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Dancing Against Dystopia: An Interview with Mighty Yell's Dave Proctor on All Systems Dance
Welcome to another episode of The Gamerheads Podcast! Join us as we dive into the dystopian world of All Systems Dance with Dave Proctor, the visionary director of Mighty Yell.
Discover how this upcoming title uses dance as a powerful tool for resistance against an evil corporation's robot workforce. Dave shares exclusive insights into the game's development, its unique concept, and the creativity behind the mesmerizing dance battles.
Tune in for an episode brimming with innovation and inspiration. Don't miss out on this engaging conversation with one of the industry's most inventive minds!
Be sure to wishlist All Systems Dance today!
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Music:
Jeff Dasler - Recused
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This episode of Gamer Heads is brought to you by Magic Mind, the healthy energy drink that will help you take your creativity to a new level. Hi, I'm Celia Schilling from Yacht Club Games. Hey, this is James from Mega Cat Studios.
Speaker 2:Hey, this is Matt aka Stormageddon from Reignite Screen Snark and the Fun and Games Podcast.
Speaker 1:This is Stephanie from the Boss Rush Podcast and the Boss Rush Network. Hey, this is Mark and Kion from Bonta Affold. Hey, this is Sebastian with the PronerdReportcom and the Single Player Experience Podcast. Hi, this is Chris.
Speaker 3:Mike and Garrett from Daylight Basement Studio.
Speaker 1:Hey, this is BaronJ67 from Level One Gaming.
Speaker 2:Hey, this is Todd Mitchell from Code Right Play.
Speaker 1:Salutations. This is Mike Carroll from Stroll Art.
Speaker 2:Hey, this is Jeff Moonen from Fun and Games Podcast.
Speaker 1:Hey, this is Patrick from the Backlog Odyssey. Hey, this is Rune from Runic.
Speaker 2:Codes Hi, this is Andrew from Spalada Birds.
Speaker 1:Hi everyone. Jill Grote here from the Indie Informer.
Speaker 3:Hello, this is the Crypt Master and you're listening to Roger Ritchie. You're listening to Roger on the Gamer Heads Podcast.
Speaker 1:And welcome to another episode of the Gamer Heads Podcast. My name is Roger. Along with me this week I have a very special guest. I have the director of Mighty Yale, dave Proctor. Dave, welcome back to the show, roger. It is good to be here. Yeah, I am super excited to talk about this game because what we're going to be talking about before we get into that I'll have some prep questions, but the one thing I will say that I'm really excited about, some prep questions, but the one thing I will say that I'm really excited about and you mentioned this at pax east, I was probably the first person to see this game outside of your studio, which is very cool.
Speaker 1:yes, you were you were, you were the first.
Speaker 2:I think you were the first press, like preview, that we had, uh, to take a look at all systems dance.
Speaker 1:I'm really excited about that yeah, yeah, I'm excited to talk about it, um, so we should, though, talk about what's new with you since last time we chatted. You were on the show, we talked about A Night in the Attic, and so what's new with you since the last time we chatted?
Speaker 2:Oh, you know, announcing games, nothing else, nothing else big, no, big deal.
Speaker 2:Yeah, I mean, I don't know, that would have been almost a a year ago, I would say maybe just a little more than a year ago, probably before akita came out, we shortened a night in the attic to akita in the house, uh, just so that everybody at home has the cool lingo, um. But yeah, we like pretty much right after we shipped akita. Uh see, everybody knows what I mean. Um, we started working on all systems dance and um. We'd been doing a lot of prototyping ahead of that and um, but it wasn't until that game was done that we brought the whole team on and we really just swung everything at it and we've been. I mean, we'll get into it, but that's, that's what we've been working on. We're working on this thing.
Speaker 1:I don't know, I'm stoked yeah, yeah, I am too, so uh, let's just jump right into it. What? What is this game about? What is what does tell us about this game?
