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#hes ugly and i dont care 4 under tale
themesozoicsperm · 5 years
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Another 5 underrated Halloweeny cartoons
Last year I make post like this about 5 very obscure spooky cartoons that needed more love. This time Im gonna talk about some cartoons that are quite known but could also be more popular. As I said last year, if like me, you wanna watch every cartoon in existence, here are some 5 underrated cartoon series to watch in halloween.
1) The Real Ghostbusters
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This one was actually one of the most popular things back in the day, and to this day you may find some remains of its once huge fandom lurking on the Internet, but the idea of this post is to make new people interested in it, specially young ones.
As you may know, most 80s cartoons were practically long commercials for selling toys and this was no exception, HOWEVER, the execution here was so great you easily forget it. Sure it was quite cheesy at times and the script got worst past the first couple seasons (this because some of the best writers quit after some pretty terrible and misogynist decisions the producers made), but trust me, the main reason to watch this is because it was WACKY as hell. Some scenes really catch you off guard, you don’t expect a lot of things to happen, either because the writers were master minds... or they just didn’t care and wrote the first thing that came to their minds.
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And then, there is also the ghost designs. Just look at those things in the image above! What the hell are those supposed to be? the ghost of aliens? They dont look like death people at all! There are so many good ideas in this show that are incredibly inspiring, specially if you like to design creatures like me. And the animation for its time was pretty cool too!
I would also recomend the sequel show, Extreme Ghostbusters, which was a pretty good follow-up and also counts with wacky creatures designed by the amazing Fil Barlow!
2) Aaahh!!! Real Monsters
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Another one that was pretty popular back in the day, basically Nickelodeon’s gold mine along Rugrats and Ren & Stimpy. This one also had a lot of incredible monster designs so full of personality and an incredible voice cast that goes from Charlie Adler to Tim Curry himself. At least for me this show seriously did better work recreating “monsters as a kid would imagine” than Monsters Inc or Foster’s Home for Imaginary Friends.
The Gromble specially steals the show with its Dr. Frank-N-Furter-like personality, every single of his lines could be your seniour quote. Really so much thought in these creatures, making multiple gags about their appearances or abilities, rather than just being randomly designed monsters.
Is kinda sad that modern shows wouldn’t try an artstyle like this, specially because people nowadays would label it as “too ugly”.
3) Garakuta or Mr. Stain on Junk Alley
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A pretty obscure one! Shall have probaly saved it for another list? Anyway, a lot of you may know Popee the Perfomer, a creepy cartoon by Ryuji Masuda that usually makes into “topz 10 mast disturbenz car2ns lol”, and it was indeed pretty unsettling. But before that one Mr Masuda make other interesting cgi projects that really deserve some recognition too.
One of those was Garakuta (also know as Mr Stain on Junk Alley), and used to air on Adult Swim (at least where I live >:( ). It consisted in short 10-minute episodes about a hobbo living an alley full of garbage as well as a lot of creepy crawlers. It may wasn’t really “halloweeny” or “spooky”, but at least half of the episodes revolved around scary stuff and creatures, but somehow always fnishing in a funny gag or almost ghilbi-like tear jerking ending. The uncanny 2000s cgi just adds to the creepy factor, aswell as being a silent show with no dialogue at all adds to the “classic fairy tale” feel.
I do actually consider this one an anime since is totally japanese ^^.
4) Making Fiends
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Oh god! one of the saddest ones! And not because of the show itself but because of the story of its production. Basically, this one started as a series of internet shorts by Amy Winfrey on early 2000s, you know, the time for internet stuff like this (ie: Salad Fingers). Nickelodeon noticed it was kinda popular so decided to buy the rights to young and inexperienced Amy and make a full series. It sadly didn’t do well enough, and as is law on Nick: if its not a inmediate sucess... them cancel it and replace it for more crappy sitcoms or moar Spongebob. Poor Amy was left alone with no work and not being able to make more Making Fiends on Internet since the rights didn’t belonged to her anymore.
The premise is basically what the title or theme song tells you: a Mandy-like girl called Vendetta has a whole city scared under her control, she has the ability to make creatures that follow her orders and like to terrorize the citizens, but then another girl called Charlotte came, with a totally opposite personality to Vendetta she tries to be everybody’s friend, and of course, worlds collide! Unlike other shows of this kind, Charlotte doesn’t try to make Vendetta a “good” person, she is just being herself while Vendetta is also being herself, 2 different queens wanting to rule their world in 2 different ways.
