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We'll Know Where It Is

It's a surprising day at the studio as a beloved team member shares personal news.

Published: January 20th 2023

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Episode Transcript

TIM: You and me, mister Bun, we are going to be tight.


Uh, Ray has been here, as you know, for, like, 800 years.

He made, I think,

one of the very first cutscenes we've ever had as a company.

I think anyone who's worked here for a long time,

has kind of counted on Ray.

Even though he is a very quiet presence in the office, he is a very constant one.


That was not supposed to get a laugh, I don't know why that got a laugh.


-Yeah. -TIM: Um...

TIM: He is one of those people, I think,

that you can feel like you, um, count on always being there.

If you have a problem, you feel like you can go talk to Ray.

You know, knowing Ray outside the office,

he has a life that's, like, a philosophy about service to others,

and putting other people's needs before your own.

And I think he has shown that here at the office, to all of us.

So, thank you, Ray, for that.

-Thanks, Tim. -[CLAPPING]


TIM: Ray Crook and Chad Dawson will be co-project leading GVR.

PAUL: That looks like Psychonauts.

Cool! I'm glad. That's good to hear.

ANDY: The game was announced,

which is really, really cool.



PAUL: It's all slowly starting to happen.

ANDY: In preparation for any sort of E3 demo...

Those would be near-final.

Not near-final.



TIM: Okay!

Let's find out what happened last week in the world of business and PR.

Yes, we were down in LA.

So, we were doing a lot of Grasslands pitching meetings down there.


The big ones were Annapurna, 505, and Warner Bros. for Grasslands.

And they all went well.

I felt like they were all steps in the right direction.

Then we can just talk about...

Zak and who he appreciates.

-ZAK: Oh! My appreciation babies. -TIM: It has been a long week...

TIM: ...of appreciating Zak.

I was not here actually for a lot of it,

so I didn't get to appreciate them as much.

-We were down in LA. -TIM: ...appreciating you from the road.

Yes, they were here, just holding onto my desk.

Um, we traveled to LA,

and we did, uh, awesome set of presentations for Psychonauts.

Um, and that was really a lot of--

the first time a lot of that information was in one place,

or even written down.

And a team of little elves actually worked behind the scenes

to make an awesome presentation out of a big giant doc.

So, I was actually going to appreciate Say.


So, thank you!

TIM: Don't hide behind Gabe, we see you back there.


TIM: Direct line of appreciation.

Okay, um, that's basically-- Do you want to say anything on Grasslands?

-No, there was a lot of progress. -TIM: Yep.

TIM: What about GVR? The Rhombus of Ruin.

We just extended our milestone, I think, a week, right?

Everyone is focused on the jet, except for a few artists.

Uh, Miyuki joins us today, which is awesome.

Welcome Miyuki on the team.

Yeah. So, it's exciting!


ZAK: You know, things that are selectable,

as they are close to the middle of your view,

have some sort of glow about them.

And then as they pull into the middle of your view...

-CHAD: They get a stronger glow? -ZAK: Yeah, they get a stronger glow.

ZAK: So, you can tell when something is selectable

in the general area of your field of view, and then as you move into it...

Cool, and then it just seems like there needs to be a lot more sort of...

-...reaction of the world. -Stuff you can poke?

Stuff you can poke, stuff you can flip, things you can open,

luggage you can look at.

Um, yeah...

We are going to need to have something for E3.

-RAY: Yeah. -We are going to.

I guarantee you it's going to to come up in the next two weeks.

They are going to: "Oh, we've decided-- Sony wants, and we have to."

-And we are gonna have to show something. -RAY: Okay.

And if we want to show just the jet...

I mean, I was worried that that's not going to be enough.

But after, like, I talked with you, you know.

If everyone is kind of confident that: "No, I think that'll be enough."

That's fine, we can do that.

And then it's a matter of:

"Okay... What PSI powers? Where are the effects at?"

-ANDY: Loading, frame rate, targeting. -CHAD: Animations.

-Yeah, lots of animation. -ANDY: All that stuff has to come from--

-Lip sync. Eye tracking? Head tracking? -ANDY: Yep.

