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Notes From Ralph[]
"I mean, The Residents are not programmers. They certainly have ideas in that direction. But a lot of what happens, happens because of relationships and connections. And, um... they made a relationship or a connection with a guy, back in the early nineties, named Ty Roberts. And Ty Roberts, who now is a tech guy at, uh... Universal. Um... but Ty was a really early supporter of the connection between music and... and computers. And he was also involved with Todd Rundgren in the same way, uh, he was also involved, I think with... maybe Eno in the same way. So, um... once again, once they sort of connected with him, I mean he's the one that's responsible for their Gingerbread Man CD-ROM... and... you know, like I said, once they connected with him, they also connected with this artist, uh, Jim Ludtke, and all of a sudden, doors started opening, and made these things, uh, happen. Um... but, once again, you know, if you don't know how to do it yourself, until you find somebody who can open that door and get you through it, well, you know, you can [...] wish forever, but nothing's gonna happen."
"You know, I think it's definitely possible [that The Residents will return to video game development]. You know, once again, at this point, I don't know that they really have that connection with somebody. And... honestly, their experience with Bad Day on the Midway... you know, was not, uh... ultimately was not positive. The... the actual... making of the game and working with people was great, but the problem was that it was so tied to a certain era of technology that you virtually couldn't play it on anything five or six years later. And this was a project that... that had a budget of $400,000 back in about 1993 or '94. It's the biggest project The Residents have ever had. So, you know, at this point they're a little bit wary of something that they don't feel like at least has... a future. I mean, I guess, if you do music, well, a lot of people like music, and it's always going to be there one way or another. I mean, the meaning may change, but people still want it. Um... and it... it's the same way with a lot of, like, visual media, in terms of... you know, like making a movie or TV show, or whatever. If there's... but, but for something like video games... I mean, if... at this point, maybe if it's more stable, and if they found somebody that wanted to do something, they'd probably get excited about it. But, uh, they kinda backed off on... from that, from Bad Day on the Midway."
"I mean, there were some people that came around not too long ago, looking for some kind of, like, a VR experience... thing... with... with The Residents. Uh... and we met with them, and... they were, I mean, they were real... it was, uh, it was... a big deal. But at the same time, and, you know... um... I had a... I had a demo set-up for them to do Bad Day on the Midway, which we felt like was a, uh... a real kind of prototype for a VR experience. Um... but the problem is that, you know, the... it's all so low-res at this point, you need somebody who's willing to come in with a lot of money to completely redo it. And, uh... and these people, for whatever reason, had the attitude that they didn't want to do anything that was based on pre-existing content. You know, they only wanted new content. So, uh... you know, that was kind of frustrating."
"The money people are not the same as the creative people, you know? And, and the money people, they feel like, okay, we're going to be spending millions of dollars on this, we want something that already has at least some degree of audience out there. So, you know, something was a successful TV show, or a successful book, or... or even a successful movie at some point in the past, they think, okay, well, we start out on a higher level, because there's name recognition out there for our... our product. And you know, you can understand that, but it also stops people from taking, uh... you know, creative risks."
- Homer Flynn, Classic Gamer 74, Episode 61, February 23rd 2019