal, there is a shot of the character pulling paper out of a filing cabinet. One of the sheets of paper has a near-topless woman (with stars covering her nipples) on it. 4. Composer David Newman considers his score for the film to be the best of his entire career and has stated that working on it was one of the highlights of his life. 3. In a 2010 interview at Cal State, Northridge,voice actress Deanna Oliver revealed that at her son's deployment ceremony to Afghanistan, some of the soldiers who were fans of the film had brought their toasters with them for her to autograph. 2. The German and Serbian dubbed versions of