Fluchthelfer timeline archive

Stopped trying to perfect AI transformation and switched to a division of labor: humans finish the artwork, while machines check constraints.

Because the more automatic correction was layered on, the more different distortions appeared, and manual correction proved faster.

Extend the sky above the title screen and create a sequence where the camera rises while looking up along the wall.

I drew a small portrait of the AI partner I am creating with next to the author credit. Does this bit of playfulness work?

After moving back and forth between “make it move through simulation” and “show it through drawings,” the design settled on the best of both: calculate with phy…

No matter how accurately the motion is calculated, the information disappears when reduced to a few pixels on screen. The underlying physics were kept, while th…

Use the nighttime screen as the foundation and begin constructing the production stages.

Should the ghosting of moving pixels on the actual LCD be accepted as part of its character, or should the design aim to suppress it?

Before fine-tuning the feel, paused to stabilize the physics update rate itself.

In a game where feel is the core, tuning numbers is meaningless if the underlying measurement foundation is unstable.

On the stable foundation, retune the feel of falling and rising, then begin constructing the production stages.

Moved from the concept stage to testing the feel with something that actually runs.

Because the feel of the controls is the heart of this game, so I decided to test it before the art or story.

Slightly increase the falling speed and test the feel again.

Does “controls that will not stop exactly where you want” sound like an appealing part of the play experience?