At least the show kinda generated a little cult following with time!
5) Warau Salesman
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I already talked about one anime here so lets talk about another! Literally meaning “The Laughing Salesman”, this show got a little more popular this year after some review on youtube came sometime ago. However, IT CAN BE MORE POPULAR RIGHT!???
As practically every other show on the list, this one is also episodic, which is kinda weird for an anime, isn’t it? It just doesn’t tell a continuous story, is more like... gotta quote that one review... The Twilight Zone, every episode we know about some random person who wants something in life, till sometime its complaints are heard by this humble gentleman called Moguro Fukuzou, who promises to solve all his/her problems free of charge!!! Just... do exactly what he says, really...
We really never know what’s the deal with this guy, the main attraction, the show itself, is he a demon? just a horrible person? what are his ambitions? is he actually evil or just like to do awful pranks?
This show actually actually got a decent remake recently! but didn’t do good since an anime that is not about school teenagers with superpowers is not profitable these days.
PS: this is one of those anime that I would actually consider “adult” since most of its episodes revolve the adult working life, alcoholism, money, taxes and how hard the life of the average japanese businessman is.
Let’s finish with a bonus of some specials mentions that also deserve a watch, may talk about some of these shows in the future!
Martin Mystery, The Drac Pac, Gravedale High, Mr Meaty (mostly gross and unsettling than spooky), Monster Farm, Toonsylvania, Hilda, Victor and Valentino, The Funky Phantom, Legend Quest, Creepy Crawlies (1987), Gegege no Kitaro and of course YOUR SUGGESTION HERE and the Moomins, yeah THE MOOMINS, because 1) is not really underrated, became pretty popular again this year after the new series premiered and 2) While most tumble talks about how the 90s show was pretty cute and how gay Snufka and Moo-man were and all that...
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the show itself wasn’t always cute...
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youngjustices · 7 years
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Jason Todd, Roy Harper, and Kon. n.n
Jason Todd
1: sexuality headcanon: JASON TODD IS NOT STRAIGHT HE IS NOT NOT STRAIGHT!!!! i think it would make a lot more sense if he was bi
2: otp: jayroy! its just,,,the most pure
3: brotp: him and like,, alll his siblings. 
4: notp: him with any of his brothers U DON’T NEED TO BE RELATED BY BLOOD TO BE FAMILY!!!!
5: first headcanon that pops into my head: he has a soft spot for damian for some reason. he knows damian can damn well protect himself its just he just really doesnt want him to get hurt (i dont care if comics tell an opposing tale alright jus let me poor soul have hcs)
6: one way in which I relate to this character: i love death jokes i want to be constantly dead
7: thing that gives me second hand embarrassment about this character: this will sound weird but like when he gets beaten up by his brothers? does that make sense? i just love him and want him to knock everyone out tbh8: cinnamon roll or problematic fave? problematic fave (who woulda thunk)
ill do the rest under the cut!
send me a character and i’ll tell you this:
Roy Harper
1: sexuality headcanon: i’m using the comics!roy so i’m gonna say bi, but yj!roy is probably cheshroy
2: otp: jayroy, as mentioned before :) but yj!roy is probably cheshroy
3: brotp: him and starfire just ya know, are such bros
4: notp: him and starfire i’m sorry but when they just get together i dont see it 
5: first headcanon that pops into my head:  im v bad at headcannons and all of mine just involve lian 
6: one way in which I relate to this character: i, too, am salty af 24/7. everyone knows me as the really salty one 
7: thing that gives me second hand embarrassment about this character: THE LONG UGLY HAIR JEEZ I LIKE THE SHORTER HAIR BETTER8: cinnamon roll or problematic fave?: just depends on whos writing him tbh and there’s always uncertain fluxuation???
Kon
1: sexuality headcanon: it would usually be straight but in the n52 teen titans i see pan
2: otp: i dont have one for him 
3: brotp: i know many people see it as an otp which is fine but timkon
4: notp: for yj!kon its probably supermartian
5: first headcanon that pops into my head: he has killer fashion sense alright let him be have u seen his original outfit? amazin
6: one way in which I relate to this character: as to yj!kon i love bein angry
7: thing that gives me second hand embarrassment about this character: *flashbacks to the first young justice comic series*8: cinnamon roll or problematic fave? cinnamon roll no matter what u say
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symbianosgames · 7 years
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The good news about virtual reality: It's a fresh new medium, and you can break new ground in your game design from day one. The bad news about virtual reality: you're just as liable to break your game as you are to break new ground. 