Speaker 2:oh, my god, okay, uh, the, the high level, the high level pitch for everybody listening at home. Uh, that hasn't watched our trailer, but I don't know why you haven't go to all systems dancecom to see the trailer and wish list the game, um. So the general premise of the game is that it is the not too distant future and an evil corporation you know, the one I'm talking about has sort of taken over the world with their robot workforce slash army and you know you are stuck on this smart city, you know like you're in their ecosystem and you're being catered to by their endless army of robots. It's not a good life. The robots can't be outsmarted and they can't be outfought, but you have the magical human expressive power of dance and you have the ability to take them down and reprogram them one by one. So that is what all systems dance is about. It's. It is, uh, it is about dancing um to save the world from, uh, from, corporate greed yeah, yeah, I love it.
Speaker 1:Uh, and you know I, after the game was announced, uh, I was telling some of my friends about this and everybody that I've told about this was like this sounds like such a cool game and what a cute concept and what a unique concept. And it made me think how do you come up with a game like this, because it's so different, it's so unique? What does that look like when you're starting to think through something like this?
Speaker 2:Yeah, I want, I want to like be able to say that like it's a really complicated process, but my brain is just like a little broken, so that's what happens. But I, I like, I, for my whole life, everything that I've ever written, all my premises, all the stuff that I think is fun and interesting, like the, where my sense of humor comes from, comes from just like, like, like coming up with what ifs that are just like a little bit weird and strange. So I am reading, you've all know, a horari's book 21 lessons for the 21st century, which this is the writer of sapiens, who talked about the, the the history of human, humankind, um, and it's entirely possible that like he's problematic, but I, maybe I'm remembering that wrong.
Speaker 2:So you know just if someone's like hey, you shouldn't be reading that I am, I'm glancingly aware that maybe there's something wrong and I'll google it later.
Speaker 2:Um, so, like, that's just, that's just the reality. But, um, the but the book, uh, 21 lessons for 21st century was about um sort of like, where we're kind of headed and super interesting, and there is a line in it where he talks about how the industrial revolution made it so that, like, like, manual labor was uh, like outclassed, like you like, you, like it was not, you know, the the most powerful form of labor anymore. Um, or, or you could do it with a machine, the. He says the ai revolution, uh, and this was long before that word was everywhere.
Speaker 2:But this was you know, this was like this book was written, like six years ago, seven years ago, the AI revolution will make it so that intellectual jobs will become outclassed. And then me, you know, reading this in the morning like a just just you know, like to make myself giggle, I say out loud all that will be left is dance loud, all that will be left is dance. And and from there I like this starts tumbling and I'm just like, oh, what does that mean? And I don't know. I'm a big fan and I'm a big believer that like ideas visit you and you have to take them and they're, you know, that's really cool when that happens. So I just start thinking like well, what does that mean? And I was like what if you know what?
Speaker 2:If there's like a type of like labor revolution, but it's through dance, like like, like the only kind of job that machines have taken the manual labor and they've taken the intellectual labor, but they can't take the dancing labor, and and then, you know, from there it just kind of like it buds outwards. I open it to the team, I'm like this is a thing that I want to do. And then I get pitches back from them about ideas where they're like what if this, what if this, what if this? And then it sort of evolves over time where we have our very specific story and I don't know it solidifies and it becomes this thing that we all understand as a group. But it starts with this one idea. It starts with me just being a doofus at like 7 in the morning.
Speaker 1:I love it. But I think your game is getting a lot of attention, and I think partly because it's awesome, like I. I love, I mean, what I got to see of it. It's it's I I fell in love instantly with it. But I think the other thing that it's doing is it's it's really touching on a nerve that we're facing right now in our society, right, and that is the fact of like, do we become irrelevant? Uh, with, with the changing landscape that's happening and and it's changing so fast, and I think that's really scary. And not only is it changing really fast, but it's like people are latching onto it without thinking the consequences of it, and I think that's why, uh, you know, this is, this is something that reaches out in it, in the expression of dance is really you know that it's it's the expression of art, right, and that's something that you know computers really can't do yet. So I that's why I think this resonates with a lot of people.
