Triple Click - Everyone's Reacting Totally Normally To Blue Prince

Episode Date: April 17, 2025

Blue Prince is out, and people are definitely having a normal one. Maddy, Jason, and Kirk talk about some of the initial player reactions to the highest-reviewed game of 2025, and how sentiment has changed since the first day or two. They talk about the pros and cons of RNG, when the game clicked for each of them, and what they've been seeing over the last week.One More Thing:Kirk: Oscars Watch Game Reimagined/The GodfatherMaddy: Hail Satan? (2019)Jason: Lunar: Remastered CollectionLINKS:Kirk on Blue Prince: https://kirkhamilton.substack.com/p/theme-and-theme-and-variationsTriple Click LIVE in Portland, July 11: https://albertarosetheatre.com/event/triple-click-live/alberta-rose-theatre/portland-oregon/Support Triple Click: http://maximumfun.org/joinBuy Triple Click Merch: https://maxfunstore.com/search?q=triple+click&options%5Bprefix%5D=lastJoin the Triple Click Discord: http://discord.gg/tripleclickpodTriple Click Ethics Policy: https://maximumfun.org/triple-click-ethics-policy/ Happy MaxFunDrive! Right now is the best time to start a membership to support your favorite shows. Learn more and join at https://maximumfun.org/jointripleclick 🚀  SUPPORT TRIPLE CLICK:Join Maximum Fun | Buy TC Merch💬 JOIN THE TRIPLE CLICK DISCORD🎮 Triple Click Ethics Policy📱 SOCIALS | @tripleclickpodInstagram | YouTube | TikTok | Twitch

The game Blue Prince teaches us an important lesson. Once you take 50 steps, call it a day. Welcome to Triple Click where we bring the games to you. Today we are getting back into Blueprints and talking about the first week since the game has come out. Some early frustrations, some early delights, and much more. I'm Jason Schreier. I'm Kirk Hamilton. And I'm Maddie Myers.

Hello. Hello. Hello. Hello. It's us. Again. We're back. We are back.

Are you two Streetlight Manifesto fans? Do you like Street Light Manifesto? They're not like my favorite band, but I've listened to them. I was never quite into that whole style and in that era of rock music. They're, Maddie, they're a big ska band. Okay. Sure. Legendary in certain circles.

Anyway, they just announced a new album for the first time since 2013, which is why I bring them up. Big Jason Trier news. It is big news for multiple reasons, but also they, like many other people, have beaten George R. Martin to announcing that they finish something new. Are we keeping a running tally of just people who've beaten George R. Martin to doing a project since Winds of Winter? Specifically, ska and pop punk bands that have beaten George R. Martin to a long-awaited long-awaited following.

I guess a little bit of context here is that it's like a meme, like when Will Street-Lay manifest to ever release a new album. Oh, okay. It's kind of like... So it's a big deal. Okay. That's cool. By the way, do you guys remember in like in the early 2000, mid-2000s, there was this blog called

Finish the Book George that got some controversy because it was all about critiquing Georgia Martin for not having finished the latest book? And that was because it was three years late. Yep. About a Feast for Crows. Does that website still exist? I don't know. I mean, it's absolutely not.

now. He's outlasted them. But you know what is finished, our monthly bonus episodes, which you can get by becoming a maximum fund member and supporting this show. Got a maximum fund.org slash join, and you can make triple click possible. Sign up. You can become a member for as little as $5 a month and get monthly perks, monthly bonus episodes from us, including one we are about to air. I think it should be in the bonus feed about the time. that you are listening to this episode.

Exactly the time you're listening to this episode. About. Simultaneous. Yes. Simultaneous release. Right, right on time. It's a shadow drop. We're pulling an oblivion remake.

And it's out now. Woo! Cool. About the TV show Severance. So that was a fun conversation. We talked about the show, both seasons one and the more recent season two. We talk about its relationship to parenting and the nature of thoughts on the characters.

humanity and all sorts of good stuff. The human soul. Is it real or not? Very fun conversation. You can get that if you remember. Once again, maximum fund.org slash join. Become a member today. All right.

One more thing before we get started is that last week we announced that we are doing another triple click live this year. Hell yeah. July 11th, we will be in Portland, Oregon, where we will be doing all sorts of fun. stuff and live podcasting. If you can't make it, we'll still throw it up in the show feed, but it should be a lot of fun if you can make it. So please do come out and also, Kirk, are you going to take us to Powell's? Because I feel like I got to make the pilgrimage to.

Oh, yeah. Yeah, man. Well, we should do a Jason Schreier book read at Powell's. That still hasn't happened and I've still been lobbying for it. I'm sure they would say yes, if you ask, just say. We'll be close to it. I don't know if I haven't in me to do both of those things, but we'll. we'll see. And I don't do book reads. Whenever I do an event, I do a Q&A. I hate reading.

Okay. Everybody else reads the book. Jason just answers questions. Somebody else is a dramatic reading of the book. What do you need me to read you the book for? Like, go listen to the audio book if you want somebody to read you the book. It's true. I guess with nonfiction, a book reading is a little bit less common than in fiction. Sometimes it's a little more like they're telling you a story. And that makes a little more sense. Also, in fiction, there are fewer questions to ask in nonfiction. I feel like that you can get a lot out of Q&A because people have a lot of interesting questions. Well, if you want to ask Jason questions, write emails to Powell's books and request his presence. No, just kidding, don't do that. Yeah, tickets in the show notes, Tripical Clive, Portland, Oregon, July 11th.

Come see the show. It's going to be awesome. It's going to be fun. All right. Today we are talking about Duns-Sent-Dun-Dun Blueprints. Can you believe it? If you're out there, can you even believe it? Yeah, we're still playing it. B-L-U-E-R-I-N-C-E. Now that it's out in the wild, we thought it would be fun to kind of talk about some of its quirk,

some of the player reception it's been getting, which I think has been a little bit different than the sentiment that we all expressed last week. We'll talk a little bit more about our own feelings of the game and what we've been seeing online and kind of try to gauge the criticism and talk about how we might feel about what we've seen from folks. And also a sentiment has shifted a little bit as more and more people spent more and more time with the game. But before we jump into this, I want to give a quick spoiler caveat. So at this point, now that people have been playing the game for a week, we're going to be a little bit open with some kind of very, very early information about the game. So this is, since it's

such a nonlinear game, it's impossible to know what people have or haven't seen. But we'll be talking a little bit openly about some of the early rooms and we'll be talking a little openly about the first major puzzle, which is the puzzle involving the paintings in each room. So if you don't want to have any of that spoiled for you, if you're waiting to start the game, if you want to go in completely fresh, maybe pause, maybe skip to one more thing or maybe listen to this episode down the road once you've already played some of it. Once again, we're not going to get it into anything big. We're not going to spoil any major moments or plot or anything like that. No, we will save that for, we've got to do a big spoiler episode on the show, like way down the road, but that'll be much later.