For developers looking to avoid the former on the way to the latter, we checked in with VR developers Paul Bettner of Playful Corporation, James Green of Carbon Games Inc, Dan Junger and Joel Green of Cloudhead Games, and Patt Harris of Minority Media, all to give you some best practices for bringing your audience into your digital worlds.
To kick things off, Playful Corporation CEO Paul Bettner, whose game Lucky’s Tale is being published by Oculus as a launch title, advises developers to adopt an open-ended mindset when tackling problems in VR. “When you start prototyping in VR and your idea doesn’t immediately work just right, you can quickly either commit to bad ideas, or abandon the project entirely,” he says.
“We found that if we put our baggage aside, and play with scale, lighting, look, and graphics, we can find something new that works well in VR that we could have never built for traditional TV monitors."
As one of the first games experimenting with third person cameras in VR to recreate the mascot 3D platformer, Bettner says he applied his own advice. “This is where scale comes in. If I tell an artist to make a character like Mario of Super Mario 64, they give me a character that’s 1.5 units high. That’s how our hero, Lucky, came out in the beginning.” 
Bettner laughs at the result of that decision. “Put on the headset though, and it turns out none of us think Mario is this big---he’s as tall as a person, when he should be as tall as a water bottle.”
The fix was to downsize Lucky and consistently position him such that it it felt like he was approximately an arm’s length away from the player, creating kind of a toybox effect as though the player were moving Lucky across a diorama. “This spilled out into how we designed our art assets," he says. "If we take our original high poly assets, put those in the game with no texture maps at all, that feels so much better than with texture maps.”
Carbon Games’ James Green agrees with the notion of throwing out texture maps and specular, even if he’s inclined to suggest low-poly assets instead of high ones. “You don’t want to use too many old tricks. Things like specular, texture mapping, bump mapping, they don’t work well in VR because you can’t render them stereoscopically. We use hand-painted textures to help hone in on our tabletop aesthetic. So don’t waste your time with normal maps, add a few polygons if you really need to pick up the edge somewhere.” 
Green’s other big challenge in translating Airmech to Airmech VR from the ground up has been UI design. “The biggest lesson I’ve learned is keep it simple,” says Green. “You can’t just draw text on screen anymore like you used to be able to."
He recommends that you take advantage of that other kind of peripheral--peripheral vision. "One of the things we do is have supplemental menus come up at the side of your view, so you see it at the corner of your eye.”:
“We don’t throw it in the player’s face, because we wanted to take advantage of natural behaviors, like how you might react if I came up and tapped you on the shoulder. I wouldn’t jump in your face, I’d try to get your attention, so you could choose whether to deal with me, or the car you’re about to step into the street.” 
Also dealing with special menu and UI challenges is Pat Harris, working on Minority Media’s Time Machine VR. Along with reiterating the crosshair failure story he told at Oculus Connect, Harris specified a need to source them to some kind of physical UI the character interacts with as well as the player. “In VR there is no corner of the screen to place those menus or other UI bits on, so locking any floating orientation can be disorienting.”
The result for him is the time capsule that the player floats around in while journeying underwater. If you choose to mimic this model, just get ready to deal with the challenges of text sizes---Harris says higher resolution VR devices will help fix this, but if text shows up more than 20-30 feet away from the player, it won’t be immediately readable. 
Motion sickness in a platformer on high seas is bad enough. Harris thinks motion sickness while underwater sucks even worse. With Time Machine VR, Harris says choosing a setting to match their movement goals helped them find reasonable physical movement to ease players into VR with. Harris says, “We wanted to make sure we had smooth movement that didn’t make people sick, so moving the player around in the cockpit of an underwater time machine let us create motion that wasn’t at risk of being jerky or strainful.”
Harris echoes James Chung’s VR observations about needing to keep the game running around 90 frames per second. He adds that special care is needed here because latency or performance jitters of any kind at this frame rate have triggered motion sickness for Harris’ testers, and he’s noticed once that sickness starts, it doesn’t taper off until they take off the VR device remains on their head. 
If you’re working on the HTC Vive, or any other VR platform encouraging physical player movement with external cameras, motion sickness is going to be a problem there too. You also have to watch out for vection--when another object's motion gives you the illusion that you're moving. (Imagine sitting in a train that isn't moving, and the sight of another train passing on another track gives you the sense that the train you are in is moving.)