Speaker 2:The the. Not thinking about the consequences is a thing that, like really gets my goat a lot, like we rush headlong into a lot of things from a corporate and innovative quote-unquote innovative perspective. I don't know if your audience is familiar with the Torment Nexus meme or if you are, but it was a joke on Twitter.
Speaker 2:It was like sci-fi author In my book I invented the Torment Nexus as a cautionary tale Tech company. At long last we have created the Torment Nexus from the classic sci-fi novel. Don't Create the Torment Nexus. I think that is Alex Bleckman.
Speaker 2:I think is the writer, I got to give credit. But yeah, that kind of thing happens all the time. It happens all the time. It's like well, but why do we need this, why do we do this? And and what happens is like the people that end up deciding why we get to do stuff are the people with the most money. So that's why the ai isn't replacing, um, menial tasks. It's replacing the tasks of people who create the things that we all buy. So it's not doing the. It's like there's there's another meme where people like can I, can I paint? And the ai can do my taxes? Um, wouldn't that be nice, you know? Can the ai fish garbage?
Speaker 3:out of the ocean.
Speaker 2:Well, no, because the people that are deciding what the ai is for think it's more interesting right now for it to do, you know, the sort of like, uh, the, the quote-unquote content, whatever yeah, machine yeah, I have a lot of opinions about this. We can.
Speaker 1:We can just talk about this, which we shouldn't, because I will just keep going yeah, well, I you know, but I, I just, I do want to riff on that just for a minute.
Speaker 3:Um, because I do.
Speaker 1:I think the thing that's interesting is, um, it's tapping into. It's tapping into like the easiest things to like that, like and I I'm going to use this term and maybe it's not the right term but like the laziest way of to implement it. Too right, it's like because there's so much more that it could do, but it's like oh, we wanted to write script, we want it to write, you know, and like that. That's like the lazy, easiest way to implement something like this, like there's there's way better ways that you could use it as a thought partner or whatever. The case is right, but instead we just focus on the easiest, simplest and and that's. It is weird to me that that's what people focus on. But yeah, I don't want to digress, I'm not against, but yeah.
Speaker 2:I'm not against. Like ethical and responsible uses of technology.
Speaker 3:That's fine.
Speaker 2:Like there was an Apple demonstration a couple of days ago where a woman basically used the Siri AI as like a better Google, great Love, that. That's. That's fantastic, that that's probably gonna save that person like a couple seconds, and you know, to save that person like a couple seconds, and you know that's cool, good for them but it's, it's the, it's the irresponsible stuff.
Speaker 2:That's really stressful yes, 100, so that's you know, like that's kind of where we're coming from and it wasn't the original.
Speaker 2:Like it was like the idea of the robot army. I was thinking more at the head that, like when we started the game, very much about like workers rights, which I still obviously am, but but like much more about the sort of Amazon, you know, industrial complex, and then the AI concerns really started to bubble up and they started to surface themselves in the story a little bit stronger, in a way. That allowed us to not move away from that stuff but like think about what we're concerned about right now and also, like to be honest, you know, while we're developing this, like hi-fi rush came out and um, I don't remember if this is one of your questions, but I do want to like mention it like it's something that appeared and it allowed us to actually, like they did the, the sort of I'm not trying to sound like we're better than them they did like the original idea that we had and I was like ah, nuts, uh, and. And it allowed us to kind of refocus and think about, like what we wanted to make and what story we wanted to tell in the space of like the, the genre of game that is like music versus corporation that incorporates stuff like no straight roads and hi-fi rush and jet set radio and and all systems dance.
Speaker 2:Um. So yeah, that's that was. That was like. It's now something that's really important to me yeah, I think that's something that's really important to the game.
Speaker 1:It's been important to me for a while yeah, yeah, for sure, and I think I think the other thing that's really important, like last time we've chatted uh was, uh, you know, making your games uh, you know family friendly and that it's not violent. It's not a violent game, and and the one thing that I think that stands out about this game is, you know, this build is a non-violent combat. Um, can you discuss what that means? And then how does it play into your philosophy at mighty yell?
