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Hey! Claude here.
Welcome to another Friends of the Baby—and another year! We had some amazing highs and some sticky lows in 2023, but hey, who hasn’t? In spite of it all, the Baby Train (uh..?) is going full steam ahead, and we feel fortunate to be back with so many exciting things to share.
This issue of the SBI newsletter is all about inspiration, creativity and recognition. You’ll see why in a second!
Okay let’s go let’s go!
STATE OF THE BABY
New Year’s Baby!
Happy 2024! If you simply never stop being a Baby, you get unlimited chances to win the coveted New Year’s Baby award. So sorry to all real babies, but we’re claiming it this year. Better luck next time!
Since our last newsletter, no fewer than SIX games we worked on have been released into the wild and into the hands of players everywhere. It seems like a lot, but it’s sort of a funny quirk of this industry; we’ve been working on these games’ scripts and stories in different capacities over the last three years, and then suddenly they all decide to launch at the same time. The feeling of time dilation is kinda wild to experience, to say the least, as things we worked on two months ago or two years ago are finally released. But! It’s been incredibly validating seeing audiences enjoy these stories and characters, and their collective success has really re-energized us for the future.
Quantum Phantom Basketball is the Playdate game we produced and wrote for developer BRENDA ARTS. It’s one of the most unique games we’ve ever helped make : a fighting game / basketball hybrid with aesthetics that are truly out of this world. We’re immensely proud of this one.
Shadow Gambit: The Cursed Crew is, sadly, developer Mimimi’s last game, but seriously— what a game to go out on. We helped them make protagonist Afia’s character and their cursed version of the Caribbean as authentic as possible.
The Crew: Motorfest is developer Ubisoft Ivory Tower’s third installment in The Crew series, and they reached out to us to do editing, proofreading and additional writing for the entire script of endearing characters and racers.
Battle Shapers is a blazing fast roguelike first-person shooter that combines Hades, Mega Man and Doom 2016! We fell in love with the project the moment developer Metric Empire reached out to us to ask for our help with writing their script and building their world and story. We’re still hard at work on updates towards their upcoming 1.0— whenever we’re not busy just playing it. This game is a TON of fun.
Spider-Man 2 is a game about two guys who– well, I don’t think this one needs much of an introduction. We’re just extremely proud of having been able to work with such marvelous human beings on a project that exemplifies the kind of bombastic, heartfelt storytelling AAA videogames are capable of. It’s also one of our longest-running engagements, with our work on the story spanning about three years.
And finally, the stunning Alan Wake II is the thirteen-years-in-the-making sequel to a game about a writer who gets literally and figuratively attacked by his own demons. As writers, we can relate. But all jokes aside, the opportunity to work with Remedy on Saga Anderson’s character and story was something we still can’t believe we got to do, and we’re staggered and delighted by the success the game has seen.
Oh— and if that wasn’t enough? At the Game Awards, we also announced USUAL JUNE in partnership with the amazing folks at Finji! It’s a big milestone for us to have our logo and team given top billing, and we couldn’t be more excited.
Wrapping up, it’s hard to not feel like we won’t get to experience this kind of release-rush for a long time, but I guess that’s the nature of the industry. It’s an ebb-and-flow of long periods of work, anticipation and chaos that eventually give in to short bursts of relief, celebration and triumph. For now, we’re rolling up our sleeves as we enter 2024 to tackle more fun, daring and genre-pushing stuff. The Sweet Baby team’s really been firing on all cylinders lately, and I’m so so proud of the work they’re doing.
In fact, I’m so proud of them it’s about time I finished this message and let them take over this newsletter.
It’s Monday somewhere,
dbed (COO, Sweet Baby Inc)
WHAT’S NEW AT BABY HQ
The Finji x Sweet Baby baby has been unleashed!
If there’s one thing you should take away from this newsletter, it’s that we’re very excited for this. SBI and the wildly talented team over at Finji have officially joined forces for the upcoming action-adventure game, Usual June. Imagine a game combining horror, comedy and inter-dimensional combat. Now imagine you could play that game in 2025. Exactly!
Working with Finji has been a fun, explorative, brainstorm-y and inspiring experience and we’re looking forward to bringing you more news on June and her friends (ghost and non-ghost alike) in the coming months.