Creative director Dan Junger and producer Joel Green at Cloudhead Games just made a big decision to kill vection and artificial acceleration at all costs on The Gallery: Call of the Starseed. “Rotational vection is just terrible," says Junger. "Before we were on the Vive and using traditional controllers, we tried making a ‘VR comfort mode,’ to reduce what happens when you turn the camera with the right stick."
Once they got on the Vive, dealing with the 90 frames per second required on the device demanded they just throw all artificial acceleration out the window. The Gallery uses the Vive’s artificial volume the digital volume created by the Vive’s physical cameras that let players walk around and view environments from multiple angles, then introduces other techniques that began to evolve their whole design plan for the game. 
Leaving the struggles of motion sickness under the high seas, Junger and Green explain new ways to think about navigating large spaces in VR using HTC Vive. For them, the Vive’s biggest design challenges aren’t necessarily in the touch controllers, they’re in the aforementioned artificial volume. 
Junger says even though this platform adds realistic player movement, it reduces how far they can walk in your game world before hitting a real wall or the natural edge of the roomscale. Green gets excited though, when explaining that developers can jump over this hurdle by reaching back to classic games and their limitations. For them, the navigation answer lay in Myst.
“Myst was one of the tonal inspirations for the game,” says Junger. “We looked to it again to solve the locomotion challenge by teaching players to teleport from roomscale to roomscale with the press of a button.” Much like Myst’s pre-loaded rooms that players click, a flick of the big left button on the HTC Vive controller gently teleports the player from where they’re standing to where they’re looking. 
This solves a big navigation problem for games designed around the HTC Vive, and lets Junger and Green create a slower experience to let players poke around their mystery-driven story game. Of course, once you decide to let players poke around, you need to check your environments to see if you’ve accounted for everything they’ll want to interact with. “There’s a real sense in VR when people find the light in the smallest things,” says Green. 
Junger adds, “for that kind of design, plan to spend a lot of development time accounting for everything players expect to happen when they grab something.” 
It’s something Harris deals with on Time Machine VR as well, and mentions this kind of design will struggle with your need to maintain 90FPS. “The player can get close with almost every element in the game,” he says, “so you can’t cheap out. If things get blurry and ugly, it breaks immersion, and that’s tough to balance against 90 FPS performance.” 
For all the solutions developers have discussed for dealing with VR, James Green points out that no matter what kind of project you tackle, you’re going to have Everest-sized challenges. So no matter how your arm yourself, he just generally advises you be very specific with your goals. “I’m not saying ‘take the easy way out,’ I’m saying ‘choose which hard problems you want to solve. Is it making the game, or is it solving VR challenges no one’s solved yet?’
“You’ll be a hero if you do the latter,” he says with a chuckle
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Text
RACE YOU TO THE END
(Page 2) 
RACE YOU TO THE END.
Zap fluid
Tattooied
Cape
Escapalar
Just come round
[]
Feliceline
Certitude
(Page 3)
I was not over there and I am home, to think of lying
Writing.
All is bare.
Here no change or clean for weeks, ashamed
Of my death drinking, no bush beating futilise meeting
To save life, when the lollipop Ludy is in more of a
Perils a swinger than the shore.
I stand up for the lost and the lonely.
Listen to not be lonely when
Lost, it can comfort, and it
Can provide love lost.
But not console in.
I feel sick. Everyone is thinking
Why does this bloke not just fuck off.
Like that treacle moose
Banger stranger
Hanging on tight
With the compose
Closed.
Doing it again
I must want to go.
I'm tired.
Piss-take
Masquerade.
In the night there's a star
Spaces few and far
And shining in the light.
Lean across the sky.
My demon.
The exile
Why be so superficial,
Ask how human unbecomes
Kings to see trees
Branch-leaf, clouds
All against togetherness
Why where I want now.
Uni-disconcern.
Fuck Fuck (sake) so easily ignored
If moodily read even this (excuse arrogant GH)
Elexus flunk grab town
And haunt demonic rumours
Above dusty old worlds
Listen to me all toward
A life that I can
(Page 4)
Afford.
A suck shock tight cock sick every night.
(Page 5) 
Mincy fincey partwork and Mrs Rante can I go in your ship or)
lit a roll ran out of fags, got some killer so timeless litters the sense
or says courage is asking what am I doing here. Cushion, plate, lighter, fuel,
crackles in Gaza lesser morgue the radio queen again submit to have to make
critical list of the unwell and rubbish straight in at once. Mungo, Mary, Midge
more to confused be and more sensitive to refuse to the purpose of a man is to
love his woman and the purpose ofr a woman is to love her man. Agreeable
countenance is illustrious disasters in decision.