Speaker 2:yeah, I mean, and I keep saying this, um and one will, when I, when we're desperate for money and we're making like gore shooter, the, the bloodening, uh, they used to say they were anti-violent. Um, but like I, and they'll drag gamer heads podcasts from 15 years of gamer heads podcast and they're like, and they're like.
Speaker 2:Hey, dave's been on the show every year and he said it was nonviolent but now they're broke, sorry, but we try to make things where the core verb for the player isn't hurt, hit or kill, and that's not to say that you can't be threatened as a player, that's not to say that violence does not exist. Threatened as a player, um, that's not to say that the violence does not exist in the world. I just want to give the people that play our games and I want to think about, you know, core actions for players that play our games. I want to think about what it means to make them not have to use violence, not give them no choice but violence. Um, because and if you want to get really theoretical about it, there's a line of thought that violence is the removal of choice.
Speaker 2:But anyways, the thing that I want to do is make stuff that is not violent. But I also want to make I wanted to try to make an action game. I wanted us to make something that was like we made an adventure game, we made more of a puzzle, like escape room style puzzle game, and now I was like we made an adventure game, we made like more of a puzzle, you know, like escape room style puzzle game, and now I was like what does it look like if we make a non-violent action game and dance is one of the verbs that comes in like, because it's fun, it's really joyful and really cool and like dance is neat. So I like, we, we want, I thought like well, no one's, no one's done this, like this, this kind of thing.
Speaker 2:There are tons of games about inputting things on the rhythm, on the beat of stuff. There. There are tons of games about dancing actually yourself for the connect, just dance, whatever. But but the I and I think, I think bound the game bound for the ps4 that I have only recently become aware of. I gotta, I gotta, look into this.
Speaker 2:Um deals with like, like, dance and movement to a degree um but I don't know that there's been a lot of games that kind of deal with the second to second decision of what it means to choose dance moves for yourself while you're performing, to perform. So that's the thing that we wanted to do is, like, let's make performance and dancing and the ability to express yourself through dance the core verb of the game. Um, and I don't know if you want it like, I don't know how deep down this, yeah, yeah, no, this is awesome. Yeah, yeah, yeah, absolutely the like, uh, so you know where does that go? Um, something that we've we haven't busted this one out yet, but I told you what it packs is like.
Speaker 2:I was like, what's the tony hawk of dance moves? Like, what is that? What are tony hawk with dance moves? What does that mean?
Speaker 2:And we have to start really thinking about, like, how you can have a wide variety of dance moves available to you in a way that allows you to move through a space, which means that you know, unlike, unlike Tony Hawk, you don't have an ollie.
Speaker 2:Like you don't have an ollie. That is like a setup for a trick. You have to constantly be performing tricks, so what does that allow you to have if your thumbstick also moves you through the space, and we just started like really thinking about what the the core, like kind of touch and mechanics and feel of this is, and we settled on something that I'm so stoked about. It allows for a lot of dance moves, like a lot, a lot of dance moves I'm not going to quote the number in case, in case we don't implement like the few that are still coming in, but like a lot of dance moves, I would say and the ability for players to sort of like remap them and think about what they want to like, how they want to dance. I'm like sorry, I like we haven't been able to talk about this for like a year.
Speaker 1:So, I'm just like, ah, yeah yeah yeah, talk about everything about this game. Yeah, so I mean. So it's like you can string dance moves together to get higher scores. Is that is that kind of yeah?
Speaker 2:so the, the kind of core narrative premise is that you are presented with the robots and they are like we have a lot of like robot dance battles. We're working on having a lot of robot dance battles, um, but I want you know, you can kind of think of them as like mini boss fights, like there's no, currently there's, we're not dealing with like a lot of like robots in the environment that you kind of deal with um. You just kind of get into these, these battles, these single sort of like one-off. You get teleported to the dance battle arena and you go into it, um, and then the.