Yes, much later. But for now, we are going to get into a little bit of the early stuff so we can get specific without kind of walking around the details. Yeah. All right, folks. So let's talk about player sentiment, because I think this is really fascinating. Blueprints is the highest rated game on Metacritics since the review embargo lifted last week. I believe it's at a 93 right now. But the player reviews have it at like a seven point something or another. Granted, a lot of times player reviews are because a game like has a black person in it or like mentions women. But in this case, I think there's some interesting. reasons behind that. And the three of us have been talking about how we've seen some player negativity,

especially in the early days of the game. So let's get into that and we can kind of color this by talking about our own perspectives and what we've been, what else we've been playing, what else we've been feeling about the game. Kirk, I know you had some strong feelings when you started seeing some of the player reactions to the game, especially on Thursday and then Friday as it was coming as the game had first come out during that first 24-hour period. What was your kind of take about all that? What did you see and what was your take? It was really interesting.

I mean, any time I've had so much time to digest and really, you know, go deep with and ponder my relationship to a piece of art like this, it's always going to be jarring to watch a lot of people immediately experience it and experience it in all the different ways that people experience things, right? to play, especially playing a game because it's so interactive. You can play a game a thousand different ways. And it has been very interesting watching people. I'd say my main takeaway is just that people are very different and people play games very differently.

And so watching all of those different approaches sort of collide at the same time was, you know, it was kind of surprising. Like definitely to see people who were incredibly frustrated very early on because I didn't feel that frustrated by the game. so I didn't really relate to it, though, of course, that feeling is valid, and I understand why they would feel that way. And then I think that all of those different reactions and all those different ways of playing were supercharged just by the fact that so many people who had played the game had spoken so glowingly about it. You know, I mean, the three of us are in unanimous opinion, not just that the game is good or fun, but, like, really that it's an all-timer. And Jason, of course, you've been, like, so excited about it for so long, so vocally.

and I think a lot of other people have been too. And I get why I feel the same way. I think that that also kind of supercharged everyone. And it almost felt like this sprint on the first day. I was shocked to see people who like rolled credits, or at least were saying they had rolled credits, like the afternoon after the game had come out, where that was like a weeks-long experience for me.

And so, yeah, I mean, that's so far from how I experienced the game that it's actually hard for me to even get my head around what that might be like. So let me be specific here. So this, of course, for people who are not familiar for whatever reason, it's kind of a cross between a rogue-like and a puzzle game. The reason I bring this up is because what is frustrated a lot of people, from what I've seen, is the RNG of it all. Because this is a rogue, like there's a lot of randomization. Every time you move into a new room, you are confronted by the algorithm, which is deciding which rooms that you actually get a chance to potentially draft. It's called drawing in the game.

so you draw three rooms and you can only draft one of the three. And that was really frustrating for a lot of people who like maybe got into a situation where they knew they wanted to solve the puzzle in the laboratory by drafting a boiler room next to it, but then they couldn't find a boiler room and they tried 20 times and just did not enjoy it. And one thing that I kept trying to say to people, among other tips, and we can kind of get into some tips that people might find that helpful. But one thing I was trying to explain is that this is a game where you can't really go into each run thinking about one puzzle that you have to solve that time. You have to go into each run thinking about like, okay, what am I going to solve from what is given to me or what am I going to learn from what is given to me?

And that's how you ultimately make progress in this game. But that can be really tricky for people to wrap their minds around, especially at first when they're expecting to make a little bit more progress. And when the game says to them, your goal is to go and reach room 46. I actually would argue that the game makes pretty clear in that early letter that, like, actually the goal is to wander and take paths that aren't necessarily the obvious ones. But still, I can see why it was frustrating for people when they first started. Maddie, you mentioned to the two of us that you had some similar frustrations when you started playing the game. So do you want to talk about that and how you kind of got past them? I mean, I would say they're still frustrating sometimes.

And I can talk about that, too. Like, this is a key part of the game, and I think it's probably illustrative if I talk about where I am right now and how I've tried to embrace Kirk Hamilton's mindset last week of just being patient and just accepting whatever comes, whatever blueprints gives you, which is a weird mindset for a game. Zen and the art of blueprints. So here's my situation. I'm on, like, day 88, 65 hours, something like that. Who's counting? me. And I have not, I don't, I'm trying to think of like a non-spoiler way to say this. I have, I have the ability to enter room 46, but I can't get back to the antechamber and just through a

series of comedic events, every time I draft a room, and that's not to say I haven't been to the empty chamber before in my life. I've been in there. I've been in there one time. And that's it. I haven't been able to get back. And this is a game where you do have to get back at least once in order to get to another step in there. But so I've just been doing other things. I've been trying kind of to get back there, but like there's a whole lot of other stuff I can do in the interim. And one of those is the puzzle we're going to talk about today, which is like the drawings. You played 65 hours without getting, wow. Yeah. Well, I'm at day 88. So, you know, and you might be thinking yourself now, Maddie, are you really bad at drafting rooms? No, I'm really good at

drafting rooms. I've discovered so much stuff. I have cracked a lot of safes. I have completed that puzzle. And I've drained water all over the state. I've explored all kinds of places that you can explore when you drain water. I've unlocked permanent unlocks. I've unlocked ways that you can change the orientation, or not the orientation, the probability of what you draw. Like, there's, there's different ways to make the game easier over time that we kind of haven't really gotten into, but like there's items and then there's also like rooms that help you, uh, change the rarity of different kinds of rooms. I'm pretty, I'm far enough. It's really just kind of funny to me at this point that every time I'm almost at the any chamber, I just, something's gone horribly

wrong for me. But, but, but I mean, I do have to just kind of find that comical at this point. And it's not like I'm not still enjoying the game. And someday I'll get in there and I'll watch the credits roll and then I'll keep playing the game. But it's not that important to me right now, I guess. I think this is really interesting. You're in such a fascinating place. I know, it's weird. Well, it's unusual, I think, or at least I don't know if it is or not, I suppose, but I think maybe it is. And you're kind of stuck taking the other approach to the game, which I would actually argue is the more satisfying approach to the game.

