Tales of BarfQuestion v4.3 Changelog

• Overhauled the comics reader and added mobile compatibility
• Comics rescanned and remastered in higher definition
• Website moved back to barfquestion.com
• Auto-redirect to zehkiflorn.com removed
• Under construction placeholder website for Zehkiflorn uploaded to zehkiflorn.com
• Old Zehkiflorn trailer replaced with new teaser that actually contains footage of the film this time

BarfQuestion Postmortem

Tales of BarfQuestion was born out of a difficult time in my life. Film school (or at least UW-Milwaukee which I attended) had turned out to be a complete scam which actively punished creativity, and yet I still received massive amounts of pressure to remain enrolled at the personal cost of tens of thousands of dollars. I was told repeatedly by the faculty that I would never make it with the kind of stuff I wanted to create, and I felt betrayed and conned by a system that seemingly existed to crush my imagination while milking me for money I didn't have. A lot of what I created was born from lashing out against this establishment and a society that felt like it was just trying to funnel me into soul-crushing work for the rest of my life in order to pay off the student loan debt it coerced me into accruing.

With "the Closing Hour", I won a film festival accolade on the same level as the senior-most professor at my so-called university and proved to myself that I could make it on my own. I dropped out halfway through my third semester, and with invaluable support from NewGrounds and funds squirreled away from ongoing part-time work, I was able to animate full time and pay off what debt I had accumulated during my short time at college.

Characters like SuperVillain embodied this ongoing crusade against a system that I, in my shortsightedness, felt had failed me. Yes, art education is largely bullshit and yes, I attended a particularly terrible excuse for a school. But no, there wasn't anything really holding me back; society as a whole was not out to get me. I had, and took advantage of, numerous opportunities and resources that loads of other, far less fortunate people just didn't (and still don't) have the same level of access to. I think this self-centered angst is what the budding alt-right scented in my work - seeing it as something potentially sympathetic to their ill-informed grievances. However, I had been fighting tooth and nail to achieve my dreams, while they instead had elected to throw entitled shit fits at every opportunity and use the internet to try and make everyone as miserable as they were. 

Music videos commissioned by wailing white men did not help this issue at all. My most popular work by a mile, it pained me to see so much interest toward wallowing in self-pity. I tried my best to positively spin each song's message through my animated visuals, which eventually culminated in "the Faster the Treadmill". Fetusaur was meant to show that shirking all personal responsibility - in favor of hero worship escapism - was a self-defeating 'effort' because Puddlenaut was just as much a part of the system as Fetusaur was. Upon learning this, Fetusaur flees the game and confronts the player: a salaryman who is trying to similarly escape his misery in video games - their silent confrontation a kind of accusation aimed at people who have dreams but do nothing to achieve them (like Fetusaur had been doing). Precisely one comment out of thousands picked up on that. Oh well.

For some time I had wanted to fulfill my childhood ambition of making a feature film and was growing tired of the constraints that BarfQuestion's slapped together world-building created. Now add to that the 2016 election nightmare and finding out that a disturbingly large portion of your audience, ostensibly the people you work for, were fascist friendly bigots. I was out of there. I quit. Off to make a trilogy of films based on three of my series, or so I said. Over the first year of production, the little SuperVillain remake that "Zehkiflorn" once was conceptualized as slowly shriveled and died, while a new vision blossomed out of the remains. The reveal trailer is so completely misleading at this point that I can only use one or two shots from it anymore. Anything of value in the previously promised "BarfQuestion film trilogy" has been cannibalized and reworked into what "Zehkiflorn" has become. And what "Zehkiflorn" has become is very likely going to be my life's work. 

  

No longer simplistic stick figures, the Zehkiflorn are now visually distinct from their BarfQuestion predecessors - sporting a detailed appearance, physiology, life cycle, and relationship with their ecosystem. Despite what I suggested online, this is no longer a parallel universe to Tales of BarfQuestion and has no connection whatsoever to my previous body of work (despite a few similar designs and concepts here and there). Most artists I've seen have a tendency to produce variations on the same story, the same themes, their entire career. Why not just deliver it all as one product at full potency? I can already see bits of BarfQuestion unconsciously popping up here and there, so I am certainly no exception to this pattern.

