Daniel Burke - đŸșInnkeep

@innkeep.bsky.social

5944 Followers 371 Following

He/Him | Australian living on noongar boodja. Lead developer of đŸșInnkeep @ Boot Disk Games. ć…ƒæ—„è‹±çż»èšłè€…ă€‚ Steam👉 https://mythwright.gg/Innkeep Discord👉 https://discord.gg/q5nyWXRmqU Mailing List👉 http://eepurl.com/gzRndT

Muppet Treasure Island
Egwene Al'vere as played (excellently!) By Madeleine Madden.
Medieval Europe 400-1500 By H. G. Koenigsberger.
GIF showing the gradual progression of innkeep, from very early days to recent past. The visuals gradually get more impressive. We see behind the scenes shots of art in progress, as well as cut-scenes from in-game events. It ends with a dramatic demon summoning scene.
Light brown book cover. In the middle is an embossed face of Martin Heidegger.
Medieval man taking a stone from a toad.
A GIF from the indie game innkeep. Three pixel art fantasy characters seated around a wooden table in an inn. One of the characters is drinking from a wooden tankard. There are a number of used bowls and tankards on the table already.
Kate O'Flynn wearing a tiara. OR IS SHE?
Pixel art character wearing chainmail and a tabard. He looks unkempt, with a messy beard and hair. He is swinging a sword down in an arc, with it coated with blood in the second half of the swing.
Diagetic cooking UI in the indie game innkeep. We see a close-up of a kitchen table, with a chopping block in the middle, and a cauldron on the right. The cursor grabs a rat from an inventory slot at the top of the screen, chops it up with a knife, and adds it to the cauldron. They then grab some herbs, add them to a mortar and pestle and grind them. They then tip the herbs over into the cauldron. The star rating of the food increases.
Me peering around a corner of a maze made of boxes.
Heaps of shoes.
The cover of the serialised fantasy story The Ancestral Trail, number #2. Polished of Garoon. Mortal Danger in Enchanted Waters.
Comic panel. A woman on the right of the panel is holding cat up that has a human-like face. In the left of the panel a seated man looks on in consternation. The woman is saying: "They're medieval cats. I got them from a special breeder. Aren't they cut!" The cat is saying: "MEOW (Human voice.)"
We have been so desensitized by a hundred and fifty years of ceaselessly expanding technical prowess that we think nothing less complex and showy than a computer or a jet bomber deserves to be called “technology” at all. As if linen were the same thing as flax — as if paper, ink, wheels, knives, clocks, chairs, aspirin pills, were natural objects, born with us like our teeth and fingers — as if steel saucepans with copper bottoms and fleece vests spun from recycled glass grew on trees, and we just picked them when they were ripe...
The more I think about the word “idea,” the less idea I have what it means. 
 I think this is a kind of shorthand use of “idea” to stand for the complicated, obscure, un-understood process of the conception and formation of what is going to be a story when it gets written down. The process may not involve ideas in the sense of intelligible thoughts; it may well not even involve words. It may be a matter of mood, resonances, mental glimpses, voices, emotions, visions, dreams, anything. It is different in every writer, and in many of us it is different every time. It is extremely difficult to talk about, because we have very little terminology for such processes.
I will dispose of the first myth as quickly as possible. The “secret” is skill. If you haven’t learned how to do something, the people who have may seem to be magicians, possessors of mysterious secrets. In a fairly simple art, such as making pie crust, there are certain teachable “secrets” of method that lead almost infallibly to good results; but in any complex art, such as housekeeping, piano-playing, clothes-making, or story-writing, there are so many techniques, skills, choices of method, so many variables, so many “secrets,” some teachable and some not, that you can learn them only by methodical, repeated, long-continued practice — in other words, by work.
I will dispose of the first myth as quickly as possible. The “secret” is skill. If you haven’t learned how to do something, the people who have may seem to be magicians, possessors of mysterious secrets. In a fairly simple art, such as making pie crust, there are certain teachable “secrets” of method that lead almost infallibly to good results; but in any complex art, such as housekeeping, piano-playing, clothes-making, or story-writing, there are so many techniques, skills, choices of method, so many variables, so many “secrets,” some teachable and some not, that you can learn them only by methodical, repeated, long-continued practice — in other words, by work.
D.W. from the children's animated television series Arthur, saying: "That sign won't stop me, because I can't read!"
Piece of cardboard stuck to bottom of a closed door using blue masking tap. On the cardboard is written: no cats allowed.
Cheeky innkeeper holding beer while sitting on a barrel.
Caius Cosades from morrowind. He's a bald shirtless older man.
Fraser Crane at the mic with a speech bubble.
An amazing water color work of a hare with big floppy ears.
It's a watercolor painting of a cute owl. The detail on the feathers is amazing.
While the techno-economic order knows only quantifiable outcomes and measurable outputs, much of what ultimately matters, what is of greatest human concern, transpires in the particular and idiosyncratic ways we pursue our goals—in the ways we are involved, invested, and engaged in the tasks that make up our days.