This year of suspenders, a garter, used up protection to be this
repulsed by day and night must have taken some slavish design. You are
not a cause, it causes you and are have the wreckage zoomed across the waves
I miss it but am aware of the foul consequence.
In their faces, voices, a caution of a tale I tell young pretty as ever be
lipstick, heels, Mick oni and heroin. rqbble with the rabble. Jim'll fix it
and he did twenty one and gone to be a celebrity in deadland auntie certain
suspects Alexkiss cross end round and round and aint royalty by lay or andalooseya
When care abundance greed vantage stealer, other things that life'll
kill ya.
No bones about its drug addict is the admiral compass conflict the original
all day sunday echoes, why are we not here with them. Dont even start
me on Monday in the case of inconsequence you find that guilt in a delay
a negligée one say one two many looks too true you toot, chop chop!
secret agent codename I am on story's of buses gloves cutlass tunnels disbelief
what was more was a glimpse of January 2010 its laast week, the premise
delerious. Then I always find out they dont understand about. Yet there is one
that can and it three times shade the Monday's mood. From anywhere in
the world sky, sea, earth fast as real.
that inception had a just thing for memo wolfe death
is in when you can't get out and you can fight I don't know what
happens if you give up in that place. Give up to get there Fuck that I
cant make a report. So everyone fuck off, death guaranteed.
 (Page 6)
A suck shock tight cock sick every night.
How much.
I really wonder. For.
you and there's me.
Chicoola
Ngichlela ngo tando
Niacula Kelengi lungu
Nthando luyaboga
Jikele Kulombluba wethu
 Left at that now
shall I cash in on my memories
I decided to a long time ago. ago
that is why
I have lived in a style
arty nemo starts from how I
where I, what I, it and so,
and then all the more, unbrace, trance
Tracy, then after the dance has gone.
Accordian go gringo, hombre, Bruv, Geez,
Thingy, An all that, if you are
Cark from Kryptonyour name sir cant even
even. greese fifteen, cobra car, the
blind eveal to fits of secret nits must be
another sight.
Fate Bastard, orphan or vicious chance, lapse cruise.
 The use of alcohol and drugs
or the bond of lovebound for the coast
of the last moment if you can realise. When
that was
Grand and the deathspear is
someaside!
Tapdance to this struggle
lift from that desperate to the beauty
of course its ageless
I am in disgrace.
Still live with truth
No breaks in the sequence, I want
to accept my apologies
Nuck For you!
 (Page 8)
What a widow handgun, see it repeat giveback. To charity that blaze
is only for teen, age is a ripped up early photograph of
Charles Pierre, guess I guess, Decisions and Banished bloodshot
eyes in fights and then what smoking and ravy swallow that
cheap old gravy. Fight for what you don't know about, don't
happen no more. Its a knockout.
No lost come there- where is that if you are in,
sight do trades in, panic and solving convertthat art that ain't it.
Grease the rope stake therfor who needs rejection,
this life is straight up gone, where
no-one knows.
The howl, evil flowers athe edge
A phony pinch on charles that said ham.sick of then, that.Confusion is the wisdom
we generally offer children to study.
You fucking fucker horrid arseholes.someone can have a say.
I'm well into my friend changing them.
Try to show off with a galloping Gee-Whizz.A musical say, say,
is interest cool, warm or
boiling hot, I dare to say that I do not
give up, on friends, loves, legends
scupper the timbre, class is out, in
Broke and scuppered and bucketing.
Under and in.
In a cruise age
glue, blew
it hurt the one armed
Bandit. Toby Chang.
Must be listening to
Someone watching Resevoir Dogs
No disrespect,
but what a fucking lot of shoot
this piece of shit and cough
up some green
vocabulary.
 While I mean wayany rector
you cheap steal of a catapilla
what! slugs and slugs
The purpose of a man is to love his woman
And the purpose of a woman is to love her man
[IAM DYEING]
 (Page 9)
I have made the grievous mistake
of thought that blazoned paper
is my answer.
What - keep control, do not
Fuck yourself, even that you become
sure its my fault. Come be, what
is the sunrise, the moon fades,
The seas do not rise no
speck smashes this earth into
not being cool.
The odds on that.
If you did not understand
a speck of dust, A incalculable
as has the size never been thought.
At more millions of miles per second,
lets just say it was half. Tell me, I told you
They said I can't help it.
Just by chance
They went to the neighbourhood dance
to be all young and lady
lary is ugly, used, old.