I would agree. I was talking to a friend of mine who also started playing this game right when it came out. He beat it, I believe, in eight hours, or he rolled credits. He reached Room 46 in eight hours. And he said he made it through so fast because he's very good at games like this. And in particular at the kind of strategy puzzle solving that it took to get there. And that he first off, when he realized that he was going to make it to room 46, he got kind of mad at himself almost. He was like, no, like, it's too soon.

There's so many other things going on. There's some luck involved with items, though. And with rolling the correct rooms to have the items you need for. those rooms. Yes. And so, and that was definitely his takeaway. I just had a really lucky series of runs and one in particular. And now, you know, he's been playing another, I don't know how many dozens of hours and we've been texting and he's farther than me in some ways, like, and I'm really, really far. So I'm at day 100 at around 70 hours and I'm like way, way past 46 and I'm doing all kinds of stuff. And, and so he's farther than me in some places and not in others. A way that

he described it was he's like, I have my video game. brain and my narrative brain. And they're both very different. He's like, my video game brain moves really fast. And it like processes these puzzles and like kind of breaks them apart and solves them really quickly. And it was his video game brain that carried him to 46. He's like, my narrative brain is actually slower and kind of takes its time with things

and doesn't like make connections as quickly and get stuck a little bit more. And he's like, now I'm fully in the sort of narrative brain part of the game. And while I don't know that everybody experiences the game that way or thinks of it across those two axes, I thought it was really interesting. And then to hear your description of basically you were playing the main gamer goal of the game, right? Which is like get to 46, the letter lays it out to you and that's your goal. And then you're having to kind of let that go only because the game keeps kind of stymying you and then embrace the narrative half instead.

Yeah, there have been many runs where I've almost made it, but we don't need to talk about those. There've also been dozens of runs where I've purposefully burned them because I've just been like, I'm just going to get safe coats this time or I'm just going to observe this other specific thing in the rooms. So, like, that's also happened in the intervening time where I've just decided on some other puzzles that I'm like, well, this is what I'm going to do for now. But, yeah, it's weird. I'm incredibly unlucky. But I also am not turned off by the game. And I think that's, like, my personality and what I get out of games and what I like about it. and it's not going to be for everyone.

Like, there is something about the game that requires just that patience and repetition. Like, Kirk wrote a really good newsletter entry about this game and how it uses repetition. It's very beautifully written. We should link it in the show notes. And I think that's something about the game that's really effective is the fact that you're rebuilding rooms a lot of the same times. And it can feel kind of meditative. And sometimes you notice something completely, new in a room that you've seen dozens of times. And you're like, well, I never really thought about

the fact that there's actually like a queen chess piece in here. And what does that mean actually or whatever puzzle you might be on? And that's really cool. I think that's like a cool thing about the game. And also you can like play it on your steam deck while watching TV. And it's not that big of a deal either if you're burning some runs that way. I really liked the Besties episode about this, which I just listened to. It was really just Griffin and Jules. Justin McElroy talking to Plant, Chris Plant, our friend who was just on our bonus episode, because Russ actually can't play the game because of his colorblindness. They haven't added the colorblind setting yet, which is really too bad because I think Russ would love this game.

But it was very fun listening to their conversation. Griffin is like full sick-o mode similar to Jason, and Justin is maybe probably around where I am. And listening to him first say, Blueprints is the Dark Souls of Thinking, which I just thought was a very funny thing to say and have me scratching my head. But secondly, he made an observation that I thought was very cogent, which is that this game, there are kind of two games here. There's the puzzle mystery game that you're solving, the story that you're unspooling, all of the broad mysteries that you're putting together. And then there is just the rogue-like or rogue-light, the game where you just build the house

and you move through it and you try to get as high as you can get. And that if you get kind of stuck at any point in the one game, the cognitive, thinky, story game, you can just go play the game. You can just see what rooms you draft and kind of see what happens, and that a lot of times by doing the second thing, you learn new things that help you along in the first thing. And they're very different processes. And that's kind of like, I don't know,

it's another way of articulating the fact that there are kind of these two different things going on in this game. And that playing it sort of requires you to mode shift between them. And that's kind of where a lot of the ultimate understanding of the game comes in where you sort of see the two the two halves of it and the ways that they overlap. Yeah. So I have a couple of thoughts on the kind of the negative reactions that we've seen.

Maddie, the fact that you played 65 hours and still like that. Maybe I am really bad at the game. Mind-boggling to me. I had a conversation with more guides editor Johnny about it earlier today because I was like, am I bad at the game? And he was like, no, you're just supremely unlucky. Like I was describing everything I was doing. So I did get this verified by a guides writer. Bing!

And a joyous Bing at that for Maddie Myers has reached Room 46. She messaged me as I was editing this episode on her very next run after we were recorded, Run 89. She finally made it to Room 46. So, whew, Maddie has made it to 46 and no doubt solved a whole lot of the additional puzzles in this game outside of Room 46. Okay, back to the show. Bing! Bad at the game just feels very pejorative, but I don't know that you can be bad at this. But you can't, you can get better at it. And I think that one of the things that's been a little like, I don't know, frustrating for me or at least a little just kind of I failed to understand is that like I think people have a very different reaction to being bad when they start this game than they would to being bad when they start any other type of game.

Like when you start Eldon Ring and you die to the first boss, you're not just like, man, the stupid RNG is killing me here. You learn how to get better at it and then you make progress. There is a little bit of RNG in Solis games, but that's not the point. Let me finish the thought. When you're playing Eldon Ring, you're like, okay, I can learn how to progress by getting better at this game. Keep playing it until I understand it. With a game like Blue Prince, because there are so many different ways to manipulate the RNG, because you can keep playing and gain new things along the way,

or because you can just learn how the mechanics work a little bit better, whether it's by just continuously playing until you start to understand things, or reading drafting guides that you can find throughout the house, you can get better at it, and some of those earlier frustrations you can mitigate a little bit. You can never make the R&G go away, and there will always be, I mean, over the course of my 308 days of the game, I certainly had some runs that were blocked by RNG, especially towards the end when you kind of have fewer goals to pursue.