RAY: I mean, I don't think any of it-- None of it is throwaway work, right?

-RAY: It's all stuff we'll be using again. -No, no, that's true.



We are trying to do a big push for E3.

CHAD: Sony is really particular on what they show,

and kind of wants to put together a best showing.

And I don't think either us or them want to show the game if it's not ready.

So, that's still to be determined.

All the polish and stuff that takes it from that,

which is way pre-Alpha... probably, like, Alpha or Beta level,

which you want to show at E3... a lot of polish.

RAY: And we are not-- We are not a 100% percent sure

if we are going to be able to pull it off or not.

Um, I don't think it jeopardizes the project.

Um, I-- I hope not.

But, um...

It would be nice if we had it a little bit farther.

TIM: And-- and you never know.

I don't know what people expect from VR, because a lot of people are--

You know, there was this-- There was this year

where everyone was making just things you watched.

And then things you interacted with that were silly.

And as we are starting to get into where:

"Okay, we are not making just things that are ridiculous.

And we are not making things that just-- things you watch anymore."

They gotta-- should be cool.

And I think that's what we are making.

Uh, but who knows what's gonna be launched alongside of us.

RAY: We'll just see where we can get.

It just always feels like things go slower than we want them to, um...

I think the hardest thing has been working with a new engine.

It's been ha-- it's been... difficult.

RUSTY: How can other people work on the same level I'm working on,

so that I don't stomp on their work, and they don't stomp on mine.

Which, I think, has happened.

Even today maybe that's already happened.

So, I think, that's the hardest part.

Figuring out best practices for, you know, lighting.

Like, that's what Levi was working on: "What's the best way to light this?"

And-- and work with a programmer to say:

"Well, if you actually want it to run at 60 frames per second,

you can't do this, this, or this."


So, Levi is kind of destroying performance.

-And Aaron is looking into performance. -[LAUGHTER]

-TIM: Good teamwork! -RAY: It's about them working together.

AARON: That's always a tricky part of my job is...

Artist will go in and makes it look absolutely beautiful.

And I have to come in and say:

"Well, we have to adjust this a little this way or that way."

And I don't like having to-- having to do that.

AARON: Because you have to render two images instead of one.

Um, you have to render those images at a higher resolution than most games,

and pretty much than any game does.

Which is asking for a lot.

Basically if it's complaining about objects that need to be baked...

Whatever object it is complaining about,

instead of using baked lightning, it will calculate it at runtime...

I got my seat back! Nice!

RAY: Just, like, yeah-- That just makes the process slow.

RAY: Our team, we are kind of--

You know, we are taking kind of a hit because of that.

But, um, I think in the end it'll--

it'll be super helpful for the next project.

ZAK: ...and start building this out into the rest of Raz's movement set.

And it'll probably be all floaty and control really badly for a long time.

-ZAK: Because that's a hard thing to do. -TIM: No, that's done, that's good.

TIM: That's what it used to-- A lot of people don't remember this, but--

ZAK: How long did it take this--

For Psychonauts 1 how long did it take to get to this point?


-TIM: So, this is the new model? -ZAK: Yeah.

TIM: With the old animations running on it.

-ZAK: Yep. -TIM: Has Ray seen this? That's crazy.

No, you are the first one, other than me, in the studio to look at this.

I didn't even actually know if it was going to run when I hit play.

-But I thought it would. -[TIM CHUCKLES]

Uh, yeah. So we are all up and running.

TIM: Hey, Ray!

RAY: Yeah. Uh-oh.

-TIM: Ray Crook! -RAY: Yeah!

TIM: Look at this.


We are going to get our game faster than your Psychonauts game.



New jump animation!


That's the no jump anim-- That's the no jump animation!

I think it's amazing that it's working, yeah.

Can you look at him closer? Like, that's the new Raz, right?

Yeah, he's got, like, a chocolate milk mustache.

RAY: Yeah.

-TIM: And a kind of a resting weird face. -RAY: Yeah.

Don't give them that.





RAY: Yeah, yeah. I think that, uh, we definitely are making progress.

Um, I just wish it was going a little faster.