Speaker 2:The robot is, you know, terminally unhyped. They're just like hi, how can I sell you shorts today? You know like they're, like they're. It's just like it's a, it's a walking mobile ad and that's what it's doing. Our like first robot that we built is a little. He's in the trailer. He jumps up and down. He's like a little screen that comes up to you and advertises stuff to you. We call him adbert, like that is, that is his name. Um and the.
Speaker 2:So you start dancing and when that happens, the robots are like oh, this is interesting, and they start they start like following you and getting close to you because you know the, the robots have been trained to see you in a certain light and as a as a consumer, as a as a as a thing to extract money from. And you start to dance and they realize that you're actually more than that, you're something else. So that kind of breaks them, and as you hype them up which is like you know the sort of score or health bar then they start to go into different phases. Now, when they get more hyped, uh, they start engaging with you because they're excited, but they're also dangerous. So your job is to continue to generate hype in a way that doesn't get you hit when you bonk into them or you know whatever. And then we have like a bonk strike system and like the goal is to keep moving, keep dancing, do something that feels good to you and also like not not get clobbered along the way.
Speaker 1:Yeah, yeah. How much did you have to study dance then? Because, like, I don't know if I've ever seen a game like this, where you string a bunch of dance moves together and that that must be complicated because you're trying to I mean together, and that that must be complicated because you're trying to, I mean you obviously want to have, you know, legit dance moves, but some of these things don't necessarily flow together. How did you, how did you tackle that?
Speaker 2:yeah, like the, the way that we're building our, our animation system is, is we're trying to blend them together, um, as best we can, with like some some like secret sauce about not like secret that I won't talk about, but secret like I won't get really boring with you, but like we're trying to figure out a way to make it feel like if you end a dance move on the ground and your next move is standing, there's a little transition, there's something there to kind of blend those things. So then whatever the player feels like they want to do is like kind of represented visually and we see our main character, uh, whose name is carla. Um, we see carla kind of like transition through those moves and that kind of thing.
Speaker 2:How much do we have to study dance? Uh, our art director is a dancer, our operations manager did some dance and figure skating, um, and but, like, we also did a lot of research into dance and then, beyond that, we hired dance consultants. So we have two dance consultants that are on our team and we meet with them, you know, semi regularly and they helped us pick our final move set and really kind of teach us about what's possible, what's realistic, and vet our design and vet our design right. So, like, we picked three kind of dance styles and a yet undisclosed number of moves that will that fit into each style, um, and the player is able to sort of learn and unlock those moves over time.
Speaker 2:Um, that's, that's our goal yeah, yeah, um, and then and then, like the, the sorry to interrupt you the no, no like how much did we study dance, the like we continue to like figure out things about dance that we don't know and try to learn as much as we can. We didn't. Not a lot of us grew up dancing, a few of us did, but the big thing about this is that, like, I think it's good that we're not all dancers, because the game is about someone who is relearning or learning how to dance, because the player is not able to do that, yeah, yeah yeah, and I mean that's that's what I find fascinating is like uh, when you started digging into this, we were like, oh my goodness, what did we get ourselves into?
Speaker 1:there's a lot of dance moves here that we could pick from. Uh, oh yeah yeah, it was.
Speaker 2:It was, it was rough. Um, we, we were like on another podcast. Uh, we can have a conversation about the moments where I was like, oh, we shouldn't be doing any of this. Uh, like, like, we've. Like there were moments where I was like we're screwed. We're screwed. I've led us down a terrible path, but the team always pulled it out, came up with great ideas and like we always found like, oh yeah, this rules, but we actually like there's, there's billions of dance moves and you know, like it's not.
Speaker 2:we're not like it's not a co-op game, you're not like moving your arms and it's not like 100 percent expressive, because it's hard to make a game out of that.
Speaker 2:So we had to kind of break it down to like stationary moves with a game pad, moves, that that then then modifying those with the thumb stick, um, so that you're moving and and you press a move button and there's different like types of moves for the dance, for like for every dance style, and then, um, and then we have what we're called freestyle moves, which are like sort of performative things that happen at specific moments.
