The Standup with ThePrimeagen - Making a Video Game GOOD!

Episode Date: May 12, 2025

This time we have Casey and Prime talking about how to make a video game good. It’s a bit of a departure from the normal format, but we think you’ll enjoy it :)

All right, welcome to episode three of the stand-up for those that haven't been informed of what's been happening. T.J. and I and a whole bunch of people piled into a tower for seven straight days and programmed a tower defense game. Yes, you're seeing it here live. There are sound effects, but I've turned it off so that the sound wouldn't keep on going. It's going to be a card-based, rogue-like tower defense where towers can upgrade and fun things can happen. This is just level one, wave one should be very, very easy to get through. and we did all of this in seven days without any pre-work. 1031 on Friday morning we did Get a Knit, and this is where we got to after seven days,

which I think is pretty great. We had an amazing artist, Adam C. Eunice to join on here. He did incredible artwork, I'd say, for those days. Very, very impressed. This black bar, it is going to mean something at some point. Doesn't mean anything right now. And anyway, so we have on with the stand-up, a regular character, Casey Moratorie, a legendary game guy,

and I was going to just start asking him some questions about just, okay, we have a base game. Where do we go now? What are the things? Because obviously the mechanics are things we don't want. We want to make a lot of changes to the mechanics. But let's pretend we have kind of the mechanics solved. Or we have the idea of what we want to build kind of solved. Where does somebody go from, I have a game started to I have a game on Steam?

What are the things that I should know? because I've never done this. I've barely opened up Steam. I just usually go straight to the game. And when I do go to Steam, it's just to library game. Like, I've never done the whole nine yards on it. So help me here. Gotcha.

So I'm very glad that is the framing because as everyone who follows my stuff knows, I am terrible at game design. So you would need to, like, phone a friend and get Jonathan Blow in here or something to, like, if you wanted that part. But, yeah, if you're just talking about the mechanics. So I guess, I assume you will have. have no trouble with the literal aspect of launching a game on Steam, which means, you know, just like signing up for Steam debt, but else, you know, I mean, you've dealt with much worse

stuff than that in web deployment. So that's not really a thing. So I assume you're talking mostly about, like, the act of polishing a game, like taking it from like, I have a little prototype into this is something that people are going to want to play and want to pay for. Correct, because I don't know a lot of the downfalls. Like some things I'm worried about is that I'm not, there's some part of games that we have done like right now there's no animations notice that everything's kind of popping straight up right there's none of that stuff

and I just worry that there's something that we're thinking is very easy that when time comes it's like oh that's a month and a half of effort full time nonstop yeah I mean it is going to be stuff like that I mean it is going to take a month or whatever to do various tasks that

you know should seem simple let me try to lay out like what the important stuff is just really like just grand scheme of thing. So a lot of people, when they look at a successful game and they think, like, I'm going to do one of those, a lot of times they overlook the parts that were very important about that game actually being successful. They tend to focus on, like, the meta layer of the game. And it's not that the meta layer of the game isn't important. Like, you know, is there a skill tree?

Like, what happens? How do I get new abilities in this game? How much do things cost in the economy? that stuff's obviously all important, so I'm not saying it's not, but the most important thing for people playing and enjoying a game is at the very micro level. And this is what you do when you actually literally interact with the game, right? Because if game was all about that bigger level, everyone would just be like playing chess or something, right? It's like the thing about video games is this audio, visual, interactive feedback that they're getting when they're interacting with the game directly. We usually talk about that as polish.

Sometimes I've heard people talk about second to second gameplay, things like this. But generally what it means is take a look at what you've got now, right? The main thing that you want to push forward on in like the next phase, when you're at the point, like you said, where like you're pretty happy with, you understand where the game's going design-wise or whatever. The thing you want to push forward on is how does it feel great to execute the basic things I do in this game? So it looks like what you've got here is a card picker, right? This is a game where I pick cards, I play the cards onto the screen, and I see a change in the overall strategy developing on that screen, right? Correct.

