Times when somebody finally understood what you were doing

I don‘t know if you’ve all had this, but it‘s gratifying when somebody who does not know you, who is not your friend, understands what you were trying to say, what you were trying to make, who you wanted to reach, etc. My example may be minor in the grand scheme, but I discovered this video analysis of Gunhouse, which only has around 300 views, through a steam review they left. It was gratifying because, in 2021, 7 years after the game’s first release, somebody actually understood the mechanics and dynamics I was going for without my explaining them in person. (actually technically one other person got it, a reviewer at IGN Japan, so this was just the first in english: 【PCゲーム極☆道】第六十回『Gunhouse』 移動要塞と化した家で敵を撃滅するパズル&タワーディフェンス)

Anyway, if you ever felt like learning what we were going for from an outside perspective, this video is very close. I only have a few minor quibbles! Gunhouse is not a perfect game, and I wouldn't make it the same way now. But even a video with only 300 views that actually understands what we were trying is like - okay! I guess I can keep making these things. Literally nobody else has talked about how the puzzle mode is PART OF the tower defense - it's the ammo/restock/resource gather phase! heck. people usually think of the modes as different or smashed together rather than complementary. That's my fault if it's not getting communicated, WHICH IS WHY it's so gratifying to see someone get it.

https://www.youtube.com/watch?v=yATrYFtmI28

Has anyone else had a moment like this, with music, writing, art, games, a forum post, etc??

I‘m not totally convinced that this is the same but I’ll mention it anyway. I work in a decentralised media team in a non-corporate role for an arms-length public sector organisation that distributes Lottery money raised by ticket purchases where a percentage of each ticket purchase goes to broadly speaking charitable / voluntary / third sector causes.

When I joined the organisation our key messages mandated that we have mention the name of our particular organisation (I should mention for context that we are one of many distributors) in press releases, etc etc and for some bizarre reason we weren't to say the name of the Lottery game that was the source of our money, allegedly to avoid reader confusion.

Anyway, I perhaps went a little bit rogue but did have the approval of my then-boss who was also the kind of person who didn't like convention, and I started writing in my comms that the voluntary causes that we were funding were only made possible from the public buying Lottery tickets. I figured that if we're putting out these stories then making the connection between buying a ticket and giving to a good cause seemed like a better idea than simply mentioning that some faceless organisation was giving out money.

When that first happened Corporate Office _did not like that_ and I got a lovely slap on the wrist from one of their senior managers not to do it again. I carried on, the messages that I added were picked up by the media over time, and eventually became an official key message of the whole organisation.

I would be happy for things to have stopped there, and I'm not suggesting that I'm responsible for the following but the idea of linking ticket purchases to good causes as a key message has permeated into the work that we do in such a fundamental way that in that time multiple distributors, including ourselves, have collectively rebranded to reflect those key messages for a common cause.

Kinda a terrible way of explaining it but hopefully you get the thing that I'm trying to explain (I realise the irony of this in the context of the thread).

Finally I just gotta add that I still work there and that manager does not lol.

When I made Let’s Enhance I was thinking “this should be funny” and half the comments are “this is funny” which is great. That’s what I was going for! The rest are a mix of “I hate these shows/ you missed my favorite/ this is not possible/ actually this is possible now” which is fine but not why I made it.

Once I read a comment that said it was poetic. I’m sure that’s not a word I thought of while making it but I remember thinking “yeah this _is_ kind of like poetry” and wanting to push the next one further in that direction. You’re kind of at the mercy of whatever clips you find with supercuts so it’s not happened yet.

Anyway, it’s nice when people get what you were going for and really nice when they put it into words you didn’t think of which then (hopefully, one day) informs future work.

I'm not sure if this is quite the same thing but as Spacecops vs Dinosaurs was so, so, far outside the sort of work people usually follow me for it was a real relief to see people mention the C64-ish styling/parts they laughed at, etc. without any prompting or compliment-fishing from me.

Slightly more recently [this article on PAL games/gaming](https://kimimithegameeatingshemonster.com/2021/10/05/pal-retro-games-deserve-to-be-preserved-respected-and-re-released/) was something I wasn't even sure was worth publishing, but it seemed to generate a strong positive reaction anyway.

@“Kimimi”#p53691 That PAL games article struck a real chord with me when I read it. Most of the games that I played on 50Hz TVs I‘ve since played as reissues on modern TVs and platforms, and they have rarely felt as I remember. My PAL games certainly aren’t the best way to play those games anymore but they do hold by far the biggest significance for me.

I wrote this poem about two years ago & it was published that fall. That really changed a lot for me in this weird indie lit space & now a handful of people I've never interacted with seem to like every time I put a new poem out there – which, I had never imaged would be a thing. I even found out that poem was being taught to an undergrad creative writing class at George Mason University, which is insane to me.

But none of that really compares to this DM I got from a stranger (now a twitter mutual lol) a day after the online mag dropped.

>

hi, I loved your piece in the taco bell anthology

> as a weird brown youth who went to college in Long Island. the pacing, how immersive it was. I was in it

> beautiful writing

& in that moment I felt like the place I write from was understood by the people I write for. very surreal.

Back when Theatre was still a safe thing to go to, I‘d self-produced a number of small, silly things here and there. The biggest and most recent project I took on was producing a full length play of my own writing for my city’s Fringe Festival that was my attempt at creating something “legitimate” and not as throwaway as other stuff I'd done.

I figured my friends would enjoy it because their friend wrote and put it all together, but what really caught me by surprise were when I first noticed strangers wiping away tears during the final act of the production. It was nice to know that the fears and concerns and love I try and put into my characters was so physically felt by others.

Haven't been able to write anything (aside from a series of false starts) since then, what with having to take jobs that actually pay me (which Theatre is not) — but boy howdy, if that's the last creative thing I ever did I've gone off on a high-note.

I’ve had a few archaeology profs, most who I do not know personally, tell me they’ve started using my videos in their classes. I mean… that totally owns.

One time a girl heard my album and she listed off all the bands that it sounded like, and all of the bands were people I was trying to sound like. That was sick.