The announcement trailer dropped at The Game Awards(!!) before the holidays. If you didn’t get a chance to see it, take a look here— and look over your shoulder for any errant phantoms, too:
We’re Award-Winning!
SBI is officially a TGA award-winning team! Huge congratulations to our friends and collaborators at both Remedy Entertainment and Insomniac Games for their nominations at The Game Awards, and even bigger congratulations to the Remedy team for their ‘Best Narrative’ win with Alan Wake II! We’re so proud of the narrative work we’ve done on these games, and are thankful that the larger teams are getting the recognition they deserve for their incredible efforts.
Anyway, to celebrate, here’s the cast performing live at TGAs. Please tell us you’ve seen this already. But if you haven’t, enjoy! And if you have, enjoy a second time! It’s just that good.
Come into the world of Kenzera
Our friends at Surgent Studios dropped the trailer for their upcoming action-adventure platformer, Tales of Kenzera: ZAU. We had the utmost pleasure of working with Abubakar Salim and the Surgent team on this poignant story, which has been heavily inspired and influenced by Bantu mythology. We know you’re gonna love it as much as we do.
In Tales of Kenzera: ZAU, join Zau as he journeys through the world of Kenzera to get his Baba back, joined by an unlikely companion: the God of Death.
The game is out April 23, 2024! Don’t forget to preorder or wishlist here and check out the reveal trailer below.
FIRESIDE CHAT: GAMES THAT RAISED US
Next up, we’re bringing you an exclusive roundtable discussion with some of our coolest Babies about something we all hold near and dear to our hearts: video games. Surprise!
I’m joined by Maria, Kim, Grant, and Tristan to chat about Games That Raised Us, how they aided our journey as developers, and how we feel about them today. Hopefully you’ll all enjoy this as much as I did!
Let’s get started! I want to dive right in. What’s something you played as a kid that left you feeling transformed?
Maria: For me, Final Fantasy X.
Kim: Earthbound.
Grant: Final Fantasy IV.
A second Final Fantasy!
Tristan: I’m a big fan of Legend of Zelda: Ocarina of Time.
So many greats! With such evocative games, do you see their influence showing up in your life in some way?
Grant: Definitely. I don’t think it’s inaccurate to say that Final Fantasy IV made me want to be a better person after seeing the journey Cecil went on, from Dark Knight to Paladin.
Tristan: With Zelda, it spurred my obsession with elves. But not ethereal spirit types—it was more elves who were just regular peeps. I also still love fantasy games and TTRPGs to this day.
Oh, with that said, Tristan—and this is an open question to everyone—is there a specific character in the game that you strongly identified with?
Tristan: Link. My boy is trying.
Fair.
Maria: I would say each character in Final Fantasy X’s travelling party had something about them that I could relate to. There were aspects of their personality, like humour, optimism, and stoicism, that felt real and inspirational as a kid. Also, I loved that there were a lot of female characters with a variance in personality.
Kim: In Earthbound, I think Ness. I always named the girl character (Paula) after myself, but I think I wanted to be the team leader.
That’s really telling! Seeing ourselves in characters is a big one. It seems like it allows us to put ourselves in the game in such a special way. Or, it allows us to see parts of ourselves that were hidden.
Alright, let’s talk game mechanics. What mechanics or story elements spoke to you as a kid?
Grant: I'd played a lot of RPGs before this one - Ultima, Might & Magic, Dragon Quest, The Bard's Tale, and so on. But none of them had a story like Final Fantasy IV. Having characters like Kain and Cecil show so much growth during the game, the sacrifices that other characters made so that others could survive... it really spoke to me.
Kim: I loved that Earthbound felt like a true fantasy for a kid: going out on a big, world-changing adventure with your friends, staying in hotels, buying pizza and cheeseburgers, and visiting other countries with your parents' tacit approval. The fantasy of total freedom and community support all in one.
That’s really special.
Tristan: When I think of Zelda, I think of playing with my titi. She owned an N64 and we would load it up and play together for hours into the night, switching back and forth. Working together in that safe space, figuring out puzzles, running through giant fish and finding masks and playing little tunes? I'm pretty sure it's one of the reasons I survived adolescence.
I love that the things that stuck with you were less about a mechanic and more about who you were with and how the story made you feel. Narrative really encompasses so much! Have you had the chance to play the game since? Are the feelings still the same?