But you can get better at it. And like one of the things that you have no idea about when you first start playing, but we'll probably figure out by the time you've gotten, I don't know, five, six, seven, ten runs in is that you can only, except under certain conditions, you can only draft each room once. And so then you're like, oh, okay. So if I go left and right and like get these dead end rooms out of the way here, that means they won't pop up later. Oh, okay, if I start, I'll, I start realizing that like lock doors start appearing later and the higher gem cost rooms are more likely to appear later. So maybe you start stockpiling gems and keys in their early rows so that when you get further, you're not like gated off by an annoying lock door or something like that. Or maybe you learn how to bypass security doors, etc. etc. So like you do get better at manipulating the RNG or at least mitigating its effect. And that is

something that it's been really interesting to see people not have the patience for because they're expecting to just like come in and be really good at it right away because there aren't any combat mechanics. And so you kind of, I think game players are just so used to the way that games function that like they wouldn't expect a puzzle game like this to also kind of play by the same rules as an Eldon ring or any other sort of like a Hades. Because like Hades, you play Hades and nobody would get mad at the game because they couldn't get to the Hades boss to the fourth level of the game like on their first run. But in this game, it seems like a lot of people have gotten mad at it for not allowing them

to make progress further on. And the other thing that I think was really helpful for a lot of people, and I said this in a few different places, was to kind of switch the, flip the switch in your brain that kind of, or change the definition of your brain in your brain of what progress actually means, because progress in this game doesn't mean getting to room 46, as Maddie has aptly shown us. Progress in this game means learning new things and just kind of starting to understand new puzzles. And I think that first painting puzzle that I alluded to earlier is a perfect example of this, because it really gives you a lot of things.

When you first start to realize, whether it's because you landed on the study or you, like, you piece it together in some other way, there are clues all over the place. Classrooms give you a lot of clues. There are clues everywhere. I learned from the study, but there are clues on how to solve this puzzle everywhere that I see now. Also, you can just kind of figure it out.

Or you could just figure it out. That's what I did because I'm a genius in this one respect. However, you figure it out. It does a couple of things. One is it shows you the depth of the puzzles in this game and especially once you decipher the message and figure out that it means like 20 different things at once. It kind of really shows you to that.

But two, and this is wild. And this is the most important thing is that it gives you a goal for each room in the mansion. And suddenly you're drafting for a different reason. And then that keeps compounding because the more you play, the more goals you'll discover and the more new rooms you draft. And that is really the number one tip of this game is to draft rooms you've never seen before. The more rooms you draft, the more goals you'll get. Eventually you'll have this notebook next to you with like 15 different goals you want to solve.

And then it's a lot easier to hit that Zen mindset that Kirk was talking about last week where you just are playing and taking whatever comes your way because you know you will have a lot of different potential things to do. And then you'll get way less frustrated when you haven't seen a boiler room in 20 runs because you have so many other things that you could potentially be working on or exploring or trying to figure out as you go. Yeah. I mean, that's largely how I've played.

But I will say, like, if you're a person who feels immediately frustrated by the game, it might just not be for you because that form of frustration you're feeling is, the whole game. And it does require you to either enter the mindset Jason's describing or not. Like I actually do feel like that is the only way to play this game mindset wise is like the therapy mantra progress isn't linear. Like you guys probably aren't familiar with that one, but I know I am. And this game is like a metaphor for that in the sense that it's like you have to be okay with just not achieving what you set out to do today. And maybe something else wonderful happens. And you're grateful for that. It sounds so cerebral what I put it that way. But that is kind of the thing we're

describing because also that RNG of the early game that you're talking about, Jason, just kind of finish the thought. It's also in the later game. It's just in higher forms. Like the kinds of R&G that I'm struggling with isn't to do with any of that early game stuff. It's like having certain items in the right room at the right time because you need that in order to get to the step that I am on. And, like, I've just accepted that it won't happen sometimes. Like, sometimes I'll have, like, every item in the entire game. And I'll be, like, well, I have none of these six rooms that I needed in order to use any of these and, like, achieve what I wanted.

So I guess I'm burning this day. And, like, that also requires patience and also throwing away all my items and just kind of be like, okay, well, maybe they'll come back to me, you know? Like, I'm just having to be okay with that. I mean, when you're in that situation, oftentimes you can find that your items, one of your items or a couple of your items have uses that you didn't even think about. Well, that's also true. And that is a fun part of the game as well. And there is the, what's the check closet? I can't remember what it's called. I love that. The co-check. There are multiple ways. As you go, you'll find there multiple ways to kind of retain items from run to run. But yeah, I mean, I think more importantly, something that I found interesting is that the sentiment I saw on Thursday and Friday after the day, like right out. after the game came out really seemed to turn over the weekend and then into this week. And I think there might be a couple of reasons for that.

One is that people, a lot of people flock to the game after seeing the high reviews and just kind of expected this immediate gratification. Maybe they didn't and they bounced off of it. Maybe they stuck with it and they grew to appreciate it. A lot of people, I imagine, check this game out on Xbox Game Pass where it is included with your subscription. and so very easy to sample. And I imagine that there were some people who sampled it there and then got mad and complained

about it on the internet and then stopped playing and so stop talking about it. But also, I mean, I think that this is a game whose earliest hours are its hardest to really appreciate and the more you play, the more you get into it. So it was only natural that in the first day you would have some people bounce off of it or some people get frustrated by the early hours because it's really after a couple hours. And even I enjoyed seeing this in a few places. You have a lot of people who, like, talked about how frustrated they were in the early hours, and then they went to sleep and couldn't stop thinking about blueprints,

and then came back to it. It just gripped them regardless. I have enjoyed partly the frustration of seeing someone engaging with the game in a way that I feel is just sort of incomplete or they're really rushing to judgment. Just because it feels like fair play for how the three of us reacted to Tunic, I kind of feel like this is karma coming back on us because we played a fair chunk of tunic, or at least I did. Maybe this is just me, and I shouldn't speak for the two of you. But I played a chunk of tunic, and I was like, man, I don't know, the combat isn't quite my thing.

I know there's a lot more here, but I just kind of bouncing off of it and never went back to it. And I've heard from listeners over the years who have just said variations of the same thing. You guys, you love these kinds of games. you love Outer Wilds, you love these Metroid Braini games, these games with hidden layers, you love Animal Well, you love, now you love Blueprints, and why on Earth did you not give Tunic enough of a chance because Tunic is so amazing? And I, you know, whatever, I had the experience that I had, this is actually making me want to go back and yet again try it because I know it really is great, but it's just a little bit funny. I feel that that is how people feel. Like, when I see someone

saying, oh my God, RNG screwed me on my second run in blueprints, like, this game sucks. I'm like a hundred hours in or whatever. Like, it's that same kind of feeling. And I have a feeling that people have felt that way listening to us talk, if not just about Tunic, but about plenty of other games. Probably about all kinds of games. Yeah, I'm sure people feel that way. So, yeah, I think, so that reaction is one thing.

