I was doing quite a bit of minor puppet work, especially in the latter parts of High School Sinking. There’s a broad simplicity to High School Sinking, so we wanted to zero in on fewer but more specific drawings. JS: It definitely was one of the first aesthetic decisions that was made in the film.
Can you talk about expanding that scale and how that may have approached your limitations? You embraced the opportunity to utilize thin lines in Cryptozoo, as opposed to the thicker lines of My Entire High School Sinking into the Sea, which opens up what you can achieve cinematically. So, roll badly one time, and you just.can't go forward? It's not the fun kind of frustrating, and it's very bad dungeon design because there's nothing fun or engaging to do as an alternative, you just.fail, and have no recourse. If you miss them, there's no harder-but-easier-to-find secondary route, there's no back entrance, and you can only make perception checks once. Which is fine, but.these are passages that are 100% necessary in order to progress forward. And a lot of necessary passages are like.RAW, you have to specifically investigate one certain stretch of wall, and pass a specific perception check using a specific approach (I don't think Investigation as a specific skill existed yet, or possibly Gygax was, again, just kind of an ironically bad DM) in order to find them. There's nothing special or magical about that trap, so there's absolutely no reason destroying it shouldn't work. TECHNICALLY the RULES say I didn't do it right.but that's not fun to play, it's not fair, and it does not make sense. Which means that, technically, rules-as-written, the WOOD AND CLOCKWORK trap could not be damaged by my dragonborn barbarian and her 23 attack roll with a greataxe. For example, just today we found a trap that, rules-as-written, can only be jammed to prevent it from reloading by passing a DC 20 check with thieves' tools.
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