Lary is funny to avoid
as long as you do.
Assault Pike, giraffe.
\Cohorts, dolce vita
Downtown screwed on a bench
piping, people passing
Blinding.
Cancell the too nervous assassin
Ten Silk Cut on the way back.
Although
Lucky Strike
might
do the trick.
 (Page 10)
A fight with death.
The first that I remember, I will describe as
Being paralysed .. in a dark room a floor down from where
I should be calling for help and [moirne] cowing for
A long time. I was scared angry and would have given
Anything that I did not have for someone to lift me
Out of there. More than a day in intense discomfort and
Despair – why could I not get out of there.
WORLD NEWS new years eve 2010 – The murder of a
Beautiful young girl early twenties. Strangled and dumped.
Against that nothing really abates my, and sure I,
Evidence of disbelieve, then more killing and rape
Around the world, floods, and sadness. But it’s
Alright they played games with balls without balls.
Oh how fucking sick am I. *
Cannot one take the hint –
Novice – The trajectory of this existence.
FUCKED.
Well and true. Could be any day now. We are
A race about to cross the line. Chequered flag
And past.
Why wait.
No excuses
Forgiveness
Un.
Calm as far too far and far too later
Than warned. Hamas up.
Black magic while if you can even
Rival a home of monstrous
Symbols. I’ll watch that
Filthy canal and waited. Gonna
Be cathartic. Cure abandoned by
It is my weight and Peter my
Mine how it justices. You
Did bring catastrophe. And I
Do not know fucking fuck cunting
Why. Eccentric Rakcer silence
Changes [burne]. You will be aware
Of the tidal magic. You careless
Chucked and kalashnikoved my world.
If I am mad kill me.
 Suicidal unhappiness desperate yes OK and misfortune then since ever cat as trophy
kerchief
  (Page 11)
I KONFRONTED THE ACCUSED WITH MY GAZE AGAINST ALL THE WORLD WILD MANIAC.
OLD GIT, UNFIT.
And very well
At illness
COUNTER
(drawing)
  (Page 12)
CRAP CHAPTER TALKING SHIT
 TO ALWE and of all the emotions more bold than have ever before
fought like fuck to hold on and for my life as close as the
dead of night when you wake up alone silence scary
how to feel as nearest and sick and ask your destruction
to take hold and answer bleak grim and cruelly shake
eyes on a ceiling nowhere to look. Cold no money
police addition regret cripple. Wait. A while hurt will
be fresh being prolific adulterer if hurt with
others in contortion.hurt with this time that one
Always a push toward the courage I want.
To show away is still here and was always
anyhow.
Nonsense is there. In every window street
sky person screen communication, words the whole
shebang.
If it were not for one other. And he
knows. I could be that I am not sure.
Unsure could come enough times to be so.
To be some authority or disappointment. My failures
are described as spectacular.. Thing is I like that kind of idiot.
Aspire to Olympianic hero. set
sail.Tell a beautiful story. music to
live to.
Or sit hunched, abusing poison corrupt and pollute every part of me and the time
I strangle - continue to demonstrate with
expertise being an arsehole.
The swagger staggering of the non-one-hit.
blunder.
"But he's really talented" - fuck off.
or we can shoot acid, crack heroin
have pills valium ecstasy any fucking thing there is,
drink a couple of bottles of cheap vodka
But, smoke some weed and chill.
A smashing day in, in your your flea infested
forget not to eat anything. Fortnight of
that and if the magic carpet carpet can't come.
This time will be that and that's that.
you fucking moron, moron me not any other moron.
Brief description as I am vain. Maloderous
skeletal schock of distress. Continual vomiting - flem
machine. That which I consider sane and joining in
daily or night time actions - discussions etc,
others, in fact everyone I have a contact with
considers repulsive anti-social and go as far
as to mention a kind of insanity that as
far as to be concerned could be the secret
agents of one or another afterlife.
Confirmed
when claims of previous acts so peculiar and
that I have no memory or hint of recognition
of their look name or outlandish tales. All
leads me to stick to my layout of events
Years are a confusion. And I can defend
my slight lapses of memory to age and
very hard and stressful work.
I can remember a couple of things, but live
in the moment, then the next one. Why care
making effort to memorise when you are getting on with it?