And then you've got a second part, which is I start the wave, and this is traditional tower defense. That means the wave coming in and watching what happens there is a big part of the game as well. So you have two broad phases, and both of these, what we're trying to do, if we want to take this game and make it great, right? We're trying to polish those so they feel amazing. So just before I go any further,

does that make sense what I'm saying so far? Yeah, and so when you say polish, you don't just simply mean added animation. You're also talking about like the number of clicks. How does someone get a feedback? How does someone know that their actions good, bad? Like, how do they know big number go up? How do they know big number go up?

Everything that you can possibly think of that's about the person getting kind of immersed in that moment. and as stupid as it seems, this is a huge part of making a game successful. So if you go down to, you know, like let's just take the cards, for example, an entire phase of this game is going to be about picking a card

and picking a location for that card, right? Correct. So as we move over the cards, we want to see them respond in like a magical way or in some way that feels right for your setting. I'm picking magical because this looks like kind of a little bit of a fantasy style thing, right?

Yep. We want it to feel magic. to scan over the cards. Maybe we want a little bit of motion in the cards if we can have that. You know, everything's based on budget. You're trying to maximize what you can, you know, what you get on the screen for what you can afford. But we want that process of passing over the cards

and looking at the cards to feel very magical and exciting. You know, we've all played card picker games before. They're just dull, right? It's like, okay, all the cards are there. And, you know, all right, maybe if I really love the meta design of this game, I'll do this activity. It can still work, but the low-level game programming of that game, they were doing themselves no favors because they didn't make that activity fun, right?

That activity engaging and interesting. So we want to make that feel really good and very responsive. As I move the mouse, I want to see that happen. You want the cards to sort of have this nice feel to them. And then when I finally pick a card, that has to feel good, right? It should have a sound, a nice deep sound that kind of comes in. It lets me know what's happening. the card raises up, it's like I'm prepared now, right?

Yeah. So that, you know, and like I said, there's nothing magic about what I'm saying. It's just you have to have gone through this process and know that. But it's like, as I'm saying it, hopefully everyone's just like, yeah, duh, right? Like that's, right? So you have to realize this is the case, very small step. Most of the work is in understanding how to get that feel, the code necessary to get that feel, and the artwork necessary to get that feel within the budget you have.

If you're Ubisoft and you're going to spend $10 million on every card because it's a $500 million game or whatever, right? Then, okay, there's like a 3D animated head that comes out of the card and there's, you know, whatever, right? Ubisoft will screw something else up. Yeah, they will launch it correctly, but yes, they will spend a lot of money. But they'll, you know, that card will look amazing and it'll feel amazing. And, you know, if they don't screw up, then it's not too laggy or something, right? So, you know, they have some downsides. But they will have all this extra ammo there that you won't have, right?

You're not going to have that money. But you can still, you know, you can be smart about, you know, maybe you have one or two frames or three frames of animation that you can afford per card or something like that where it's like, it's not just one image and you change them a little subtly or things like that. Sorry, yeah? Yeah, can I ask? When you say you could afford, what does that mean? What does affording mean in this situation?

So again, game development is like any other industry. It's all about maximizing what you actually have the real. resources to do. So like I just said, you are not going to go out and spend $500 million on this game. Because you would, you're an individual. You would just keep the $500 million and retire. That's it. Right. It's like it's not, it's a newbrainer, right? Yeah. So you're going to have some amount of money or resources that you're going to spend to produce the art. Like you're working with another artist, maybe they're in on it with you. Maybe they're going to split the profits. I don't know how you're going to do it. But you have someone making some art and you have whatever you can afford to do.

whatever you're doing to make this art, there's a limit to how much you can produce. So when I say afford, you have to look and you have to go, okay, across all the things I need to polish, I only get this much artist time. So I have to pick carefully. If I need to know, can I afford multiple pictures for a card or can I only afford one? If I can only afford one, I know that limits very specifically the scope of what I can do to polish. But that's okay. I know I have to work with that now. And so, you know, that sort of thing. Let me give you another example. there just to help flesh that out. So suppose I can only afford one drawing per card.