Speaker 1:So, um, like it's, it's uh, and that's like one set of moves and you can ideally equip multiple, uh, multiple sets nice, I like that, yeah, um, one thing that has always struck me and last time you were on the show I asked the same question. Similar question is this how different all your games are. Can you talk about that decision of tackling different games and the challenges that go along with that?
Speaker 2:Yeah, I said to someone today I was at a conference here in Toronto called XP, which is a business-to-business games conference here in Toronto, and I was talking to a friend about their next game and that it leverages tech that they've already built and I was like man, I wish I had the ability to get out of my own way enough to do that.
Speaker 2:You know, I wish I could just be like what if I didn't? What if I didn't encourage us to do something completely new and also hard. So the decision to do that is one that is frowned upon by, you know, like people that have made a lot of video games. But I like it, I think it's fun, I think it's neat and the team thinks it's neat and we keep trying new stuff.
Speaker 2:The thing where we're like the reason that I want to do that is like I'm I don't know every one of these video games could be our last, and I don't mean like because I get hit by a bus, which is absolutely true, but I mean because, like, the industry is insane, yeah, um, so anything could happen tomorrow. So, like what if every game that I made is like absolutely the thing that we're most excited about ever? And you know I love looking at like double fine and supergiant, like they make.
Speaker 2:They make, like you know, weird bets on every game I mean super giant's making a sequel for the first time, right, and and in their own way, for that studio. That's a weird bet, right, they're trying something new and that's interesting. Um, like I it is. It is my hope that we get to keep playing. My goal is to like innovate, uh, in whatever ways that we can, in ways that bring us joy, you know, and like, maybe over time someone will be like and also the market likes that. Maybe you know, like that's something that, but like, I don't know the we do, okay, so it's more worth it to like have fun, be strange, yeah well, I mean, this is what I love.
Speaker 1:This is what I love about my dl is the fact that you do take risk and and every and I've enjoyed every game I played uh, so I yeah, uh, and that's just one thing that has always surprised me. You went from, you know, the big con to vr with a night in the attic, and now you're, you know, going to a dance uh game, I'm making dance games and I'm making dance games and that. But that's what makes indie games so special is just because of so different, such variety and and there's so much joy in your games, and I think that's what attracts me to the games that you make that's the thing that you know.
Speaker 2:When we were making the big con, um, one of our you know, the creative director at our publisher, said um, sorry about that.
Speaker 2:Said, um, it's a game that smiles at you and I was like that's the coolest thing I've ever heard that is something that I I think that should just be the goal for us to always make is just games that like a game that's like hey, I see that you're playing this and I I got you. That's the thing that I I want to make. Um, and I do always have to say that we are a canadian game studio with, like government funding at multiple levels, so we are able to take more risks. So, if you are starting your own company with your own money, please make a shooter, like go out and make a deck builder, like make something that is a proven genre, because that is a good idea. Um, if you are able to do that, that's, that's great. But, like I, we have, we have some, we have a little bit more safety nets here and we are able to take those risks and we are encouraged by the people to give us money to take those risks because, hey, it makes cool stuff yeah, yeah, or move to canada.
Speaker 2:I guess that's another option that is also an option I never like to say that, that's the only option, because not everyone can pull that off, but do it if you can. I mean, we got our problems too. Let's be honest.
Speaker 1:So I know you just announced the game. When can players expect it to go into? I'm assuming early access first. When do you have plans for this yet, or?
Speaker 2:I hadn't thought about early access or like we had, but like I don't know that that's necessarily the route for us, I think this is going to be a one and done we might end up in um. That's not to say that we wouldn't support it and if you know, like I don't mean like we give up on it. We and I like putting out more content for games, if we, if they do well, so who knows, anything can happen, but I, I don't want to, I don't want to commit to a timeline yeah but we are working on our first public playable and if you are listening to this contemporaneously with when it comes out, you might have some ideas about when that might be.