Every morning I sit down to work on "Zehkiflorn" and am presented with a new challenge, some new scene to break down and choreograph. Every month of full-time work produces 1-2 shots depending on their size, and at the end of each month I get to see how the film has inched forward. Despite how that sounds, it's incredibly rewarding - and certainly more rewarding than busting ass over a rushed and formulaic animation, posting it on YouTube, and getting a handful of thoughtless recycled 'joke' comments in return. I've discovered that I function far better without feeling like I need to answer to an audience. That's not even getting into the issue of how the internet has become structured to kill anything original in favor of quick, disposable content in the form of navel gazing vlog cults and channels dedicated to mindlessly consuming media. Nothing with even a shred of creative integrity can keep up with these trends. In addition, Danielle and I still work on games as a hobby, but they're for our own amusement and so they aren't released to the public. After the collective shrug our website redesign evoked (a project we are still extremely proud of), it just seems like a waste to expend so much effort in catering to others that don't share our vision.

I don't expect that "Zehkiflorn" will make it big, or even be well received. At times it is pretty combative, inflammatory, and not at all ego-reaffirming - criteria which disqualifies media from all but the most niche cult followings. That's not even taking imagination into account either - a quality that people are increasingly unable to digest and simply shrug off with offhand accusations of drug use. The level of detail in "Zehkiflorn" is hyper-dense and I hope it will reward repeat viewings - with viewers continuously noticing new aspects each time. My viewers, however, still haven't noticed that plastic objects weren't affected by Sock's radiation in "Empire" (explaining why a sealed hamster cage was an effective prison), so I don't expect these aspects of the film to go down well - instead serving to alienate audiences even more with an overwhelming barrage of information they have no interest in picking apart. I honestly don't care anymore. This film is for me, and working on it full time these last three years has been far more fulfilling and engaging than anything else I've worked on.

I'm still planning to stick to my policy of no internet updates about the film (well, besides all this). Despite already not using social media, I've been slowly removing the internet from my life even further over these three years. It was hard at first, but now I can't even see how I used it in the first place. I feel like a stranger on my own blog and the idea of posting anything feels incredibly alien and uncomfortable. I like living a calm life, unfettered by the cacophony of entitled bigots shrieking about their countless outrages and insecurities. I don't remember getting any substantial backlash when I animated SuperVillain brutally murdering George W. Bush with a ballpoint pen, but I can't even imagine the cavalcade of idiot bawling a similar animation involving Trump would evoke today. 

So that's it. BarfQuestion Films and its subsidiaries are closed, all pending projects canceled. I've moved on to my new career at the Zehkiflorn Conservation Society. I won't be answering any comments or mail regarding this post, but thank you for your support over all these years, unless you're a nazi - in which case I hope you either stop feeling sorry for yourself and get your life together, or just pull that trigger and skip ahead to your own personal ending. Spoilers: you die bitter and alone.

--------------------

tl;dr Q&A for illiterates, plus a few more quick answers:

Q: What's going on with the trilogy of films?

A: Everything but "Zehkiflorn" is canceled. "Zehkiflorn" is a feature film that will likely be my life's work.

Q: So what about "Rictus of Sock"?

A: Canceled. Anything of value has been cannibalized and reworked into "Zehkiflorn" (which isn't much). 

Q: Is "Zehkiflorn" a SuperVillain movie?

A: No. There will probably be the odd similarity here and there, but there are no canonical connections to my previous BarfQuestion body of work. 

Q: If it's not a SuperVillain remake, then what's it about?
A: Mainly fungus. Themes include the tangled relationship between altruistic and xenophobic impulses, unwarranted self-importance and magical thinking, animal welfare and over-consumption, the cosmic horror of genetics and the increasing probability concerning the non-existence of free will.

Q: Who's doing the music?

A: I don't know, and it's too far in the future to concern myself with right now. So far everything in the film is just atmospheric ambient noise and I'm liking that a lot more than any music I could put over it.

Q: What about Sulek?

A: They're having tons of kids and don't want to be associated with all the infanticide and child abuse in my work (which will also feature prominently in Zehkiflorn). They've said they want to make more music, but are incredibly busy with their offspring. I haven't heard from them in years, and their website is down, so I'm not sure how that's going.

Q: How much work are you even putting into this?

A: Forty hours a week, every week (except for normal holidays). I've been doing this for three years and that's produced a little over four minutes of finished content. I complete 1-2 shots a month. I'm expecting the film to be at least forty minutes, but who knows.

Q: Will there be any more updates?