Well, one thing I might ask the artist to do is to draw the background of the card. So, you know, like, you know, like a magic the gathering card or something, there's like a little bit of background. Even the cards you have right there in front of you have a little bit of background on them, right? And then they have like a thing in front, which is the emblem. I might ask them to keep those separated so that I can move them separately and rate, like when I hover over the card, I'll raise the background at a slow. lower up towards the user less than I raise the emblem, which creates a distinct motion effect

on the card, right, for very little extra cost to the artist. You see what I'm saying? Yeah, because they don't have to spend time actually doing the animation itself. You instead use a little bit of trickery and zoom to kind of get what you get. Yes, yes. And so in games, we're constantly looking for these ways to use procedural effects, right? to extract more out of the art because, you know, especially in indie games,

we just don't have that much. Can I, can I... But can I just double-click on that card thing for just one second? Because I just want to make sure I understand it. So how I heard that is that I have like, let's just take the damage card, right? It looks kind of like an arrowhead, right? So we have an arrowhead, then it has something in the background here.

Let me actually create a new layer really quickly. Yeah, and like in your cards, there was like this little abstract design in the background, right? Yeah, yeah, yeah, yeah. Well, here, let me just go like this. I'm just going to create a quick little layer on top of this one and then take this guy really quickly. Sorry about this. And so what you're trying to say is that a technique that I could theoretically do is I take this background and say like I make it bigger.

And that's just like your standard card right there. It's just like, okay, it's bigger. And then it's centered and it's correctly placed, which mine is not correctly placed right now. And then when I select the card, I can like kind of zoom it out to reveal more detail. and so the card comes up, maybe the emblem gets a little bit bigger, but the background gets smaller to see more detail, and it kind of all like shifts into place in some sort of like parallaxy type way.

And I guess what I would say is I wasn't saying that specific thing, but that is exactly the kind of thing that I'm saying. The ability to move those two things separately gives us a bunch of opportunities. In fact, it gives us more than just opportunities for polish. It gives us opportunities for gameplay as well, because it's like, okay, if there's a rare version of this card, I can swap out the background but leave the emblem the same, for example, right?

Things like this. So when you have those, you can also imagine, like, when I mouse over the card, maybe the background is a wrapping, you know, maybe it's a tiled thing. And so it can kind of, it can just be scrolling slowly behind the emblem, for example, too, right? There's all these options that I, you know, if I'm smart about it, right, I can think of these ways of creating the art that aren't too much extra time for the artist. So they're really spending almost the same, maybe just an extra 15, 20 minutes on a card art or something

than they would have otherwise, but suddenly I have all these options just by separating those two things out, right? That's right. So you see what I'm saying? Yeah, yeah, yeah. And that, yeah. And so that is a way to sort of maximize what you're getting out of the same amount of drawing time more or less

with just a little bit extra on the art. Because a lot of times your artist is going to do it that way anyway. They're going to make a background layer first. They can put the emblem over it because that's just easier to draw that way than try to draw it all in one layer and making sure you know what it, right? So they're going to draw it that way.

Anyway, just say, make sure you fill in the part behind the emblem, right? And that's pretty much all they had to do. Okay, okay, that's a very interesting tip because honestly, just would not have thought that. I would have thought, if I were to make this card better,

I'd probably ask Adam to kind of animate this and give us a sprite sheet for each one of these cards. But, I mean, in reality, is I could use a shader and kind of have, like, instead of having like these little speckles here, I could actually have the speckles happen. Instead, it's just like, it looks sharp. It looks, you know, and this.

And the range multiplier could be like, it could be like waves, right? Like I could just draw the waves as opposed to putting them right there. I also have zero shader experience, or I have like three hours of shader experience, so my shaders will probably be horrible. But nonetheless, it does open the possibilities of me getting better at shaders, say in the next month and a half.