Speaker 2:So, um, hopefully we will get it into people's hands in a demo capacity soon, I would say, unless something bad happens, like we can see some people maybe playing this before the end of the year wow wow, yeah, that's super fast.
Speaker 2:I think like and not necessarily for a release, but I just mean like, like, maybe, like, if people want to, if they were potentially at an event, you know, hypothetically, um, then then, uh, there could be a place for them to play it maybe. Or if there was some sort of large, semi-regular festival of demos that could potentially host something like that, maybe we would appear there, maybe, potentially. I'm, I am, it sounds like I am, it sounds like I'm being goofy, but I also am not 100 confirmed on both of those things so I'm also being necessarily cagey right like that's, that's an important qualifier um because I don't want to say like, hey, it's going to be at this event and then it's not for whatever yeah
Speaker 1:yeah, yeah, because games are hard folks and they are made by people and they are doing a good job yeah, I think I think that's the thing that has impressed me too is how I mean I don't want to say this and be like and put pressure, but the fact that you do deliver quickly, like the big con, and then a night in the attic and then this game that you're working on, like to me, that is like that's mind-blowing to me how quickly you in in, like I said, how different the games are. To me this is mind-blowing how quickly you all can pivot from one game to the next game, to the next game you and, and yet you had our very good friend zalvir nelson on here and what he does is mind-blowing to me.
Speaker 2:So, like I, like the you know I I'm that means a lot to me and I think it is at a cadence that we find sustainable and that is not a dig at strange scaffold. They work at a cadence that is sustainable for them and they are doing a good job of that, and it's important to call out now that they are, um, also giving us support for this game. They are amazing, um, it's uh, yeah, I don't know. They're helping us out with marketing stuff and, um, I couldn't be great more grateful for that.
Speaker 1:I haven't made a ton of public announcements because I've been busy, but like dang good stuff yeah, um, I'll put a link in the show notes so people can wish list uh, the game. But, um, before we head out, uh, how can people follow you and follow mighty yell on social media?
Speaker 2:yeah, I uh, if you're listening for some reason, if you're downloading all the dave proctor episodes of this podcast at once, uh, I have updated my social media handle, so, but I am, uh I am at positive laser on all social media platforms, uh, including twitch, which I don't use, but I was happy to get it so that rules, um, and you can find like if you look up mighty yell um m-y-g-h-m-i-g-h-t-y-y-e-l-l on on, uh, anything we have.
Speaker 2:We've got that and we also got all systems dance on all the things. So, um, you can find more about our stuff and you can go to all systems dancecom, uh, which is in the show notes, as roger said to um, to wishlist the game and check out our really good trailer, which was part live action filmed in this very office, which is, which is a fun thing, yeah wow, we were like man, we should do like a live action trailer, like they used to do for like super nintendo.
Speaker 2:Um, and then we did it. Uh and jillian, our operations manager uh, who was also my partner like built a bunch of boxes and put woosh stickers on them and like made this big, incredible whoosh is the name of our corporation in the in in the game made this incredible mise-en-scene in this office. It was so wild that's awesome yeah that's fun, that's awesome.
Speaker 1:Um dave, thank you so much for joining me. This is real pleasure oh my god roger, I lost. I know I love, I love, I love chatting with you at PAX. I love having you on the show. I look forward to hopefully seeing you at PAX West. I'll be there, so hopefully we'll run into each other there.
Speaker 2:That could potentially be a hypothetical event that we'll be at. But yeah, we will definitely be at. I and at least one of our games will be at PAX West, maybe two, we'll see. We'll see what happens.
Speaker 1:Yeah, oh well, it's always a treat to have you on, so thank you so much, and uh, it's honestly, it's amazing that being on here.
Speaker 2:Thank you so much.
Speaker 1:Oh, that's, that's. That's very kind of you to say um and to go wishlist the game. I'm very excited about the game. I got to see a bit of it at PAX and, yeah, wishlist it. Make sure you follow Dave, make sure you follow Mighty Yell, because they do good work With that. Everybody, stay safe and game on and we'll talk to you next week. Bye.
Speaker 2:Bye.