But the way people have been, some of the discourse I've seen is just been not normal around this game. Probably because it's the highest reviewed game. It's the hype. Yeah, I think the hype is super charged. It seems like something that people just want to be like Rau, critics you suck like I'm going to take down this game a peg it deserves to be taken down but like the some of the stuff I've seen I was going to say tweets blue skies skeets that I've seen

are pretty pretty radical some of that is just processing a game when it's out on social media or in discord or on a forum I mean like when I played the game yeah I'm like telling jokes when I played the game I had plenty of misconceptions about it but they were constrained to a text message with you Jason I'd be like wait a minute is this just this and you'd be like oh man you have no idea, just wait, because I wasn't posting about it in public. I think that some of it is just you're playing, you're just kind of sharing, you're talking about it. And yeah, you don't have a sense of what everything is yet. So then you'll post something that in retrospect will turn out to not be accurate. Yeah, that's true. Yeah, that's a problem with social media that we don't

have to get into right now and the feeling of processing your feelings there. And do you think maybe another benefit was that, I mean, this wasn't true for me, but for a lot of press members, they started playing this game really early. Like, didn't get covered. codes come out months ago. And like that so rarely happens for us. Like a month ago. Still though, it was like a while. And that's really nice.

I mean, if developers take anything from this, it should be the fact that if critics have a really long time to sit with your thinker of a game, they'll use it and they'll appreciate it more than if they have like a week to play it. I mean, I don't know how critics would have felt about blueprints if they'd only had it for a week. Probably not the same, though. Like, I don't see how they could have. And reviews would have been super different, too. It is like, I mean, we're getting a sense of two different ways of

talking about the game. One is, if you played this game for a month before you really could say anything about it, and the other is if you started talking about it immediately as you started playing. Yep. And they're very different. And a game like this, specifically, a game that starts one way and presents as one thing and then gradually unfolds into something that really isn't like anything else. Like, that's very hard to talk about because it's so complex and nuanced and just kind of unusual that it makes you appreciate it. You know, when you have taken all the time to have all of that and see it in as much of its entirety as you can. And you're going to then talk about it in a very, very different way from someone who just starts and immediately is like

posting being like, okay, I did one run. I don't know. Like, what's up with the dartboard? I don't understand the hype. Like, I don't get it. Why is everyone raving about this game? I told a couple What is this? It's just rooms. I don't get it. There's a couch. It is true. Yeah. And I think it's games, unlike a lot of other art forms, sometimes require a pretty big commitment before you understand. But like, I don't know, I was always, I've been resistant to be like, oh, it takes X number of hours and then it gets good for you because I don't really think that's true. Yes, I completely agree. I reject that. I've seen people say that people describe it that way, be like critics say this is one of those that takes 10 hours to get good games. And no, it is not. Yeah, I mean, I was, in my opinion. Like, it was so long ago that I barely remember at this point because this game is like occupied my waking hours for a month.

But like I remember being into it right away, but then really being hooked when I first discovered that kind of that painting puzzle. Yeah. I started diving into it and be like, okay. Like I see what this game is trying to do here. There's a lot beneath the surface that isn't what it seems. And then it's especially when you decipher the message and you're like, oh my God, what does this mean? This means like 40 different things. Yeah.

But yeah, I think that it's not a game. I don't know. Maybe it's all up to luck because maybe you could, in theory, I guess, go a bunch of runs without seeing anything interesting. But that just seems very unlikely to me unless you're really just drafting yourself like three dead ends from the entrance hall and then you're just literally not seeing anything. Yeah, but I mean, we have to just be okay with the fact that not everybody's into cerebral games, right? Like we're, oh yeah, of course.

It's okay to not like it. I, but I also think that like maybe it would be nice if we shared some of the things that hooked us. So we aren't just only talking about this realm of people that we don't understand. Yeah, well, I spoke about mine. You what was yours, Maddie? Like, what first kind of made you really into this game? I really liked the music sheets puzzle. That was probably my first, like, big across rooms puzzle that I was like, oh, this is really cool.

At first I thought it would be involving the actual song. which isn't quite it, but like I thought it was really fun that there was an actual song. Did you play it, Maddie? I played it. Yeah, yeah, I did. I mean, you know I played it. Anyway, but I always think it's fun when there's music in a game anyway. I loved that and just kind of discovering that. I was like, oh, sweet, there's going to be piano in this game. But I also was always really interested in the paintings the whole time and was kind of like, okay, I'm going to have to figure those out later. And then that was fun. But I think probably what really is, hooked me just as a concept was the first time I got to the security room and especially like

figured out the terminal password. That was just a really fun moment for me to be like, oh, there's all these other terminals. What are these? That's interesting. And then like the key card system and just kind of like the first time you're there, you don't really understand how that could possibly benefit you where you're like, why would I turn the key card on to high? That doesn't make any sense. Whereas now I do it every time I have a key card or the utility club. closet. And like things like that where like you're discovering a room and you're like, oh, there's a lot of power here, but I don't know how to use it yet. But this is a cool room and it's got a lot of cool stuff in it. And there's like this wider world that is, you know, only now

becoming visible to me. I think just that sensation in this game is what makes you want to keep playing and be like, I want to discover more. And that's exciting and fun for some people. What about you, Kirk. I think for me it was, I mean, it was a number of different things. I started playing this game and was taking notes on everything right off the bat and then had a lot of, in retrospect, useless notes where I was just writing down everything. But I do think that because I was just keeping a list of every name that I saw and starting to figure out who's the staff of the house, who lives here. And I was getting that pretty quickly. Like my first couple of runs, I drafted a lot of rooms. My first run, I got pretty high just because I don't know, I like kind of, instinctively, I guess, just filled up the lower ranks, which meant then I had enough gems and keys to get to the higher ranks. And then just, I think, had pretty good R&G and didn't know what I was doing and then, you know, failed out. But I had a lot of rooms drafted. And as a result, I'd just seen a lot of things. I'd seen this art. I'd seen the chess pieces. I had been like, you know, looking at the photos that I'd been finding, realizing that I could use a magnifying glass on things.