Well, let's say you weren't going to do, shaders. It doesn't take much to just do the basic things I was talking about, which is just composite them together and that way you can move them separately, right? That's very simple. It doesn't require any shader knowledge to do. And to broaden that out a little bit, just to put you in the mindset of what we're looking at there, the idea there is very simple. It's if you've ever studied like order notation or combinatorics or these sorts of things, it actually ties into that, when we say something is an n squared algorithm versus an o n algorithm right i mean you've heard these terms before we all think of it as bad in the programming contest we're like oh if something's order n that's good it will scale well

if something's order n squared it will scale poorly right as i add new things in game design and in uh polish we're thinking the other way we want the n squared because what what that thing is representing the scale that's happening there is how many different things can the user experience. If I have O-N, meaning the artist draws each individual image, that means the total number of images I can present to the user is N. If instead I have the ability to composite two images together, then it is N-squared. I can pick any one background image and composite any one foreground image with it. I now have N-squared cards, right?

technically it's n times m but you know what i mean yeah right it's n plus m in the first case and n times m in the second case what we're looking for is to be in the n times m area we want ways to combine assets that we have created in many ways so that we aren't making the art more expensive do you see what i'm saying i do i do yes yes this makes a lot of sense so background plus overlay is one way to do that another you know and you can see tons of these sorts of things this is also happens in 3D when we do stuff like customizable characters, we don't model

a new character for every hat the character could wear. We model hats separately and we model the character separately and you can put any hat on any character and that's N squared, right? Yeah, yeah. And that's really easy to visualize. That's like something that any person can get. You just probably have never thought of backgrounds

and foregrounds on a card as hats and clothing accessories. So it's just like, oh. It all is. It's all the same. Okay. Yes. So basically, like, that'd be the first thing I would say in the card arena, right? Beyond the things that you already know from your UI work in web, which is that all of those things still apply. You want to be clear what you're picking. You want there to be some response to what you're picking.

You know, you want all those things that you would want in a web UI as well. But then here we also want to really lean into that magical feel, something that responds in an artistic way with, with a, you know, hopefully with some sound, those sorts of things. because again this is a game it's supposed to be entertainment you're supposed to be feeling really engaged and enjoying that experience of picking cards this isn't supposed to be work right yeah okay I like all of these suggestions these are things that I got to think more about okay should I keep going yeah we can we can do one more you want you give me one more good good understanding here yeah give me give me another one okay if you have another one of course oh I have like at least two really three

based on what you had said. So I'll pick the next one that's still in this phase. So we just won't talk about the other phase. So the other thing is, once I pick that card, I'm going to play the card, right? Because you've got an interface. So there's some games, some card picker games, you pick a card, and that's it. In your game, it's a two-step process. You pick a card, you pick a target for that card.

The target could be a location on the map. It could be a tower, right? Who knows? There's also cards that will be, like, affect globally. So some will just be, you know, play the card. and you just kind of like if you've played Slay of the Spire, there's like, get one extra energy for every turn from here on out. So it's just like, to the world, card.

Yep, it's a permanent. Yeah. So everything I said, we want to also apply to the target phase. So when I am moving the mouse now over, I want everything on the map that I can afford to respond to that selection. So the tower should like show me a little bit that it's responding, right? whatever, it's doing a little something, again, to just make it feel good to move the mouse around. And then when I make that decision, when I'm like, this is the place and I push down, I want it to feel awesome.

I want to be like, right? And, you know, if this is an upgrade for a tower, it should be like, and the tower like, you know, kind of does a little thing to show it upgrading or whatever, right? That result of the click wants to feel really good because that is the action. That's the primary action that the gamer is taking in this scenario. They are taking the action of placing a card somewhere, and that has to feel great, right? That is what will keep them wanting to learn. Because they have to learn this game and play this game for a while to know if the rest of your design is any good, right? They got to play for a while.