Maria: Yeah! I actually replayed Final Fantasy X in 2020. A wild time to play any game—it was early-days pandemic, so the world felt on edge. But it was perfect to escape into a very nostalgic world. It was fun to revisit all the things I remember and love, but so tedious to grind for XP.
Kim: Yeah I've played Earthbound so many times and I have to say—it's a phenomenal experience every time. It was made in a year and I can't believe how rich and how deep it is for something that could have been a very basic linear RPG.
That is impressive!
Grant: Same with me. I’ve played Final Fantasy IV many times and I think it still holds up. It's a simple story, but it's executed very well, and the game is still a lot of fun to play.
And do you feel that this had a positive impact on your career as a game dev? In fact, do you think all game devs need to have a significant experience with a game in order to really understand what it’s like to create one?
Maria: Hmmm... that’s a great question. I don't think they need it but it definitely helps. Depending on your discipline, I’m told the narrative design of a game might feel backwards to you if you are coming from another industry. I think there are elements and iterations that game devs do that they can only visualize and make decisions on after knowing a foundational amount of game knowledge (aka playing a lot of games).
Grant: I think definitely not. In fact, I wouldn't say that there are any rules that should prevent someone from joining the gaming industry. It's true that I got into this business because I wanted to create grand, poignant moments like those in Final Fantasy IV, but there are enough barriers to entry in games.
Tristan: I think, more importantly, in order to stick it out in games, you need to have had a significant experience with a game. Why risk your livelihood on games? Your personal safety? Your peace? Because you love them, and you know what they can do. That comes from intimacy with this type of media, and the people who play them.
Oh, that’s a really good point, actually. Intimacy with games and media does bring about these lasting experiences that make us want to make games in the first place.
Alright, we’re at the end of our discussion. Here’s a fun question for you all: if you had to convince someone to play the game that raised you, what would you tell them?
Maria: I'd probably show them every character in Final Fantasy X and if they're into ANY one of them or multiple, it's sold itself. If not, it's a lost cause and they shouldn't play it.
That’s fair. Characters are our entry point into a story and if they don’t feel real, then…
Kim: I think I'd tell them that Earthbound is a foundational game about friendship and a foundational RPG in general, but I'd also sell them on Mr. Saturn who is this group of weird—but very nice—little creatures all named Mr. Saturn.
Grant: I’d say Final Fantasy IV is one of the most important games ever made, with one of the best soundtracks in history.
Tristan: You can beat Ocarina of Time in less than 48 hours. You can be a cute little guy who can actually solve the world's problems while wearing shorts and playing the ocarina. What more could we ask of life?
Agreed! And on that note, I want to say thank you to today’s roundtable of Babies for their time and insight. Hopefully this inspired a few of you out there to reflect on why you love the games you love. Or, at the very least, to try out one of our recommendations.
ACROSS THE INSPO-VERSE
What’s inspiring the Sweet Baby extended universe this month? Between TV, tunes, games, YouTube analyses, and nightmarish lost media… well, a lot!
JAMES: Kind of a one-two punch for me here – watching Scavengers Reign on HBO after having finished two playthroughs of Cocoon really did a number on me. Watching and experiencing how outsiders make sense of the "puzzles" of an alien world, trying to survive and hopefully escape. I'm an easy mark for "space crew in trouble" stories (Alien is my #2 movie of all time) and getting both of these in so short a time was exactly what I needed.
LOUISA: Game-wise, I've quoted Persona 4 and Persona 5 too many times in recent weeks, so it's gonna have to be those! What I like a lot about the Persona series is that it's subversive and really expands upon the daily life format without making tasks seem like a chore. Persona 5 in particular has an immense plethora of characters, but implements the Confidant system really well, so you don't feel as if hanging out with and building a relationship with your teammates is taxing or boring.
Not to mention, the soundtracks are always top tier, and are a fun, lively mix of jazz, pop, and R&B. Personally, I wouldn't have expected the Persona series to rely so heavily on this kind of musical blend, but they do a really good job and matching the tone of the music with the tone of the game!
ADANNA: I started watching "Identifying Luck: Mario Party" a video series that does a deep dive of each Mario Party to determine whether an aspect is truly "random," and it's been interesting to see how the game is designed to favor certain strategies while still being luck-based.