Yeah, I think that finding the password for the security station, which I don't think I did the first time. but I definitely did pretty early on. I had a couple of breakthroughs early on that made it clear that if I just kept playing, I would keep learning more. And then, yeah, Jason, I think, like you were saying earlier, once I started figuring out that I needed to get this word grid puzzle sorted out by solving all of the different illustration, like the drawings on the wall, that then gave me something to shoot for where I was just like,

oh, well, I really want to get something over in like whatever, D8, you know, like way super far over to the right where I've never gotten before because I just want to know what letter is going to be in that room. So that was also like a good goal to have. And also I really just enjoyed the smaller puzzles. I really like the dartboard puzzle. I'm still doing it. Me too. I'm right there with you. It keeps getting more and more complicated. And it's and as much as I've like got it, I always make my way through it. It does throw me sometimes. Sometimes I'm just sitting there being like, oh my God, because it's like it's so nestled, you know, layers deep within itself that I just can't do it. But it's very good for my brain to do mental math. And I was giving

this advice actually to someone in our Discord, but a piece of advice I would give about the dartboard puzzle, you should always do it for sure because you always get keys. And keys are very, very important. And you usually draft that room in one of the first two ranks. So you always want to do it. And the thing is, you'll figure out the rules probably pretty quickly. And if you ever get stuck, you know, you only have to do a few steps each time. If you get stuck on like the hardest one, you can just brute force it. And I did that plenty of times where I would be looking at some combination of colors and I didn't totally get what the order of operations was supposed to be. And I think I knew what it was and then I wouldn't get it. And then I'd reevaluate and I

still wouldn't get it. And then I would just be like, screw it. And I would just guess one to 20. It takes about a couple minutes because you, you know, you learn the first two answers that you already know and you just click through and then just go around the circle until you get it. it, you might work out what the mechanic that you're not understanding is, but also you might just get the keys and be able to move on and then the next one won't be so hard. And I also really like the parlor puzzle with the three, you know, the guy on the island says that he likes big butts and he cannot lie. And then the other guy on the island says that, you know, he always sells the truth. Whatever. Yeah, exactly. That, I really enjoy that puzzle as well. There are a million different

variations of it. I like how you didn't explain it at all and you just like told a joke. It's a logic puzzle about lying and telling the truth and it's fine. Yes, it is a classic. The classic riddle is there are like three people on an island and one can only, it's like Liar's Island or something and like the people on Liars Island will only tell the truth. It's fine. It's fine. The listeners figured it up. You know what it is.

It's basically, yeah, you're looking at three containers and you have to figure out which one has the gems. And it's so fun because I think I've only ever gotten it wrong once, even. though I have found myself just staring. Oh, yeah. There was one. I wish I could remember what it said. But it was like, it was a paradox to me. Some of them are very hard.

It was just the statement on the box was both true and untrue until I finally like realized how to think about it. Bing. Kirk here editing the episode. And in the moment I couldn't remember what the box said, but I actually went and looked it up because I had posted a screenshot somewhere. And the box said, all statements that contained the word, are false. And if you've played the game, it's one of those things, just like a lot of blueprints where the minute you start overthinking it, you're in trouble. And actually the solution to a lot of

the puzzles in this game require you not to overthink things. But I was just sitting there, staring at it for seriously a couple of minutes. Like, okay, wait. So that means this is false, because this statement contains the word gems. But if it's false, then it's also true. So anyways, there's definitely a solution. It's not actually a problem. paradox. I had just been playing too long and kind of stared at it for too long and then thought myself in circles. But it's just one of those funny things that happens sometimes when you're playing this game. Okay, back to the show. And so I really just find those enjoyable. Like purely on their own terms, every time, especially in the early goings, every time I would drop the parlor, I would be like,

well, this is going to be an engaging couple of minutes while I stare at these boxes and figure out which one to open. So I just found all of that stuff enjoyable and wasn't really too hung up on getting too far. And then, you know, after that, like, I was off to the races, you know, anything frustrating that would happen when I was really trying to get to 46, I knew that I could just, like, go and just do another run, and I would get there eventually. We're going to wrap it up soon, but one more quick thing is that I've also seen in some of those early days, some of the kind of quick snap reactions to the game, we're scoffing at critics for making comparisons to games like Outer Wilds and Oprah Dinn and other kind of finky games in recent memory.

Really? Who would? Who says that? Yeah, why are you, Jason, you got to stop reading all this. Where are you getting this? You're scoffing. And in this case, it's especially off base because one of the things that you won't see right away and you won't start to realize until you've really sunk a few hours into this game

is the story. And the story under the surface is way more in depth and way more interesting than you have any idea it is when you first start the game and a lot of that is uncovered through archaeology the way that Oberdain works or the way that Outer Wilds works even if the mechanical comparisons are not quite there. So yeah, if you're coming to this game and you've seen those comparisons and then you start playing it and you're like, what? This is just a resource roguelike. Who would compare this to Outer Wilds? Just do yourself a favor and don't rush to snap judgment because maybe chances are you haven't quite seen what the game is just yet.

I think that that speaks to that same idea I was talking about in the early goings of this episode, of these two separate experiences, that the roguelight game where you build the house is the one experience, and the narrative experience can feel very separate, especially at first. And I think that if you're not really seeing the narrative thing at all, which it's possible to not really see it at all. You could get all the way, I don't know for sure, but I think you could pretty much play the game where you get to room 46.

And like the narrative stuff would just be really backgrounded if you saw any of it. You know, the safes or whatever. Like that stuff isn't necessary for reaching room 46. Yeah, Kirk, can I make a point of clarification? I actually think it's three different components here, because the mystery and the puzzle stuff you can do without getting into the story. You can unlock all of the permanent additions to the house as an example just by solving puzzles without ever learning a single thing about Mary and Mary,

gold or what the deal is with Herbert Sinclair or any story stuff. So I think those are kind of three elements. And the story stuff, I would argue, is the furthest buried. It's the one that really takes the most effort to excavate, to dig out. And you really have to work at it. Well, not that hard. But you have to pay attention to get it. And then once you do, it's very rewarding. But that's the type of thing that, like, the early hours players and especially people who bounce off of it won't see. And again, it's okay if you bounce off this game. Yeah. I mean, I'm, I'm, I think we're saying the same thing. Yes.