So what we are talking about here is the part that is the most important, right? That's why I say this is so important. They have to be engaged enough in this activity of playing. the cards in order to ever give a crap whether you design good cards. Does that make sense? No, that makes sense. Okay. This is good.

Okay, so if I could generalize that is that the things that, you know, like in a lot of these kind of games leveling, there's some form of experience, some sort of like kind of these barriers that you're jumping, whether it's playing a card that adds some sort of damage or this thing actually can level independently as well, is that when those things happen, the experience should be very special to that tower or to the, you know, to the, you know, the thing that I'm placing. So if I were to do a danger zone plus 30 damage minus 50% range, got to figure out how to make that feel both like, oh, it hurts a little bit because

you're losing that range, but then also like, oh, yeah, but it's getting strong. Right. So it's like you're giving them the experience of like what the card should feel like. Yes, because remember, at the end of the day, your game is effectively no different than going to work and having to use Microsoft Excel or something. There's no actual difference between what the human brain is being asked to do in these two cases. But one is entertainment and the other is work.

And what is the difference between those two things, right? There's a bunch we can talk about, but the very biggest one by far is the fact that in the Excel case, no one gave a crap what it felt like to input the formula. but in this game we are going to spend a ton of time making things that humans find engaging happen when we do the fundamental

activity and it's all about making the player feel like it's worth their time that they're engaged in it and it feels good and responsive and audio visually satisfying it's and in a way it's about creating beauty right you're trying to create something beautiful that happens

in the audio and in the video or and beauty in this case is the abstract word, I should say artistic maybe, or satisfying to the human soul, right? You're trying to find that thing. And in some games, that could be grotesque, right? It might not be beautiful in the sense of pretty, right? But it's something that the human goes, oh, that was very engaging, right? That was, I want to see that again. I enjoyed the experience of seeing that, or at least I thought it was worthwhile, right? I didn't think it was just a grindy thing I had to do to get to the rest of this game, right? Which we've all had that experience when playing games for sure, when the game players weren't doing their job right yeah yeah i believe starfield is known for seven hours of walking something back and forth and it's just good there you go you lose all the magic after a while why you know why is that in there it's like because well they didn't you know either they weren't focused enough or they just didn't have time before shipping the game to figure out how that part was going to be engaging right okay

very interesting okay these are these are really good takeaways because i guess what i was i mean a i'm trying to rewrite a lot of this ui stuff i'm kind of in this process of just like okay We vibe-coded half of it, right? Okay, yeah. There's just like, just like, you know, in the Devin case, how it just kept on doing the, like, say, the distance algorithm, if you will. Yep. It did it inline constantly. The same thing with half our UIs.

It's just, like, inline to everywhere. There's no coherence to it at all. So it's just like, when I click this button, it literally is just like, what game state am I in? Like, that's its first question, which is just kind of an insane question to ask to be like, what state am I in before I even tell what's clicked? it should be the other way around like I was clicked or can you use me at this time? And so it's like this fun detangling of it and actually creating a somewhat generalized UI component system if you will. And so it's been a good experience, been a great experience.

But this is good to also know that, okay, not only do I need to make room for just like coherence in how it is programmed, I also need to really make a lot of affordances for how do you like tie into events. And when like things happen, how do you allow. for the stacking of animations and things to happen before like the next thing can happen. So it's not like, you know, you don't actually like click this, interrupt it and then have a wave start and things are just like you want the experience to happen, but also keep the experience short enough that it's good and not distracting.

Yes. I mean, you will, one of the reasons that, you know, there are good and bad people at this task is it's all about whether or not you're good at sitting there for a while. while and just experimenting to find what sort of active actions. Like, oh, I clicked on the card. Oh, that didn't quite feel right. Okay, I changed the acceleration curve of how it was moving upward. Like, ooh, that feels really good.

Oh, I added a thing where the other cards kind of move away a little bit. And maybe they move away more if it's a very powerful card. Right. Like, that kind of thing, that kind of ability is actually incredibly important if you're doing this kind of work. And if you're the kind of person who just doesn't get into that, you know, it's not the right job for you, right? Like that's, you know, it's like you should be doing something else.