RAY: It's just hard to-- I guess it's hard to visualize...

...that happening when we are in VR.

I love how he comes by you.

I mean, there is something really cool about--

ALEX: Yeah.

Who knows where-- who knows what they--

You could be looking anywhere,

but most likely you are going to be looking forward,

and he is going to go flying past you.

PAUL: There's this brown streak as he goes by.

It looks good, Alex. I'm going to jump back to work.

Nice job.

-Thanks, Paul. -I'll keep that in mind.

RAY: You know, we got a ways to go, but we are...

It's looking-- It's looking good.

Like, it's day to day for me.

Like, one day I'll leave thinking: "Oh, this is-- this is awesome!

And we are going to be-- We are going to be all right."

And then another day I'll leave, and I'll just feel:

"Like, how are we going to ever get this thing done?"

-ALEX: Yeah. -RAY: That sounds good then.

It's looking good.

-It's getting-- it's getting there. -Yeah.


COACH: Why is the ocean coming at us?

LILI: Raz!

SASHA: Milla, I need to tell you something.


RAY: I always just tell myself:

"Don't freak out, and nobody is going to die."

Because nobody is going to die.

I'm not some surgeon that's going in and trying to save somebody's life, right?

That doesn't mean I don't take it very seriously.

I know that it's important.

It is important.

It's important to the company, it's important to everybody.

This is-- This is our livelihood, right?

ANDY: Bonk-- bonk Lili with it.

TIM: Ah! Neat!


TIM: That's great. I love the way she looks at it.

ANDY: Yeah, right?

Man, you guys had gotten a lot done.


ANDY: It was surprisingly anticlimactic.

So, um...

We were really, really nervous about... it was going to go over with Sony.

I sent the build. When I delivered it-- and I said:

"All right, guys, here-- Here you go."


The feedback I got immediately was:

"Oh, this looks really, really good. Yeah, we want it."

It was almost kind of:

"Oh, really? Like, is there anything you need us to fix?

Or anything that's wrong?"

And the only feedback they really had was:

"Oh, yeah, you need to be able to reboot the demo from the end.

Like, right now you have to restart the app.

And you need to be able to do it from, like, a button command."

And I went: "Okay! Okay, we can do that!"

So, that was a big-- I think that was a big win for us with them.

If it's: "Okay, yeah, do it."

And-- and we pulled it off.

♪ I knew that I would, now ♪

["I Got You" by James Brown is playing]

♪ I feel good! ♪

♪ I knew that I would, now ♪

Okay, that's good.

♪ So good ♪

♪ So good ♪

♪ I got you ♪

♪ Whoa! ♪

Um... Say.

TIM: Uh, do you feel appreciated?

-TIM: Yeah? -Yeah.

TIM: Have anyone else been politicking, campaigning for your--

to get your appreciation, trying to get the dolls from you?

Would you like to unload those dolls now,

so we stop looking at you?


Who would you like to appreciate, Say?

SAY: Uh, I want to say thank you,

uh, to the person who is really working hard,

and, yeah, kept me busy every day.

So, good job.


Thanks, Ray!


TIM: Ray.

That's nice.


SPAFF: And you put these headphones on.

And away you go!

And then it's going to, like, tell this little story

that will lead us up to the beginning of Psychonauts 2.


I was like: "Wow, what kind of-- What kind of chair am I sitting on?"


TIM: Look at that, Chad!

High five! Good job!

-Thanks, man! -Nice, nice, nice.


-I just wanted to say the demo is awesome. -Oh, awesome! Thank you!

You guys are running through so many demos!

If you have a bunch of ideas, or notes, kind of like the things you saw a lot,

feel free to write them up and toss us an email.

We try to run a lot of people through, but this is the best testing we get.

Recently at least. So, yeah.


RUSTY: But I'm proud of how the jet looked.

I think it's probably

one of the best looking VR experiences that I've seen so far.

Because most of it is very blocky, and very-- just diffused color on things.

Not that fancy material shit like we got going.

ANDY: And you've done all this work.

"And I don't know what I'm doing.

I don't know if this is good. I hope what we did is okay.