SEAN: Andre 3000’s new album, New Blue Sun. The rest of Andre’s discography was so formative for me, and it’s so cool to hear him trying a new sound that he’s life-alteringly passionate about in a new phase of his life. It’s also really refreshing to listen to an album that doesn’t have singles, features, deluxe editions or any other label trappings I’ve gotten use to. He’s making music with an energy. It’s so evocative.
I listen to so much hip-hop and lyric-focused music, but this album makes me feel. I don’t remember the last time I listened to an album that so effectively puts me into a relaxing mindset rather than like… picking music to suit the mood I’m in. Honestly didn’t expect to connect with it this way, but it has me wanting to play music again for fun instead of trying to get better at it.
WILL: I've been playing Mortal Sin lately, which is a very fun, very visually distinct first-person dungeon crawler that does a great job of distilling the contemplative dark fantasy vibes and limited narrative of the Souls series and dosing it out across run-based roguelike gameplay.
Otherwise, I saw the recently rediscovered pre-Mike Myers test footage for DreamWorks Animation's Shrek, and I don't think a written description can do it justice. Suffice to say, working in an industry that's as iteration-based as video games you spend a lot of time thinking about "what could have been" versions of games before changes in leadership / direction / engine / budget / etc., and I'm endlessly fascinated when we get peeks of test footage and pre-production of totemic releases from other industries.
WRITING TIPS
Let ‘Em Cook: Quick Tips For Writing Barks
Whether you’re working towards your first portfolio or several years into writing a massive open world game, there’s something about starting on a new set of barks that can often leave your mind totally empty - just dial-up noises. More often than not, when writing sneaks up on you like this, it’s isolating… how can you tell somebody you have no ideas? Ideas is like your one job! Oh no, you’re doomed, you’re a fraud, your nose hairs are burning, and so on and so forth!
The more you spiral, the harder it is to find the right way forward: that’s why I wanted to write something that feels like signposts for those who might be a bit lost. A recipe for delicious barks…
1. Prepare Your Ingredients!
The basis for a great bark is a combination of efficient information delivery and engaging extensions of voice and flavour. That’s why the best first step to writing barks is to gather everything together in front of you!
Know Your Goal!
What information are you delivering? Has a large enemy just arrived? Do you have to get to a door before the building blows? If you establish, as briefly as possible, what information you are getting across to the player, you can make sure that it’s the foundation of each bark you write. Get all the practicalities out of the way early and make more time for having fun! 😉
Know Your Keywords!
In most games, there are a few language choices that are kept as consistent as possible for ease of understanding. It’s a good idea to establish what those words are before you begin, whether that means deciding them yourself or asking your team. These might be words used to describe teammates, enemies, or the planet you’re on! If you have this vocabulary to hand, it will not only provide you with the right words to use, but also help you to grasp the world you’re working within, and set some points of reference for fun things like wordplay: you’ve got to learn the rules in order to break them!
Know Your Character Voice!
Whenever you write a character you should try and understand the things that drive them, and give consideration to how you’re constructing their voice both practically and emotionally. You don’t need me to tell you that! But it is easy to slip in and out of a voice, to lose a voice, or to let your memory of it get a bit foggy with time. It’s helpful to have a few sampler lines on hand if you can, in a range of emotions and contexts, and pay attention to any noticeable specificities of vocabulary, line length, or subject that might define the voice you’re adding to.
Know Your Relationships!
Make sure you consider each bark as something being said to somebody! It’s important to keep in mind who your character is, who they’re speaking to, and what that dynamic sounds like. Other factors are important here too, like how that dynamic would play out within the emotional context of the moment, or how the other people around your character might impact their usual voice.
2. Preheat The Oven!
Now you’ve got all that context stewing in your head, you might feel some inspiration bubbling over! It’s time to find a non-regimented space to throw some ideas around. I’m a big fan of a whiteboard, or a blank page and some multicoloured pens. The important thing to focus on here is not getting caught up on full sentences or finished lines that might snap you out of the creative flow.
There’s no hard and fast rule for what makes it into the ideas pot. It might be idiomatic ways to relay the key info, fun imagery that connects your character and the context, even just a word that feels right - just keep roasting ‘til those juices run clear!
3. Let’s Cook!
You’re finally prepped and preheated and it’s time to get to it… but just as you wouldn’t drop a steak into a bare pan, don’t try to write into a blank document! Let’s butter it up first!
Setting Up Your Document!
