Profile cover photo
Profile photo
Ice-Pick Lodge
107 followers -
Ice-Pick Lodge was founded in 2002 as a game development studio.
Ice-Pick Lodge was founded in 2002 as a game development studio.

107 followers
About
Ice-Pick Lodge's posts

Post has attachment
We present Knock-Knock on Steam Greenlight today!
You asked us many times if the game will be released on Steam. It is our turn now to ask you about it because your vote will define if the game is to appear on Steam.

We are impressed with
your trust and enthusiasm, as well as the support you gave us on Kickstarter. We understood many things during this period and we really appreciate what you have done. Now the project is in for the most important stage leading to success: registration with Steam.

So, your move now!

An hour before the end of our Kickstarter campaign one brave backer at last decided to raise his pledge up to 500$ for the "real tree in Russia" reward. So we will plant it as promised. Keep your eye on our news!

Post has attachment
Ice-Pick Lodge
This is a major one! We’ve added Laska to Pathologic NPC description. Look for Boyni art-concepts in the Core Buldings album. And most importantly, the soundtrack from Cargo! has been put out. By clicking on each soundtrack you read the story of its development.

God’s last hope.

This one is the first theme that was written especially for the game, which also comes around as the theme of our beloved Flox – God’s last hope for the successful outcome of the upcoming Apocalypse and the main menu theme as well. As the soundtrack appeared more or less clear, I was confronted with developing of the Potopary theme, which should’ve sounded skeptically hopeful rather than full of expectations. Besides the usual set of synths and instruments I’ve used so called “kitchen percussion”, which made it sound slightly more crazy and spontaneous, I guess. It really added a bit of childhood to the atmosphere, you know. I suppose lots of kids thought of pots, pans and kettles as of a drum set.
I thought a bit of industrial noise would be appropriate in the main menu theme, it would make it more rhythmical. I aimed to the creation of the atmosphere of the factory backyard with the whole menu being all skeptical. You can hear all kinds of noises of preparations for the launch of the next doomsday.

Say “Ling!”

After the autumn theme I had to work on the theme for the rafting – the first ever vehicle Flocks builds on this god blessed archipelago. A raft under the sail sound very romantic. Especially so, because I was writing it in the end of the February and all I wanted was to go there instead of freezing in the middle of thawing snow. So I basically re-read Hunter Thompson’s “Rum Diary” to get in the right mood, washed it down with appropriate drink and wrote this dreamy theme about warm ocean, isles and a small raft under the sail, blown on by ever-fair winds. It’s become one of my favourites.
The name of the track is a word play, of course. It actually sounded so muck alike, I thought it was a divine clue. I didn’t dare to disobey.

Engineering.

Theme of Engineering could’ve become an audio construction set, but didn’t. The idea of connecting certain musical pieces to the details used in the construction of the devices meant to develop each device theme interactively. Ideally, such a theme would partially consist of clanking and rhythmical sounds of an engine, creaking of springs and other mechanical noises. This industrial sound required several themes to develop, that sounded accordingly to the type of the vehicle. Alas, this was impossible to do with our sound engine. Numerous simultaneously playing tracks slowed the game down badly. I can give you an example of interchanging sounds during the process of the device engineering. One way or another, audio constructor idea wasn’t carried out. I still had to compose the theme of engineering nonetheless.
So I decided to confront this problem differently. Well, not exactly I “decided”, more like I was required to. Creating industrial atmosphere, similar to one in the main menu seemed boring to me. Creating a new device, on the other hand, felt like demiurgeous deed. Like every creative act it’s bound with many fears and worries of the creator, as well as a lot of willpower and self-assurance. I tried to emulate this dialog. And of course, I couldn’t use any lyrics to make this idea comprehensible. This was most interesting part of the guest – to express a real argument with nonverbal means, namely with different inflections of the solo instruments, as much as synths would allow me to. To make it sound even more real I’ve put the “debaters” on the polar sides of channels, they are pretty impudent and interrupt each other frequently, very life-like. Even the voice recordings for the interface matched with it

Cargo Orchestra

The Orchestra theme was pretty easy, so there’s not much to say about its creation. Nickolay Dybowski was clear on that – “it should sound silly”, and gave some good examples. I just had to follow the tradition. Melodies came around really fast – easy, swift, and silly, in a good way. And Johann Pachelbels “Canon” was brilliant itself, why not show it to the players the way it is? I did. I should have done the ending theme as well, but I didn’t have enough time to.

Post has attachment
Laska
Age: 14
Colour: Somewhere between ivory and lily of the valley
 
Appearance:  A tall girl with shaggy hair of ash grey. She’s got long arms and legs, round protrusive shoulders. She inhales deeply and pants, as if she’s swallowing air or trying to cover sobbing. Her breath is amasingly fresh, even seems flavoured, but sweet, which is troubling considering her profession. Her chest rises and falls all the time. Her voice is deep, sonorous, but not too loud either.
Posture: Standing, with her hands wrung and pressed to her chest.
Body part: Mouth
Animal: Heron
Laska is absolutely not normal. She deals with dead much more then with the living. She’s been attending graves ever since the early years, which, of course, affected her psyche. Serves as a guardian spirit to the local graveyard much like Mother Superior to the Termitnik. Talks to the dead a lot, occasionally sits beside the grave and sings. Makes te rounds on the graveyard nightly, brings gifts to the dead, strange tokens at times, a carriage of the type writer or a celebratory cake with candles. Has an ear for music, doesn’t play any instrument though. Sings mesmerizingly, but her voice breaks, as if she’s gasping for air. She feels the consequences of disease, like no one else does. To her the bounds between the dead and the living is so faint, that she perceives the intrusion of death as something horrible, but not illogical.
Photo

Post has attachment
PhotoPhotoPhotoPhotoPhoto
Pathologic.Core Buildings (5 фото)
10 Photos - View album

Post has attachment
PhotoPhotoPhotoPhotoPhoto
Pathologic. Main NPC
7 Photos - View album

Post has attachment
PhotoPhotoPhotoPhotoPhoto
Pathologic.Core Buildings (5 фото)
5 Photos - View album

Post has attachment
PhotoPhotoPhoto
The Void. Map
3 Photos - View album

We are continuing to put out characters from Pathologic. We have added descriptions of the Cain family. Also, we have added some art from “The Void” - the initial options at the Void’s map

As of tonight, we will be putting out information about our existing games. Some material have have already been previously published, others will be see the light for the first time. We'll be starting with the authors of Pathologic. Watch for updates.
Wait while more posts are being loaded