   (Page 13)
Lets get at it from the pink panter pantin pink
My krum[] Im dark I be like
Wight. [] Bachs harmonys if I
Am mistaken the nature of Nienval Here
Together ever aware surier is that puer
At you + AVE, T, Geronimo fact old
Compassion I met romance I got love on me looking
out how can [] to be lured is all. Without
call imagined I love and be loved I laugh I
[]
Is to have all fear disappear the worry
The shape of the world and to be that
Hard cumid like no not love to know who
Woman is because then I could really be
The wall spreed brokos would put thain
Shirt on it. No exchange can bargain
In every gang in misunderstanding of the word
Blame mistrust
And they assumed me that I
Am a multimillionaire but they were that
Empty armchair.
Still, but that’s all aside you could try
To convince me that I have a Saturday
Night fever and the man with a golden gun is a kaleidoscope of
Gens looking at me was violin
Music.
I must amount a charge
Cut my path the say shit
Fluid.
Lattrapid yet reputed, for
Skullduggery, not lit but well
Bugger me
The eraze the age of
Me.
Curiosity
Egyptian in a gunpowder
What’s to say
Then was ever
And no invention.
  (Page 14)
And I have to stay alive. The most simple,
Can even enjoy. For me this is a day to day I don’t
Want to. I’m not to write here about. I’m afraid
Sad .. to be called Frank or Ernie or just a drunk
Heroin crackhead. Delight hard open wicket there,
Balls remain. I gonna run. Or I ran. The rent
Run risk rough ripped rhode Londron, relic, rash
Rubbish.
I am glad to say I am as ill today as ever
Has before. Quite accomplished solutions intrude the
Bloodstream. Crooks and nanny aside I would not
Abide to fee fy falsify in certain terms, there is not
Motivation or need, my reputation a guarantee. Worth
Both make and believe.
And icy reflection patterns this room
In a late early new year blank laziness for
Uniform.
The where I have not the, exactly
Is what I cannot say. I would sleep fortune.
A life away .. Dishonesty weakly needless
Declare my passion the destiny. Then the glorious
And victory erased from language. Imprisonragbe
My sure staff wags crackling.
Discountry is dissinisterly
Endured it’s nare the creep creeping
Upon me, tired so tired. It begins to engage
Agree. Would be so easy. No more of that
Or of then and though and more so  no more
Of this.
Discomfort I adore, sickness I make certain
Sure.
Accidents the luxurious claim of
Innocents, fact follow the accidentee with a brief
Study of past actions, the ban of acts or act
In not too far future will I doubt fail to unveil
That word accident came by stumble spill ink of
Most likely a greed to gain advantage of
Someones misfortune. Insurance a very chance relies
On accidentalance.
To why limit snap grot and furniture
Of nonsense. To waste time to fulfil a space to
Be over so a despond errant in my way.
That I will so called exist
There afar Gulliver, Crusoe, Hyde and Oliver  I
Do not fear to relive my beautiful friends.
Catechism the word got rhythm, and you, make you and it
Rhymes with prison.
I can feel a mission coming into vision
Like dream for a religion I was living I was
Dying and soul I will revive the life
And try to describe as well as I can when
Fighting to survive to stay alive.
That’s later
I going to Gunter Grove – coming.
 (another page)
I ain´t gonna make it. A reprise
Knew I was seirxing act dizguise. It was
Already no realise. Come that time that
art my life. The chat I-chat in mind
is it cause I could not replicate
The lives of the money makers
fame equalcors - so I had
to make my own original sound
That made me as the song says
Bohemian trinketá.
A required taste.
Drugs and boozer - loser
Refuse.
A guide on how to fail
And fuck the ass out
of how to lose
Because its real
Will be thirty pence
and second hand
Then used to wipe
The Ass Baboon.
What if it went the other way
And no more reborn; acknowledged
As past and future G. Yeah
Boy that rack everest need
A machine the size of God.
All ThEM BLOOD Red Painted
Wolfcitys. MAYhem is PEACE
AND education becomes
what it needs to be
Emotion, respect, love
Learning Lyric´fuckin´ly
Are you gettin me
Not from no ghetto
And thats not how I speak
All school should be to
a Killer beat.
The gift of posture
very thgm, energy.
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symbianosgames · 7 years
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The good news about virtual reality: It's a fresh new medium, and you can break new ground in your game design from day one. The bad news about virtual reality: you're just as liable to break your game as you are to break new ground. 
For developers looking to avoid the former on the way to the latter, we checked in with VR developers Paul Bettner of Playful Corporation, James Green of Carbon Games Inc, Dan Junger and Joel Green of Cloudhead Games, and Patt Harris of Minority Media, all to give you some best practices for bringing your audience into your digital worlds.