Given these background assumptions, it is easy to see why the most popular and compelling way to market new technologies over the course of the past century has been to promote them as “time-saving.” I should say at some point, and now is as good a time as any, that I’m not suggesting that time and labor should never be “saved.” The problem is that “saving” time and labor have become default settings and social imperatives. Rather than wisely judging what labor or time can and ought to be “saved,” our tendency is to buy into the promise indiscriminately.
Externally, we live within social and material structures that school us to embrace the techno-economic imperative to optimize all aspects of experience for speed, convenience, and efficiency. We may argue about a lot, but one thing most of us take for granted is that whatever can be done faster and more efficiently should be. Whatever labor can be saved, ought to be saved. It’s a long standing imperative. Fifty years ago, social critic Ivan Illich argued that “people need new tools to work with rather than tools that ‘work’ for them.” Instead, Illich observed that “for a hundred years we have tried to make machines work for men and to school men for life in their service.” https://theconvivialsociety.substack.com/p/waste-your-time-your-life-may-depend
Innkeeper in a bubble looking grumpy.
Satisfied meme. Man drawn in white outline, both hands on face. Eyes closed, head tilted slightly upwards. Relaxed expression.
GIF showing a diagetic backpack UI opening up. First the cursor hand looses the strap in the buckle by pulling it upwards, then it lifts the whole flap / lid of the backpack, revealing the contents.
We see a diagetic backpack UI element, with the player's cursor dragging a buckle strap upwards till hit hits the buckle bar, then letting go. The buckle bar then falls loose, and the whole bag flap is dragged upwards, revealing the contents of the backpack.
Millenial man looking at baby and thinkg: "Hello little one... How on earth do I look after you? When can we watch StarWars?"
As the art historian Jennifer Roberts argued several years ago, “Just because something is available instantly to vision does not mean that it is available instantly to consciousness.” Or, as she also puts it, just because you have looked at something doesn’t mean that you have seen it.
Scene from My Fair Lady. Getting on a refuse cart as though it were carriage, receiving a bouquet that is actually some celery. So many lovely details, like the throwing of trash in the back before the cart pulls away. Everything timed perfectly. Loverly.
From The Great Magician (2011), directed by Derek Yee. An intimate close shot between two of the leads dancing slowly (Tony Leung and Zhou Xun) slowly shifts towards something menacing, as the camera pans and reveals the approaching face of a jealous general (Sean Lau).
An opening scene from The Duellists (Directed by Ridley Scott). Some ducks being herded up a grassy rural path by a peasant girl. The trees on either side create a strong contrast with the bright green of a distant field. Scott is using natural light and depth of field to maximum advantage here.
A video showing part of the thief minigame in Innkeep. A 2D vignette shows a bedroom, with a sleeping guests. Over the top is layered a diagetic UI element in the form of a backpack. The backpack has a lid / flap, and the player's cursor is pulling it upwards to open it, revealing a number of articles of clothing and other objects inside.
A still from Glengarry Glen Ross - Alex Baldwin is drawing Always Be Closing on a black board. But the word "closing" has been replaced here with "cackling."
Screenshot from the 2000 game, Soulbringer. https://steamdb.info/app/283310/screenshots/
Noodles and laoganma.
Pulling up a strap in a belt buckle till the pin pops out.
WIP screenshot of the thief minigame.
THE LAST WILL AND TESTAMENT OF PHILIP J. KLASS To ufologists who publicly criticize me, ... or who even think unkind thoughts about me in private, I do hereby leave and bequeath: THE UFO CURSE: No matter how long you live, you will never know any more about UFOs than you know today. You will never know any more about what UFOs really are, or where they come from. You will never know any more about what the U.S. Government really knows about UFOs than you know today. As you lie on your own death-bed you will be as mystified about UFOs as you are today. And you will remember this curse.
A VICE News Product "Disclosure is Coming"
My job here is done But you didn't do anything
A close up of a section of the world map. Here we see the heavily forested south-west, which also has many lakes and fenns. The province of Wyrenach is here, with its capital named Cephyae.
A close up of a section of the world map. Here we see the mountainous north-east, and the province of Duron.
A close up of a section of the world map. Here we see the north-west, a land with far fewer trees, populated with grasslands that are grazed upon by sheep and goats. The two provinces are titled Orhuste and Rhynd.
A section of the world map, showing the south eastern region bordering an ocean. The two provinces here are titled Buccolia, and Avenor.
Close-up of the map, showing a section titled: Valley of the Incarnates A lake is in the center of a cluster of mountains. An inn by the lake is titled: The Weary Pilgrim.
A map of Cirrhul. It's in color, and shows the 'Divine Empire of Cirrhul' in the center. This empire is comprised of six provinces, organized around a central 'Valley of the Incarnates', where the game is set.
Monochrome sketch by Gustave Dore, showing a crowded london scene at night (circa 1869). https://www.londonmuseum.org.uk/collections/london-stories/gustave-dores-london-pilgrimage/
The inside opening pages of the Japanese Enlightenment, by Carmen Blacker. On the left side is a picture of Fukuzawa Yukichi,
https://www.etymonline.com/word/ensconce
Beavis and Butthead
A couple of the guest instances heading to bed at the end of the evening.
Heaps of animated pixel peasants all wander into the inn at once.