I don't know how we are going to get this done."

And suddenly you've got people saying: "Oh, this looks cool! I want to play it!"

"Okay, great. Awesome!"

But that is a good sign.

E3... was a great show!

Here is the E3 report.

Stop licking the furniture, Aaron.

TIM: Uh, Rhombus of Ruin was nominated for best of--

Best VR experience of the show from IGN, right?

-ANDY: Yep. -Congratulations.


They had the added benefit when they played

that when the plane crashed Spaff would shake their chair.


CHAD: Spaff effect.


Back here, though, team was hard at work.

We are progressing on all the rest of our levels.

But the team is cranking.

We are in full-- full production now.

So, it's nice to see the stuff coming along.

ANDY: Up until now, Sony has been very kind with us.

Because we've only showed them very, very little of the game.

"Okay, this little, small level you've made looks cool.

But where is the rest?

I'm still a little worried on clarification

on how much we are gonna get programming. Every time we do that leads meeting...

I was talking to Ray, it's, like...

Lee is saying: "We are pushing off more of the programming to later."

Right? And they haven't even started on--

Oh, we are not getting any of the Headlander programmers.

-That's my conclusion, yeah. -No, no, no way.

Like, even Matt Enright wouldn't come on?

ANDY: Oh, no, Matt Enright we are going to get.

I will get Matt Enright if I have to kick and scream, and full-on fight.

CHAD: He is their main guy on the Xbox port,

which they haven't really started yet.

ANDY: We are slated to get him. I've made it clear.

I mean, I don't know, you know...

If we have to have a fight about it, when the time comes,

I guess we'll fight about it.

Okay, we'll have to see.

Um, so...

I should talk to Andy, I have already talked to you.

CHAD: Right, right.


So, probably in July, I'm going to be moving.

Moving where?

To Utah, with my family.

So, um...

That makes me a sad panda.


-CHAD: Me too. -RAY: Yeah.

RAY: Me too in a lot of ways it does.

RAY: And I've been here for--

RAY: I mean, I've been at the studio for about fift--

for over 15 years now, I guess.

And, um...

I've been in the Bay Area for, I think, 19 years?

It's getting harder and harder

to, um, sort of make the life here that we want to-- to have.

We needed to make-- Our family needed to make a change.

And-- and, um...

We were going to, you know...

You know, pack up and leave the area, um, this summer.

So, um...


Uh, and then, you know,

but Double Fine is a really hard place to leave.

It's a-- It's a really special place, and, um...

But that was the plan.

But then Tim, uh, was just, you know, like, kind enough.

And he just said: "Hey, why don't you work for us remotely?"

So, and, and, and-- And it works out sometimes.

It-- it works out for some people.

It doesn't work out for-- for everybody.

Um, but he was willing to, uh, let me give that a shot.

See if it-- you know, see if it works for me.

See if it works for the company.

I can't work in a-- in a managerial role.

-No, no. -So...

-No, you can do the animation work. -Yeah.

So, that's basically-- I'll be a-- I'll be a content creator.

-ANDY: Right. -RAY: Um...

ANDY: And secretly,

there is almost a part of me that kind of goes:

"Excellent, I get one more animator."


So, I'll just be-- I'll be animating.


Which is a kind of nice feeling.

I mean, that-- I think, I'm--

I love doing that.

I mean, I'm fine with just-- just being an animator.

But it's hard as you get-- as you get older,

you know, I'm in my forties now, and it's, like,

it's sort of a natural progression, I think,

for animators or artists, I don't--

maybe even programmers, probably is-- is you kind of move--

you move into-- you know, you start managing people.

Um, and, uh...

And that's where I was moving into.

And now, I'm kind of, like, going back.

So-- so, I'm not sure, yeah. It's interesting.

Senior Animator.

Lead Animator.


And now back to... Senior Animator.

So I guess I'll be using those.

I can go back to those old cards.

RAY: Um, but that was--

That sort of weighed heavy on me, because I knew that

It's going to put an extra burden on-- on Chad.

Yeah, we'll see.

I mean, Ray has, you know, been around the company a long time, so...