Like, I think that that stuff is just hidden. And, like, the mechanical game of unlocking the house and reaching 46, that's just the game that I think people focus on at first. And what really makes Blueprints such a work of brilliance is the way the two things overlap. And the way the one, the, you know, the just game, the roguelike game, gradually gives way to the other and eventually becomes this incredibly rich tapestry of all of them. And that's what critics are talking about when they played 100 hours

and they want to just scream from the mountaintops about how brilliant this game is. And I think if you're playing initially, you're kind of really just seeing the one part of it. And I think that's part of it as well. Can I actually point out a couple of things that I didn't mention on last week's episode? I know we're almost out of time,

but I want to shout a couple of things out just because they're interesting. Last week, I mentioned betrayal at House on the Hill, the game, as a sort of aesthetic similarity to this game in both that tabletop game and in this game, you're building a house. And I wanted to mention another, game that I was not aware of called Castles of Mad King Ludwig that is a much closer comparison

point to this game mechanically and aesthetically. And this is me not really a tabletop expert, you know, just pointing to the one game that I was familiar with. But Castles of Mad King Ludwig looks really, really cool. Look that game up. And also, I wanted to shout out the book Mays by Christopher Manson, which Tanda Ross, the director of this game, has said many times was one of his inspirations for it. It's this book where each page in the book is a room in a 45-room house. It has a lot of similarities with blueprints. It sounds really cool. It's an incredibly difficult puzzle. I guess no one's really ever properly solved it. It seems like a very interesting story. I kind of want to get a copy and just look at it. So I wanted to mention that as well as like two of the

big clear influences on this game. Jason, I know you talked to Tonda. Yeah, Christopher Manson actually has a cameo in this game doing a certain he drew some puzzles in this game that you'll discover at some point if you keep playing. All right, we're going to take a break. I hope everybody out there who is stuck with Blueprints is still enjoying it and if you are not enjoying it, that's okay too. Lots of other games out there.

We'll talk about something else next week. Will we? No, we will. Well, you can't promise that, Kirk. All right, we're going to take a break and we'll be back with one more thing. And we are back, Kirk Maddie. It is time for one more thing. Maddie, take us away.

Okay, so my One More Thing is a documentary that I watched a while ago, but I just never talked about on the show. And I wanted to because it's really good. It's called Hail Satan Question Mark. And it's from 2019. I'm not sure where it's airing now because I haven't looked into that. So my apologies. But it's really cool.

It's about the Satanic Temple and the members of it. and their political leanings, which are pretty far to the left, and just they're what they believe in as an organization and what they don't believe in as an organization. And they kind of are like, I don't want to say they're not entirely serious about their religion, but they do periodically use it to troll right-wing causes, such as like campaigning to get a statue of Baffamette next to the Ten Commandments, for example. they do there's a big part of the documentary that's about them trying to achieve that and saying like look if we're going to put up the ten commandments you should let us put up this huge statue of like a horned god because that's what we believe in and in so doing they often achieve their true end which is to get the ten commandments removed from whatever public place they're being stationed in but the other cool part the documentary is just kind of like hearing about the leftist intra disagreements in the group and how I thought they were really fascinating it's it's it's

It's a 2019 documentary, so a lot of them are about, like, 2016 and President Trump and, like, them kind of arguing internally about, like, how to handle just the rise of the alt-right in, like, the kind of mainstream sphere of America. And I thought those parts of the documentary were really interesting. And it doesn't, like, have a happy ending per se. Obviously, they haven't achieved everything that they hoped to. But I think that kind of thing is really neat. And I think their methods are sometimes funny and sometimes just interesting. And so if you're a person who's interested in that in sort of like religious activism, then you'll probably enjoy this documentary.

And you might enjoy it either way if you just don't really know that much about the specific group of people and the kind of work that they do. It's called Hail Satan with a question mark. And I thought it was really interesting because I didn't know that much about these people. And yeah, it was good. Nice. Cool. Kirk, what's your one more thing? My one more thing is a modification of the Oscars game that my friend Sam and I have been playing together.

So I mentioned maybe a year ago that my friend Sam and I had been watching all of the movies nominated for Academy Awards in 1994. I remember this. And we had undertaken this project thinking, oh, this will be really fun. We'll watch all these movies from this year. This was the year of Pulp Fiction, Shawshank Redemption, and Forrest Gump. And we'll watch all these movies. And then, you know, that'll give us some interesting insight into this very interesting year in cinema. So that took us like, I don't know, three or four years.

because we don't get together that often. And when we do, we try to watch one or two movies, but it takes a long time because movies are long and also we just don't get together that often. So we've kind of modified the game. And so I wanted to share the updated rules because it's actually been really cool. So now what we do, each time we get together,

we get together once or twice a month, he comes over and we roll a 100-sided dice. This is Sam, who also incidentally is also the dungeon master for my D&D game. So he's got a hundred-sided die handy. Actually, we use the 2D10 where the 1 has like tens and one has 1 because I don't have a 100-sided die because I'm not that much of a maniac. Anyways, roll 100-sided die and then whatever year comes up, we go and look at all the best picture winners for that year and then kind of pick what we're going to watch. And we have to like kind of adjust it sometimes.

Like we'll roll, you know, whatever. If you were like 1917 or something, there's just we're not going to go that far. I don't even think the Academy Awards existed then. I think they started in the 20s. So like there are some years that we'll roll, or we'll roll 94 and be like, well, we already watched all of those. But it is actually a really great way to sort of take the choice paralysis away. Even when you're looking at older movies and classic movies, there are so many old classic movies that we haven't seen. And take that away and you just suddenly have a list of, you know, five or six movies to choose from.

And most recently we've rolled 72, which we have chosen to mean movies that came out in 1972, not the 1972 accounts. Academy Awards, because that's going to be the 1973 Academy Awards for Movies for 72. So that's how we interpret it. 72 is Cabaret deliverance and the Godfather were all nominated for things. Cabaret actually won way more Academy Awards than the Godfather, which is very interesting. It is good. That was when Marlon Brando won for the Godfather and refused to accept the award. He sent a Native American woman, Sachin Littlefeather, to accept it on his behalf.

Also, Charlie Chaplin was nominated because his movie Limelight had been aired or screened in Los Angeles for the first time that year, even though it was 20 years old. Which one Best Picture? The Godfather won Best Picture. But it did not win Best Director, Bob Fawsey, I believe, won for Cabaret. I might be wrong about that. And, like, it didn't, I won a couple of other things, but it was like Best Picture, but not like all the other really top line things. Oh, it won Best Adapted Screenplay, I think. Anyhow, we watched The Godfather.