Start your document by creating ‘empty slots’ for your barks to be written into - one slot per bark. I usually like to mark mine with an ‘X’! This helps you to see at a glance what needs to be done.
Above those empty slots, draw from all your step one prep work to write a very short task brief that’ll keep you focused on the information you’re trying to deliver. It’s actually pretty good practice in itself to try and get these as short as possible - you’re going to need to get good at condensing these ideas, you know!
Finally (and very optional, but extremely helpful) you can throw your voice sample lines anywhere in the document! You’re going to delete them before finishing these barks anyway, but in the meantime they can serve as a good visual guide for the character’s average line length / sentence structure / frequency of word emphasis.
By now you’ve got a fairly structured document, a thorough knowledge of the narrative context you’re writing to, and a bagful of ideas to apply to them! Which is exactly what comes next!
When you return to your ideas page, pick one that you’re really excited about - you should hopefully have a handful of those - and take it into one of your empty slots. Now’s the time to give it all that thought you skipped over earlier: ask yourself how it can deliver the key information, whether it incorporates those key words, what it’s adding to your character’s voice and depth. As a bark emerges, start to consider its length (shorter is usually better), and how it sounds when spoken aloud. You might have to do a terrible character impression for this part… just go with it.
Another thing to bear in mind is the lines’ memorability: with a bark, you do want something flavourful and entertaining, but you also want to ensure that a player can hear it many times over without those replays sticking out awkwardly. Save those striking verbal silhouettes for lines that’ll play only once or twice!
Once you’ve got something that feels like a cohesive blend of purpose and character that you’re feeling proud of, leave it be and head back to your big bag of ideas to start something new! You’re doing it! You’re not just writing barks! You’re writing barks that are rich, informed and add something to the world they exist in!
FRIEND OF THE BABY INTERVIEW
SBI x Adam Saltsman, Finji
In-keeping with the Usual June hype train, we have a fun exclusive prepared just for you! Our very own Camerin sat down with Finji’s creative director, Adam Saltsman—who co-founded the studio with CEO, Bekah Saltsman—to chat about engaging with the games industry long-term and words of advice for newer devs. Enjoy!
Camerin: For a start, what does it look like when you select an idea? How do you know when one of the millions of good ideas that you have is worth testing out in a game?
Adam Saltsman: Golly, having a million good ideas would be amazing. There's a couple of things that I end up looking for in terms of what do we put here? How do we fill in this space? What kind of things should the player be able to do here?
One good rule of thumb is one of these, like, classic Nintendo, Shigeru Miyamoto type rules. It's essentially: most things you put in should ideally solve more than one problem. You want a minimum of two birds with one stone, preferably like 7 to 13 birds with one stone. You want a real multi bird situation. One bird for one stone is not break even—that is a loss. The stone makes such a big mess of everything else no matter how hard you try or how careful you are.
The nuts and bolts of it looks a lot like writing things down so that you can look at them side by side. Sometimes doing like little thumbnails or in-engine mockups. If I put the camera here and I arrange things, take a screenshot, put it to the side, do another one...What if these are here and the camera's here? Take another screenshot, put it to the side. Oh, that's helped me see a quality or a nuance that I didn't appreciate before.
I think the validation thing is really just keeping in mind that every time you add something to a game, it is complicated and expensive. And so you really do want it to create opportunities for everybody working on the game and you want it to create opportunities for the player.
So, yeah, minimum two birds with one stone. But you can get your birds from so many places.
C: I mean, you have to have some sense of where you want to go, how do you get a sense for that?
AS: So one thing that all of my approaches have in common is the idea of having an axe to grind. On bigger projects, that's often an axe to grind about approachability in a genre that I am really, really fond of, but I feel like it's hard for people to get into if they don't have the same amount of fluency or literacy in that gameplay space. Like, what could we do to bring people into a cool space that they might not have been allowed to go into before? What does it look like to make games that have characters or stories or locations that haven't really existed in a video game before? That's really exciting to me
Sometimes it's spite, basically. But in a really specific way. Or disappointment. I'll build up some other game in my mind and then I'll finally play it and be like, this isn't what I was imagining at all. And then I kind of feel like I should try to make something that does feel like what I was imagining because what I was imagining was really cool. Usually that means finding out that the thing I thought I could do better is actually really, really complicated and nuanced and tricky, but still a fun thing to chew on, I think.