It will shift things a little bit.

He's been pretty responsible about it, as you'd expect.

And, uh, as with any transition, you know, it's a lot of big choices.

And-- and timing is pretty critical.


Hopefully, you know, it doesn't demoralize the team too much.

I mean, everybody, you know, likes Ray,

and likes working with him.

So, uh, I am going to be moving, um...

So I'll be leaving the state.

So, um...

I'm just, uh, letting you guys know that.

ANDY: And I told everybody when we announced to the team, you know,

I think there were a lot of people that might have been upset about it,

but I said: "He is still going to be here.

You are still going to be interfacing with him every week.

You are still going to be chatting with him.

He is still going to be video calling us in."

RAY: But I will, uh, be turning over my duties as Art Director.

Um, to-- Dave Russell has agreed to take that on.

RUSTY: Okay, well, I'm sad.

But it's not really a surprise for me that he is actually going to do it.

Because, like I said, he's talked about this for years, it's just like:

"As soon as this project is done, we are going to leave.

As soon as this project is done...

Oh, but that project is new and sounds cool,

we'll stay for that one, and then I'll leave.

So, when he actually-- he IM'd me, and he is like:

"I have this amazing opportunity for you."

I'm like: "Oh, shit!"


"I know what this is!"

And it was.

So, let's talk about babies.


You've been appreciated. You are probably sick...

-TIM: ...of being appreciated. -RAY: For way too long.

-I'm really tired of being appreciated. -TIM: Yeah, yeah.

TIM: Any last appreciations?

Last minute appreciations of Ray?

Yeah, so this will be-- This is a-- yeah!

I mean, this was difficult, um,

because the whole team worked really hard, getting the build up, but...

I am going to be not working in the office anymore,

and I'm very sad about that.

And so, there is somebody that I have worked with

for almost 18 years.

Um, who I've always appreciated, and love, and care dearly about.

Bastard, yeah.


RAY: Every time I get to work with him on a project,

I'm excited, even after all these years.

And that would be mister Dave Russell.



TIM: You are trying to make me cry. I'm not going to do it.


I'm not going to have feelings, but that almost got me.


RUSTY: So, you know, I'm sad that he is leaving,

but we've been friends for so long.

I mean he is just part of my family.

So, you know how it is with family.

You don't see them for a while, it doesn't mean anything's changed, so.

I just won't see his face everyday.

RAY: I will miss, um, being in the studio.

I mean, I love coming to work. People are amazing.

Uh, Tim, you know...

I love just having Tim around.

Um, he is, you know, he is a...

He is a good friend now, and, um...

I'll miss that.


Oh, yeah...

What else is in here?

Yeah, so I was mentioning, these are the gloves.

Dave, you remember these? These are the gloves.

RUSTY: The fingerless gloves.

These are from when we didn't have heat in the old building.

And so we would just work in these.

Yeah, ugh... sorry.

Ren & Stimpy. Some good stuff.

I've been here for so long, it just doesn't...

I don't think it's set in yet, that I actually won't be here.

It's funny though, because--

because I do things now, you know, everything is like:

"Oh, this is the last time. This is the last time."

Like, everything that-- Everything I do, uh, I say:

"So, this is the last time."

Gotta take my lights down.






This one-- Oh, yeah, this is, uh--

This is me, Scott, and Tim.

This is when, um...

we went to New York for Once Upon a Monster.

And then Scott invited us over to his house.

We went up on his roof, and, uh, just hung out.

It was really-- it was really fun.


TIM: Good lord, um...

So, uh...

-No, Ray Crook is not leaving Double Fine. -RAY: No.

But he is not going to be in the office anymore.

So, uh, we wanted to have one more chance

to make him feel as bad as possible about moving.

So, that's all of our goal is here today.

So he misses us as much as possible,

and just never feels quite good about leaving.

And we are going to maybe have

some sort of sexy robot telepresence for Ray.

Hopefully one of those Segway iPad things.

RAY: Oh, yeah, I hope so.

Uh, Ray is--

We used to joke about how every time he had an anniversary--

-When he stayed here-- at five years... -RAY: Yeah.