But that's, that is the mentality you have to have. It's like this tweaky, tweaking, tweaking, tweaking, tweaking, adding all this little special case stuff that just only, and that's just there for the user's perception. And you're using, you know, ideally it's similar to like, if you're an artist, you kind of need a good eye. You need to know, did that line look good. Otherwise, you're never going to be good at it, right?

Yeah. You need that same thing. You need to be someone who has a bit of an eye for it. You have to know what feels good. If what you think feels really good doesn't feel good to anybody else when they play it, you're kind of screwed there too, right? But you get the idea. That's what we're going for.

Okay. Definitely ought to think a lot more about how do you convey all the meaning that's within the card or within the action in a way that feels satisfying? And like the thing is, I think in some level we all know what is satisfying. Like when you play a good game, you may not realize that you like the game. you play balatro, there's a lot of parts about it that feel really great. And you may not realize why they feel great, but if you take the time to kind of think through it, and since, you know, I've worked in the UI before, I can start kind of connecting those dots and going,

okay, I think I could guess and don't get married to my first idea. Be willing to sit there and just tweak, tweak, tweak, tweak, tweak, tweak, tweak, okay, this is a good one. Yes. And, and Prime, you know this drill. The code that you're working with, this is why, I don't think we've talked about this, before when we've talked about game stuff. This is why you want to keep it so flexible. Because you don't know all the things you're going to want to experiment with.

They're going to come out as you're playing with it. You're going to have an idea, right? I guarantee you, if you're doing this, you're going to go in there and start playing it. Oh, it would be really cool if the other cards like turned a little bit when this happened. It would look so good. And you just, because you've been working with it for a little while, your brain is now all keyed into it. It's like, I know this would be great. The last thing you want to do is then go like, oh, but that's going to be three days of work because I've made all these rigid, object-oriented classes and it's going to take seven years to change other work. It's like, no, you want it as fluid as possible. And you know this from working with other kinds of code because the same stuff applies there just for different reasons, right?

But it's true in this context for the reason of that experiential tweaking. You really want things to be as fluid as possible so that you can experiment with as many, crazy ideas as you have as quickly as possible. So you're not wasting a ton of time on rewrites or whatever, just only to find out that some idea you had was not actually that good or to get to the eventual idea that you do keep, right? Yeah, okay. These are all really good pieces of feedback piece.

This is kind of like that second phase of the game is, okay, we now have something that works with some artwork and all that. How do we make it compelling? Which is one, we discovered a lot while banking it. They're like, okay, we have a lot of ideas of how we want to actually make this fun. Because right now it's not fun. So it's like, okay, first we have to make it fun. Like, we have to make the concept good where it's actually like a challenge.

There's, you know, you have to go through all the stages of like, oh, this is a good game because I can only win so much. Or if I become really good at it, I can win every time because I am actually good at it. Right. So it's like we still, there's a lot of just like balance. That is a lot of math and spreadsheets probably need to be created before all of this. The economy just sucks, right? You get way too much money and then you can just buy everything in the shop over and over and over again. You want a little bit of like scarcity feel, right?

We still have a lot of that kind of like basic stuff. but I just never once thought about this side. So this is like, okay, I really got to like tune in to this. This is where I'll put on the product manager helmet, the designer helmet, and be like, okay, we got this. I can do this. Yes, and this is a much more direct programming task, right? It's all about just like working with the code and seeing and getting it to feel good.

The second thing you talked about is much more of a like game designer style task to require specialized game designer skills, and I can't help you with those. You know, like I said, that's more of, like, that's like John's Wheelhouse, right? Where it's like, oh, okay, here's how you'd approach that problem and all that sort of thing. So, you know, you might want to talk. If that part, if you find, you saw, what is going on? Like I said, it's really, because the card moves up, I just found that perfect line where it moves in and out. Perfect.