A: Not really. I'll probably make a separate site for "Zehkiflorn" at some point and move Tales of BarfQuestion back to barfquestion.com (and remove the auto-redirect to zehkiflorn.com).  

Q: Are you not even going to show off the new design for the Zehkiflorn?

A: I'm not planning to right now. It's probably just paranoia talking, but even stuff as basic as some of my early BarfQuestion concepts got ripped off by more popular artists, so it doesn't seem like a great idea to upload something unique when I'm this attached to it - especially when the final product won't be released for decades.

Q: That's it?

A: With YouTube becoming actively hostile towards content creators and making them legally and financially accountable for Google's mistakes (specifically their failure to comply with COPPA), I may not be around on that platform too much longer. I'm positive these new regulations pose zero threat to me, but I'm not too keen about earning money for evil megacorporations that enact such unethical policies (this being only one of many scummy moves YouTube has made over the years). But this is all more of a hypothetical anti-update, so nevermind.

Q: So where is Zehkiflorn going to be uploaded?

A: Real life, physical venues like film festivals and maybe home media. I don't intend on giving it away for free. You're going to have to at least put the effort into pirating it.

Q: Fuck you, I deserve unlimited free entertainment!

A: Gross!

 

 See you in 20XX...

Zehkiflorn

Zehkiflorn will be the first in a trilogy of films, with each film being vaguely inspired by a series of animated shorts that I created between 2007 and 2014 for the internet.

FAQ

Q: Are you seriously just remaking all your shit again?

A: Despite a few cosmetic similarities, Zehkiflorn has almost nothing to do with the SuperVillain series.

Q: What about SuperVillain 6?

A: Aborted! Read all about it here.

Q: What about Rictus of Sock?

A: After Zehkiflorn, I'd like to use my ideas for Rictus in my second film project. Unlike Zehkiflorn, it will draw more heavily on the Sock series for inspiration.

Q: BUT I CAN'T WAIT FIFTY YEARS FOR THE CONCLUSION

A: Consider "Empire" to be a bad end where the destruction caused by the warring Gods prevented humanity from overcoming the crisis.

Q: Okay okay (NOT OKAY), is Sulek at least doing the music?

A: Nope, the film's contents are not something they want to be associated with. I don't want to rope any musicians into the eternal rollercoaster that is this film's incomprehensibly long production time, so I'm not specifically recruiting anyone at the moment.

Q: What's up with the website?

A: Besides it being just the neatest thing ever? For starters, it's still in beta, and we will add in more features over the next year (improved video player, embedded comic reader, new merchandise, 1990's mode for shitty computers, bug fixes, etc). It might not be terribly friendly with older browsers, but it is mobile compatible.

Q: I can't think for myself and therefore can't find anything on the new site?

A: Idiot proofing successful!

Q: Will we never see you again?

A: Bye!

The SuperVillain Abortions

I'd like to talk about a huge mistake I made: SuperVillain 6. Originally advertised as coming out in 2011, the lingering promise of this sequel quickly proved to be hilariously or infuriatingly wrong depending on what type of fan you are. As previously mentioned, in a few days I'll be abandoning the internet and setting off to work on real films which means SuperVillain 6-10 get to join Codefenestration, ToastProphet, and Sezja in the dead project corpse furnace.

Way back when I only had attention-seeking dreams of pumping out web-based episodes of series until they ran dry, I originally had the ambition of making five more SuperVillain cartoons solely on the rationale that "SuperVillain X" sounded like a cool title for a final SuperVillain short. As such, the plots were gimmicky and repetitive, even for a series that consisted of nothing but a little creature going around and hitting people with various objects. It got to the point where one plot outline was just SuperVillain on a plane that goes down on an island and it makes everyone's life hell during an already traumatic event. That's when I knew this had gotten out of hand and I needed to reel this crap in.

So the series was narrowed down to just SuperVillain 6 and 7, with SV7 being the final installment. For years the scripts have been rotting away on my computer, so I will summarize them here, accompanied by low effort scribblytimes.

SuperVillain 6

SuperVillain 6 is essentially an edgy re-skin of SuperVillain IV, a fact I realized during pre-production that really put me off the project. It concerns another BarfQuestion-type thing (named "OtherVillain" in the script) that lives in a junkyard and is obsessed, perhaps even erotically, with SuperVillain. Its den is lined with newspaper articles about SuperVillain, which this other villain lovingly caresses while breathing heavily. To this end, it has created a winged robot suit out of scrap metal in order to be just like its hero.