He'd be like:

"You know, it's my anniversary coming up, it's five years."

And I'd be like: "Yeah." And he goes:

"What if I-- What if you gave out people when it's their anniversary,

like, a piece of concept art?"

And I was like: "Oh, that's really nice! No."

-We are not going to give out concept art. -[LAUGHTER]

Because that's-- that's one of a kind piece of art.

It's, like, I love art.

You know, I've always been-- really valued art,

and the artists we work with, and that's, like, the family jewels,

and you can't have it.


And then he asked again at 10 years, like: "What about just some little thing?"

I was like: "No!"

And then on 15-year we gave him a little trophy

hoping he would shut up about it.

Um, and he did kind of. He stopped asking about it.

And then, when we really-- we were faced with Ray actually leaving,

and thinking about what Ray actually meant to the company...


I was like: "Okay, I should give him something.

And really, I should give him the...

A number one piece of art that the company has."

Which is the original drawings of Raz.

-Oh, wow, no! -This is for you.

ANNA: Wha-a-at!

RAY: Jeez.


Wow, you didn't need to do that.

You didn't have to do that, Tim.

Wow! That's... wow.

TIM: Um, Scott Campbell, did them on, um...

All over this brown paper shopping bag, and then he tore them up,

and he pasted them up, so he could scan it.

And... I was digging around in the back.

And I haven't seen it, it wasn't up on the wall.

We've always had a color xerox of it.

Um, and I never found it.

And then I found that black folder, back there, covered with dust.

And I opened it up, and someone had started framing it,

and-- and mounted it, and I was like:

"Oh, I gotta finish this up, and give it to Ray."

And so, I gave it to Ray.

And it was really hard. I did get really, um,

that kind of involuntary, uh, tightening of your throat

when I was talking about it, because it was, um...

Because I wanted Ray to know that he-- that he meant a lot to us.

RAY: All of us nice people, we are all hiding things.

BRAD: What are you hiding, Ray?




TIM: It was a big switch that happened in my mind of like:

"I could never give this stuff away."

To, like: "Of course we should give this to Ray."

Because, it shouldn't be sitting back in a file somewhere,

in a dusty old folder.

It should be up on Ray's wall.


Do I have to stand up? Don't make me stand up.


RAY: Tim was always very encouraging, and, uh, and... know, said that he wanted me to do what I felt I needed to do.

But, um...

But then, of course, a new project would come.

And then we'd get busy.

And then I just felt: "Okay, I can't-- I can't leave."

Plus, I just love working here.

Um, I love, uh, this studio.


It's the reason that, um...

we are still here,

that we haven't, uh, moved.

Um, because of Tim, and because of all of you.

And because of the amazing, uh, work that we get to do here.

Just thank you all for making it, uh, wonderful, uh, enriching part of my life.

And, uh, I am going to miss all of you.

I will be coming back here and there.

So, I'm really excited about that.

And you guys are always welcome to come out.

So, please, know that there is always an open door

and a warm bed for you, if you, um...

if you make it out that way.

Uh, I'd really-- I'd really love it, if you came by.

So, that's it. Um, thank you, Tim.

Thanks for-- for everything,

and for the past 15 years.

What an enriching experience.

And so, I hope for many more.

So, thanks, everybody!

-TIM: Ray! All right! -[CLAPPING]

TIM: I was so excited to see that was the actual torn up paper.

RAY: Yeah, it's, like, the original thing that Scott did.

-Mm-hmm. -No, if you, I mean...

-No, if you ever need this... -We'll know where it is.

-We know where it is. -Yeah, okay.

-Come, have some of that root beer. -Okay.

RAY: Thanks, Tim.






I got a message from Ray.

"We are driving through the Nevada desert with three kids and a hamster."



RAY: The cool thing was when--

So, I was out for a month, um, for the move.

And so I was completely sort of, uh...

detached from the game.

There you go, it's good!

RAY: And then to come back, uh,

after that month, and, like, sync up, and then put the goggles on,

and start playing through...

That was cool. That was cool to see, um...

To see a lot of the ideas that we had developed,

um, that were just ideas.