Yep. Yeah, that's why I was rewriting some things. I just noticed it right now. I was like, what is this? Why am I vibrating? So, yeah. I mean, yeah, that's. That's where it is.

That's triple A gaming, by the way. Triple A gaming right there. Triple A gaming. That has a large number of A's that has a high A's. Unfortunately, I want indie gaming, so I'm going to have to improve that. Okay, okay. Yeah. Okay.

That's too bad. Well, yes. Yeah, maybe I'll have to get John on here at some point, and we just have to kind of talk it through, because he's pretty great at game mechanics, right? Like, that's kind of his wheelhouse, right? I mean, he's the best I've ever seen by far. Yeah. I'll definitely have to get him on here, and he can just kind of like maybe we can,

get things set up to where it's fluid enough and just like hear ideas and all that. That'd be a really great experience. Another person you could talk to too, if you wanted to do streams, is Daniel Bemmergoor the guy who did storyteller and now Dragon Sweeper. He's really good with these

kind of mechanics. I could hook you up with him. I mean, I don't know if he's interested in streaming, but he probably is. He's a great guy. And he would be another one to talk to if you want. So after we get off, I could get up with him. Oh, that'd be sweet. Yeah, yeah. Because TJ and I are going to try to, for the next two months, put a lot of good effort into this and just kind of really lay as much groundwork as we can. And then think of like maybe one more game jam idea where we take it from, okay, everything's now like in a really good place for us to like really move quick.

And now it's just like, let's, how do we make it feel great as well? All right. These are great. These are all good things to hear. Well, thank you, Casey, for being a part of the standup. I know this was a really, this was advice of stand up, right? the one that makes me feel better about stuff. But, you know, you do learn a lot from this.

And this is actually, I love talking to you about this stuff because this is where, like, that experience really shows. The hard stuff to just write down, you know, it just comes out in this kind of natural way. It's really good. Thank you so much. Oh, my pleasure. And, you know, I get this same experience when I talk to John and stuff like that

because I just, I am really bad at game design stuff. And so I've had this experience multiple times from like, ask him me, he tells me all that stuff. I'm like, oh, okay, yeah, that. Makes perfect sense, but I, you know, too thick, right? Yeah. So, so, you know, anything I can do to help, always happy. Awesome.

Well, hey, where can we find you, Casey? I'm always at computerenhance.com. That's just where you could find me. Did you want to find me there? Did you say, computerenhance.com? Hey, that's you. That's me. Well, what's on this website?

What's on here? Like, what's going on here? So, I, you know, it's all programming, low-level programming kind of stuff. I don't really do any of the like the sort of stuff we talked about today again because you know it's not what I spent most of my time on I know a lot of these things because I've worked

with the people who are doing them and I see it right but most of my time is spent making game engine stuff so that's really you know it's low level code is more what I tend to talk about like how do the engine stuff work because that's really more what I know and you notice I didn't give you any specific advice about how to do the cards

and And, you know, that's because I've never done, you know, what are the great things to do in a card game? So, yeah. But I think it's great, though. You came with all the great, like, basic, the basic bitch advice. That's the basics. You know, now I know what to do. And then this is where I can grow my own set of skills.

Yes. So I'm looking forward to playing this game. So good luck. Good luck with it. It's going to happen. You know, I'm going to finish a project on stream. It's going to happen. It's hard to finish projects on stream.

finishing products off stream is one thing. Finish them on stream is really difficult. So best of luck to you. Thank you. Like I said, want to play it. Looking forward to it. All right.

Hey, everybody say thank you to Casey. Casey, if you want to stick around just for one second. Thank you everybody for tuning in to this week's stand-up. This is going to be a weekly occurrence. Some days are going to be about the hottest topics on the internet. Other things are just going to be about what we're working on,

what we're doing. And today was just exactly that. Getting some advice, understanding, learning, and becoming hopefully maybe about, A Better Death. Thank you very much for tuning into the stand-up.