Meanwhile, SuperVillain sets up a bear trap in a changing station and wrecks havoc at a carnival by getting into a fight with a gang of drunk clowns. Fortunately this terrible concept is promptly exploded by OtherVillain who flies in, unleashing a barrage of lasers and missiles. Because these are things you can build with the contents of a junkyard.

SuperVillain is put off by this wanton destruction because there's nothing left to ruin, and so it leaves dejectedly. OtherVillain is saddened by the lack of acknowledgment from its hero and pursues SuperVillain, spreading destruction in its wake and ruining all of SuperVillain's fun. SuperVillain finally has enough of this and attacks the fan in retaliation, only to take a claw in the eye. OtherVillain is horrified at what it has done, but is also seemingly aroused by the blood on its claws, shuddering as it licks them off. This is an "improved version" of the script, as in the original they only fought it out in pure territorial rage. I eventually made a more "improved version" of this script by crushing it into a ball and throwing it in the trash. However even in ball form it was still too edgy and somehow managed to cut my bin in half and I had to buy a new one.

SuperVillain sleeps off the facial impaling while OtherVillain destroys the city. We cut to a man with a spatula-sized facial scar watching the news. He gets up and opens a high tech closet, inside which is the Hero suit from "SuperVillain II". The Hero arrives on the scene and fights OtherVillain.

Meanwhile, SuperVillain has some bad dreams about being bored/burning to death and wakes up, having apparently gone through the "SuperVillain IV" emotional arc again where it decides to get back into business despite the recent defeat. SuperVillain joins the fray as the Hero is about to win, and the Hero offers SuperVillain his hand in friendship. SuperVillain instead tugs the Hero into the path of OtherVillain's oncoming attack, and spends the rest of the fight using the Hero as a human shield to soak up OtherVillain's ammunition. With the Hero out of commission, the two villains enter a nearby shopping center where SuperVillain amputates OtherVillain's gatling gun tail with a heavy duty paper cutter.

Turns out OtherVillain somehow also built a flying fortress under the junkyard because ??!?. The fortress enters the city and begins destroying it some more, but SuperVillain piggybacks on the retreating OtherVillain and lands atop the fortress to continue this bloated and completely disinteresting fight. Meanwhile the Hero presses a button on his suit and turns purple, giving him the ability to shoot a solidifying, volatile gas. BECAUSE ??!?. All three duke it out on the roof of the flying fortress, with OtherVillain getting sucked into a jet turbine by a tape measurer. Somehow the Hero ends up dangling off the ledge of the fortress, and SuperVillain kicks his fingers off, sending the Hero plummeting to his death. 

We cut to a "SuperVillain Support Group" which consists of a lot of bandaged people and kids suffering from shaken baby syndrome. SuperVillain shows up and terrorizes the PTSD victims by pouring salt into a burn victim's full body cast. And with that, this disgustingly excessive and utterly redundant cavalcade mercifully comes to an end. After three separate drafts all made with the intent of making this less generic, I hate this thing more than ever and am very glad I dropped it in favor of Empire of Sock. Unfortunately it is far from the worst idea I had for this series…

SuperVillain 7

Winter has come and humanity has finally had enough. Fork Laboratories (the organization from Grumatorium) is created by the government with the intent of putting an end to SuperVillain and general BarfQuestion related destruction as a whole. The military is deployed in full force and SuperVillain must escape its apartment building while fending off tanks with a gas station squeegee.

Replacing the trademark cardboard mask for a more bulletproof one made out of an ammo crate, SuperVillain escapes the military blockade only to be greeted by Fork Laboratories' secret weapon: a multicolored nudibranch-like mutation that absorbs all living matter. It has been busy eating lab workers, so it is now an amalgamation of human limbs. Because of its voracious nature, the Lab has brought in a portable nuclear reactor/emitter/MacGuffin to suppress and guide the creature.

Of course SuperVillain eventually ends up behind the controls of the reactor and starts blasting the monster with nuclear energy because we are miles above the shark at this point. The deus-ex-machina reactor goes into meltdown while in use for some reason, probably because it (like us) wants out of this horrible project, and promptly explodes.

The evacuated townspeople watch the mushroom cloud from a nearby cliffside, when a flaming scrap of SuperVillain's tie drifts through the air and wraps around a kid's face, sending him screaming off the cliff. The end.