Sometimes it's just feeling like there's something missing. A sense that there's something that hasn't been made that deserves making and that I think suits us. There's thinking about there being room in those projects for the people who are working on them. That's a tricky thing, but a thing that's really cool to figure out.
Over summer vacation I made up a little solitaire game because I like solitaire card games. I like the concept of them, but I don't like playing almost any of them for a wide variety of reasons. So I sat down and tried to design a Solitaire game that me and my kids would think was fun to play. Me and the kiddos played it and then checked online and, yeah, it's not a thing--this doesn't exist--this is an unscratched itch.
I think there's a lot of people saying you know, "whatever you do don't reinvent the wheel, that'd be a big waste of time." But...there's like a lot of wheels that we didn't invent yet that are really cool.
C: Yeah, how do you sustain that kind of effort and curiosity for yourself? And do you have any lessons you pass on to newer folks?
AS: I think the drum that we're always beating when we're talking to people about career and about getting into games is about figuring out how to do it for as long as you can. That's important for a lot of reasons and one of them is that most parts of game-making are really complicated and really interconnected with a lot of different disciplines. It takes a long time to realize how much you need to understand about those other disciplines in order to meaningfully direct or to communicate or to cooperate with artists and designers and technicians and programmers. Like most disciplines, it takes a while to get really good
And you know, most commercial art work opportunities are rough. Freelancing is rough. Trying to buy food on artists' wages is really challenging. Even if you're a computer programmer, you're probably gonna get paid more in some industry that's not game-making. And we've got a lot of pretty toxic, insular leadership, and exploitation problems, and all of these things stack up into a higher friction environment than people expect.
To me, if people want to reach their goals and design their own game with a team or make a game that they've always dreamed of--whatever that thing is--that's a long term undertaking and a long term undertaking becomes very immediately about, like, well, how do you avoid burnout as much as possible? How do you--to a degree pace yourself? What does it look like to arrange the parts of your life that you do have control over in such a way that you can start to approach this career as a long term goal?
There's not a lot in the game industry that is oriented around longevity and around sustainability. The more people bring that themselves or do what they can to introduce that, the better their chances are of reaching those lofty goals. And I want them to. I'm so ready for new people to be driving the thing around and saying new things. That would be so good.
C: You're still at it, still around! What were some things that you found worked well enough to keep you going in the beginning?
AS: The one cool trick that I used to stick around for long enough, I think, is not super different from a lot of other people in a position like mine, which is: it's great if you start out with a spouse or partner who has health insurance and a bit of a steady salary to stabilize your household while you do something that is really, really inherently unstable.
The other thing that I did that I still think was really, really the right thing to do was to build up a freelance client list that allowed me to do very game-like work, game-like programming, problem solving design, et cetera, et cetera, but outside of the game industry proper. Working in medicine and advertising and other fields--not because the game industry is unethical and those fields are more ethical--but I felt like the work that I was doing was just so much more appreciated there financially and otherwise. I know I'm not alone in that career path.
Right out of college, I was like, "I gotta be in the game industry!" and then EA Spouse happened and a bunch of other things, and I changed my mind, like, "I wanna make games, I think, I actually really don't want to be in the game industry. That doesn't seem like a good way to do this thing that I love so much."
So I built a separate thing. And I think people feel like that's not legitimate or that they want a real job working on a real game or whatever. But for me, it really has often felt like, well, I could do that and be miserable or I could do something else and actually enjoy myself and grow as an artist.
And so if you get into a part of the game industry where you're not happy and you don't see how to get to a place where you're going to be happy with your art, then finding something that lets you pay the bills and pursue your art in a way that is not as harmful, I think is the most legitimate thing that you can do as a mortal human. That's the best!
C: Thanks, Adam!
AS: Yeah, of course.
That’s it, that’s all!
Once again, thanks for rocking with us and a huuuuge thanks to all the Babies who contributed to this issue! Before we close, though, I did want to address something. You may have heard a few rumours and conspiracies about us, but I, Claude, wanted to clear the air: No, I am NOT 16 babies in a trenchcoat. I am one (1) baby mascot, on a website. Hope that helps!
Anyhow, see you soon and don’t be a stranger! If you have anything you think the Babies can help with, you can get in touch at sweetbabyinc.com!
-Claude