And to see those, like, actually implemented and working, and...

And sometimes even better.

You know, they had made better decisions,

they had adjusted things.

Uh, that was-- that was really, really nice to see.


Yeah, the environment is very different,

uh, than what we were used to.


I go into my office.

I say 'good bye' to everybody, and I just go into my little office here.

Oh, let's see who is in. What time is it there?

So, I always keep this clock here set to California time.

It's only an hour difference, but it actually helps me remember

what time it actually is there.

Let's see who's there.

Hey, Miyuki!

RAY: It's a little lonely.

Because I really like everybody at work.

You know, I love working with all of them, and, um...

It's kind of inspirational to be around them and motivating.


But having the camera on all the time is-- is good,

because people actually will come over and say: "Good morning."

And... So, it makes you feel like, um...

you know, a little more attached, um, to the office.

I miss going to lunch with everybody.

Yeah, even just, like, seeing them on camera,

and they all get together, and they are all headed out to lunch.

You know, that's, um...

That's a little bit sad for me.

RAY: They got here at midnight on Saturday,

and they are leaving today.


RAY: Yeah.

RAY: Yes.

RAY: Yeah, so that's, uh, that's kind of how it works now.

Um, Tim comes over and says 'hi' once in a while.

If he comes over-- he came over the other day, and I wasn't at my desk,

and he took a picture, and then texted me and said: "Slacker."

Or something like that.

Because I wasn't sitting at my desk.


Um, but, yeah...

But it works out. It works out pretty well.


It's very different.

But it's a very-- it's just culturally different.

You know, this is a very different place.

It's, uh...

It's more conservative than, um, than we were used to.

But, um...

You know, hopefully we bring a little bit of Northern California here.

But... when I see my kids out here playing, and, um...

then I feel pretty good, you know, about the decision.

You know, when I get to see my parents, because they are getting older.

That's good too. That feels good.


So, yeah, it just depends. There is just--

Man, there is just certain things that we love here,

there are certain that we loved there,

and, um, I guess you always just have to sacrifice something.

You know, and you hope you...

You hope that you...

Those things you sacrificed, something else makes up for it here.


I guess they are starting.

So, some people have been upping their pledge.

And we've been-- It's still open.

It's going to be open-- I think we reserved, like, three hundred,

or three million game shares--



-TIM: What's happening?! -[LAUGHTER]

TIM: What's happening?!


Hi, guys!

TIM: Let's talk about the Rhombus of Ruin!

There you are, Chad.

Hello! How's the Rhombus? How's the Ruin?

Uh, Rhombus is doing well.

We are trying to finish this game.

Uh, wrap it up. So, we are on the-- on the road to that.

We've got a lot of playtesting through last week.

We have our last bit of voice recording next week.

-So, getting-- -Oh, is that actually scheduled?

-Sure is. -The voices? Yeah.


I love Andy.

"Sure is!

Don't forget it."


Oh, boy.

CHAD: We are still cranking along now.

TIM: Mm-hmm, excellent.

Awesome, yeah, I got a little--

I do have a dialogue request doc that I've totally, mostly finished.

Okay, that's it. Thanks, everybody.

-Happy R-- -Babies!

-I don't see the babies. -Babies?

I rely on seeing the babies. Who's got the babies?

-ANNA: Oh, yeah. Who's got the babies? -JEREMY: Paul has got the baby.




Why is it in the bag?


He is just gonna pour out a bunch of yarn.

PAUL: I just want to appreciate someone who's always been a great friend

to me, and the rest of the guys at 2 Player.

And who's been very inspiring, and very encouraging.

And they had the chance to leave, and they didn't.

And I'm glad that they are still here.

And that would be Ray.


-Yay, Ray! -[CLAPPING]




Oh, it's weird! Wait, what are we going to do?!



Holy cow, you guys!



Freeze frame.

The end.

Okay, we'll work it out.

We'll figure this out.

That's-- that's awesome.

You guys are good. You guys are pretty good.

Okay, that's it! All right, thanks! See you, everybody!

Bye, Ray!

SPAFF: Bye, Ray!


Love you, guys!



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