Well, you're all welcome for not making these. Hopefully your confidence in me hasn't been shaken too hard. There were a scant few ideas from these scripts that were worth saving, and have made their way into a future project. I've omitted them from this post for this reason, and also because it makes these plot summaries look even worse. LET US ALL HATE ALONG TOGETHER.

It should be apparent by now that I intended for all of my web content to be part of the same timeline (check it out while it's still available), and even more apparent that I want a fresh start from this mess where I can fully explore my ideas and do some actual world-building without the restraint of this pre-existing and poorly explained continuity quagmire. You might notice a few loose ends on the site here and there for the next few days while we switch over to the new website design, including some pre-release anniversary content (like this post and the timeline for example) if you hunt around a little. I'll see you all one final time on or around the 12th!

Telegram from the Titanic

For the last few years I've known and said I wanted to make a film. A real film. Something I can take on tour when it's finished and stand on it's own, outside my jumble of web content. This, of course, causes a bit of a problem concerning what to do with my internet audience. The herculean effort required to even attempt something on this scale is terrifying, and that naturally means fewer (than the already sparse) updates I can put out. The fans will feel abandoned, but to stay engaged with them takes valuable time away from the project I really care about.

The first draft of this post was written yesterday and it was very optimistic in nature. I promised to invest great effort to create audience outreach tools for BarfQuestion's 10th Anniversary, such as a Twitter account to keep everyone posted with lots of free content and extras (production updates, animation PSD files, more frame giveaways, preview clips). It would take time away from production, and even though audience feedback only comprises 5-8% of my job satisfaction, I'd suck it up and do it anyway for the greater good.

And then the election results came in. From the collective prolapsed anus of America that mistook the presidential election for a reality show, to the stuck up idealists who voted third party or "protested" by not voting, to the religious who voted for the actual anti-christ just to preserve bundles of cells less complex than the organisms on their dinner plates, to the indifferent and apathetic 40% who shirked their responsibility to vote altogether in favor of continuing to waste oxygen: I realized that I found the prospect - of continuing to provide free entertainment to anyone who very well may have contributed to the destruction of everything this country has striven for over the last several decades - to be completely repulsive.

When I'm already struggling with how to balance a feature length project against dumping more content into the internet, this shit really makes me want to just drop the internet plate altogether. I would just feel bad for my foreign audience who already has more than enough America-related problems headed their way.

The terrorists are not immigrants or people who follow a hate-religion different from America's favorite hate-religion. Terrorists are fat, sagging goblins that spew hateful lies to make us afraid of our own country for personal gain. Fuck this country and the American people. I am more ashamed to be one of your number right now than I am of that one time I tried asking out a Hmong girl with a valentine written in Japanese because I thought the calligraphy looked cool without realizing how horrifyingly racist that would come off as.

FUCK.

After 10,000 years, it's free!

Back in the distant lands of 2010, Danielle found an online tutorial about how to code ActionScript games in Flash. The tutorial instructed the reader on how to make a game in which you, a paddle, use a ball to destroy apples in a tree. The very most basic of brick breaker clones. Having completed the project, I saw her excitement in having coded something. And I decided in that moment to obliterate that small happiness forever.

"What if we made it more elaborate?" I said while lightly tapping in the first nail. "You could be a little guy knocking down a building! What if we added procedurally generated levels of a building with cutscenes in between them?". Meeting with little resistance I decided to query further, sweeping my hand along a shelf of antiques. "How about adding different kinds of bricks and building materials?" This, of course, destroyed the fancy procedural generation script that had already been completed. I either did not or could not recognize the shattered finery on the rug. More. There must be more.

"Racket physics! And we'll need new levels! We'll make new levels to replace all that hard work you just did! While you're at it, how about we add construction workers that call the police on you! Oh! Yes, we should have multiple game over conditions! We'll need a health meter, and power ups to go with it like buckets and sandwiches. And let's add more level designs while we're at it!" Unable to accept the fact that this would be just another brick breaker game, no matter how many bells and whistles we duct taped to it, I proceeded to push us deeper into madness. "Let's add something besides rocks that you can hit at the building!" Having seen the resulting rock re-skins, I could not let this scab go unpicked. "What if they each did unique things, like broke or exploded? Let's put in multi-ball functionality and an inventory bar while we're at it.

How about a remote control that brings in a wrecking ball? Wouldn't it be cool to fight a UFO with a wrecking ball?"