It took us like a whole day because we take forever and we talk a lot and pause the movie and have conversations. But man, I mean, this isn't groundbreaking or anything, but The Godfather is a really freaking good movie. It's like really good. And it was, man, it was fun to watch a movie that you could eat it off the screen. Every shot is like lit with this just chewy 3D light. It's so tangible the way these sets look, these really long. takes they do where they're like at the wedding and people are talking and they're dancing and they're walking into the foreground and having a conversation, the framing all of it. I mean,

I don't know. They don't make movies that look like that anymore and it's too bad because that movie looks freaking awesome. So it was fun to watch that. We're going to watch Cabaret next time, which I have never seen and I'm very excited about. Anyways, I just wanted to share the way we've modified that game. It's been really great and kind of better for infrequent get-togethers than trying to stick with one year. So if anyone out there wants a way to try, watching movies. Try the Oscars D-100 dice-rolling best picture game. Cool. That does sound fun. I'm going to work on the name. That was kind of a long name. We'll workshop it. Workshop it. Ticket to Triple Click Naming Academy. Yeah, Spider Mansion. Yeah, it's no ghost

lawnmower. My one more thing is a video game called Lunar, the remastered collection, which came out this week. Are you guys familiar with the Lunar series? Yeah, familiar. Haven't played them, though. The Lunar Series is a series of JRPs from the 1990s, and there were a few of them, but there are only two that are really worth talking about, which are the ones in this compilation. One of them is called Lunar Silver Star, and the next one is called Lunar Eternal Blue. They were both released on the Sega CD, I believe, and then re-released on the PlayStation 1, and this is a remaster of the PlayStation 1 versions. And these are really interesting games in a lot of ways, and this remastered version is a cool compilation. The remaster is pretty bare bones. It's just got them all in, like, um, HD, uh, and, uh, adds, like, a couple of new features here

and there, uh, like a revamped inventory system and, like a speed up combat and stuff. So I'll just really talk about the games themselves. Um, these are really interesting JRPs. They're kind of classic turn-based JRPGs. The first one is like, as tropey as it gets where you play as this guy who wants to, um, become a hero, uh, called the dragon master, and so he has to go around the world, like, uh, solving these dragon trials to earn their respect and then fighting off this big, bad evil dude and becoming the dragon master and the big bad evil dude wants to destroy the world and become God, etc, etc.

A couple of twists and turns along the ways, but they're fairly predictable. Second one is a little more complicated than that, but still pretty tropey and classic JRP style. These games are very much kind of the quintessential turn-based Japanese role-playing game. It's got everything you think of. It's like you go to a new town, you do some story stuff, maybe you recruit a new character, you go and fight a, fight through a dungeon, you fight a boss. It's all turn-based. You buy new gear every time to make your characters more powerful.

You gain levels. You gain new skills as you go. You fight bosses. You watch story unfold. And on and on it goes until you defeat God. And they're very comforting in a way. There are a couple of things they have going for them, really. One is that they're very charming.

And there's a little bit of controversy involved in the writing surrounding them actually because they were localized by this company called Working Designs. And when they were localized in the 90s to kind of spice up the localization, the guy behind Working Designs, Vic Ireland, put a lot of pop culture references into. them. The most notable one is like a Bill Clinton joke, but there's all sorts of stuff in there. At one point, you like talk to an MPC and he'll be doing an Austin Powers impression. Wow.

At another point, yeah, there's a lot of just kind of, there's also a lot of like jokes and humor and style that you would not see in other games in that era, like fart jokes or like jokes about sex and stuff like that. A lot of stuff that I think was in some ways revolutionary for the time because most localization was so stiff and stayed and boring at that point that this really was a breath of fresh air in some ways but in other ways it has not aged particularly well so that's interesting to play today it's still got a lot of charm but it's also got a lot of cringe it's also got a lot of moments where you're just like oh like this is this is a little unpleasant got really good music it's got it's just got it's it's a very pleasant game to play especially

while you're doing something else, watching TV or something like that. I played through the entirety of the first game and have just started the second game as kind of like an unwinding thing on my Steam Deck in bed while like watching TV, watching something on TV with my wife or something like that. So it's very good for those purposes. And I think people who played it back in the 90s and like want to revisit it will do well. We'll get a lot out of this remaster. It's also nice to have just a way to play these games on a modern system because they weren't playable before other than with emulators or like digging up an old CD or something like that.

So that's nice too. I certainly don't think you two should play them or that like people who aren't fans of turn-based JRPGs will be into these games. But like if you are, if you're into turn-based J-R-PGs, you could do worse than the Lunar Collection. They're just enjoyable experiences, I would say. And Kirk, you, I think, would really enjoy the soundtrack of the second game, especially, because it's really cool. And it's got some, like, unique tracks with, like, jazz and other genres that you don't normally hear in JRP. So there's a lot of good stuff in that soundtrack. I'll send you a couple tracks later.

Yeah, send me the highlight tracks at the very least. But, yeah, it's a cool series. I'm glad I've been playing through these remasters. I'm glad they exist. I have a couple of kind of granular gripes that I won't get into. But overall, I've been enjoying the experience. So yeah, if you're into JRPGs, check them out, whether you played them back in the day or you didn't.

I think they mostly hold up well other than some bad jokes here and there. Nothing wrong with a good Austin Powers joke. Yeah, that seems fine. That should be preserved in Amber forever, I think. I think we've come all the way back around, and now Austin Powers references are funny. They're funny. I think they kind of are in a quaint way.

It's like Shrek. Austin Powers and Shrek. They operate on a similar frequency. Yeah, different Mike Mayers eras, but both important to highlight. There's this great podcast called Comedy Bang Bang, and they have reclaimed Borat my wife jokes by just making them endlessly in an ironic way.

Scott Ockerman is never going to let them go. He just kept. You just kept making them all along. They're phenomenal. Bore out, my wife jokes. My wife. All right. On that note, it's time to say goodbye.

Kirk, Maddie. I will see you both next week. Yeah, see you next week. Bye. Triple Click is produced by Jason Schreier, Maddie Myers, and me, Kirk Hamilton. I edit and mix the show and also wrote our theme music. Our show art is by Tom DJ. Some of the games and products we talked about on this episode may have been sent to us for free for review consideration.

You can find a link to our ethics policy. in the show notes. Triple Click is a proud member of the Maximum Fun Podcast Network and if you like our show, we hope you'll consider supporting us by becoming a member at Maximumfund.org slash join.

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