Years had passed at this point and the once simple tutorial game had already been reprogrammed from scratch, including several code revamps to handle all the new ideas I was polluting this once innocent project with. But my nagging suggestions and torrent of new assets had only increased with time. Three mini-games were planned and the groundwork laid out for them. More bosses. The collectibles system. Easter eggs, including a cheat system and a new hidden game mode within it. Remastered the cutscenes. Made a new cutscene gallery to replace the old ugly one. Added corrupted cutscene files to the game which replaced all the sprites with cutscene frames and almost irreparably broke the game. The level auto-complete system. Randomly generated countdowns. Procedurally generated room interiors. An actual ending to the game, instead of an endless loop of levels. More cutscenes. Throwing out of the previous groundwork for the three mini-games and adding the Demolition Carnival in their place. Unique cutscenes for all the bosses.

Neither of us wanted anything to do with it at this point. A spaghettian titan of tangled code and jumbled ideas, desperately trying to be something more than the uninspired monster it was. Meanwhile, Danielle had surprised me with Cardiac Snowdrift in 2011 which was everything Hitting Stuff at a Building was not - concise, addictive, and quaint. With Cardiac Snowdrift out in the wilderness, HSaaB had become even more reprehensible. What was the point of this mutant hearse of a training-wheels game when Cardiac had totally supplanted it in that role? We did not know. We did not care. Hitting Stuff at a Building rotted in the depths of our hard drives for years, untouched and unloved.

But here we are. We finally pulled it together in 2016 and made a concentrated effort to finish it. I am still coming to terms with the realization that I am a horrible, horrible project manager and our first substantial game will be just one of millions of derivative indie-games that are over-saturating the market. This trend of nostalgia fixation and subverting retro game tropes is something I desperately don't want to be a part of. Having grown up without video games, I had very lofty ideas about what video games actually were, and when I finally got to start extensively playing them 5-6 years ago, I was disappointed with how limited most of them actually are. Seed of Destruction is more along the lines of what we'd like to make, but we played it "small" and "safe" with Cardiac Snowdrift and HSaaB in order to get a handle on how to make games ourselves. But we've learned a lot, and thanks to her trucking through this programming boot camp hell, Danielle's grasp on coding is now so high that her career is moving up as a result. We've come away from this a lot more experienced than before and that's what really matters at the end of the day.

When asked for comment, Danielle added "FUCK FLASH RRRHAAABBGGLKKKGGRAAAH". Needless to say, we will thankfully never be working in Flash again. Our next project is being built in Javascript and HTML5 and it has been phenomenally easier to work with. It doesn't hurt that I've learned to plan out the full scope of a project in advance, as to prevent another catastrophic idea cascade. Meanwhile, I'm working hard on getting the Zehkiflorn reveal trailer ready for BarfQuestion's 10th anniversary on January 14th, 2017. It's going to be a huge update.

BarfQuestion International Development Conference

So Hitting Stuff at a Building reached a state of completion for the seventh or eighth time, and then I was like WAIT A MINUTE all the bosses need cutscenes! and then all production on the books ground to a halt and I lost a week's worth of work on the trailer because of it and then I worked straight through most of the weekend on it and sad. I am the worst. The worst director.

While I pulp my face against this demon of my own making for next to no reason, the coding remains basically completed which frees up the programming queue. I don't know where queue gets off having all of these fucking vowels but here we are. 

What that means is that the new website I blew several months last year making assets for is being coded. That is to say, Danielle is tearing through it with an inhuman fervor and doing an incredible job. Now I understand that news about a website design sounds not so impressive because websites who cares everyone just uses social media move on already and accept the heat death of human imagination already right WRONG. I don't want to sound conceited or anything, but YOU'RE SUPER WRONG. Seeing it all coming together and being able to play with all the little dynamic elements has been a really exciting experience (and there are so many more yet to import). I had previously hated mobile everything, but the mobile version is way more fun to play with than the desktop version. The ability to manually poke and prod all the squishy things turned out to be really engaging. It's looking to be far more playground than website at this point.

It's still in the very early stages, but we'd really really like for it to launch during BarfQuestion's upcoming 10th Anniversary Week in January. That's also the timeframe I'd like to launch the Zehkiflorn trailer in. But now that I've speculated a release date I've cursed both of them to rot forever in development hell. Oh and there's going to be a 10th Anniversary week in January. I'm lining content up for it now including the aforementioned two projects and maybe a 24 hour animation stream (I HATE STREAMS)!?