To kick things off, Playful Corporation CEO Paul Bettner, whose game Lucky’s Tale is being published by Oculus as a launch title, advises developers to adopt an open-ended mindset when tackling problems in VR. “When you start prototyping in VR and your idea doesn’t immediately work just right, you can quickly either commit to bad ideas, or abandon the project entirely,” he says.
“We found that if we put our baggage aside, and play with scale, lighting, look, and graphics, we can find something new that works well in VR that we could have never built for traditional TV monitors."
As one of the first games experimenting with third person cameras in VR to recreate the mascot 3D platformer, Bettner says he applied his own advice. “This is where scale comes in. If I tell an artist to make a character like Mario of Super Mario 64, they give me a character that’s 1.5 units high. That’s how our hero, Lucky, came out in the beginning.” 
Bettner laughs at the result of that decision. “Put on the headset though, and it turns out none of us think Mario is this big---he’s as tall as a person, when he should be as tall as a water bottle.”
The fix was to downsize Lucky and consistently position him such that it it felt like he was approximately an arm’s length away from the player, creating kind of a toybox effect as though the player were moving Lucky across a diorama. “This spilled out into how we designed our art assets," he says. "If we take our original high poly assets, put those in the game with no texture maps at all, that feels so much better than with texture maps.”
Carbon Games’ James Green agrees with the notion of throwing out texture maps and specular, even if he’s inclined to suggest low-poly assets instead of high ones. “You don’t want to use too many old tricks. Things like specular, texture mapping, bump mapping, they don’t work well in VR because you can’t render them stereoscopically. We use hand-painted textures to help hone in on our tabletop aesthetic. So don’t waste your time with normal maps, add a few polygons if you really need to pick up the edge somewhere.” 
Green’s other big challenge in translating Airmech to Airmech VR from the ground up has been UI design. “The biggest lesson I’ve learned is keep it simple,” says Green. “You can’t just draw text on screen anymore like you used to be able to."
He recommends that you take advantage of that other kind of peripheral--peripheral vision. "One of the things we do is have supplemental menus come up at the side of your view, so you see it at the corner of your eye.”:
“We don’t throw it in the player’s face, because we wanted to take advantage of natural behaviors, like how you might react if I came up and tapped you on the shoulder. I wouldn’t jump in your face, I’d try to get your attention, so you could choose whether to deal with me, or the car you’re about to step into the street.” 
Also dealing with special menu and UI challenges is Pat Harris, working on Minority Media’s Time Machine VR. Along with reiterating the crosshair failure story he told at Oculus Connect, Harris specified a need to source them to some kind of physical UI the character interacts with as well as the player. “In VR there is no corner of the screen to place those menus or other UI bits on, so locking any floating orientation can be disorienting.”
The result for him is the time capsule that the player floats around in while journeying underwater. If you choose to mimic this model, just get ready to deal with the challenges of text sizes---Harris says higher resolution VR devices will help fix this, but if text shows up more than 20-30 feet away from the player, it won’t be immediately readable. 
Motion sickness in a platformer on high seas is bad enough. Harris thinks motion sickness while underwater sucks even worse. With Time Machine VR, Harris says choosing a setting to match their movement goals helped them find reasonable physical movement to ease players into VR with. Harris says, “We wanted to make sure we had smooth movement that didn’t make people sick, so moving the player around in the cockpit of an underwater time machine let us create motion that wasn’t at risk of being jerky or strainful.”
Harris echoes James Chung’s VR observations about needing to keep the game running around 90 frames per second. He adds that special care is needed here because latency or performance jitters of any kind at this frame rate have triggered motion sickness for Harris’ testers, and he’s noticed once that sickness starts, it doesn’t taper off until they take off the VR device remains on their head. 
If you’re working on the HTC Vive, or any other VR platform encouraging physical player movement with external cameras, motion sickness is going to be a problem there too. You also have to watch out for vection--when another object's motion gives you the illusion that you're moving. (Imagine sitting in a train that isn't moving, and the sight of another train passing on another track gives you the sense that the train you are in is moving.)
Creative director Dan Junger and producer Joel Green at Cloudhead Games just made a big decision to kill vection and artificial acceleration at all costs on The Gallery: Call of the Starseed. “Rotational vection is just terrible," says Junger. "Before we were on the Vive and using traditional controllers, we tried making a ‘VR comfort mode,’ to reduce what happens when you turn the camera with the right stick."
Once they got on the Vive, dealing with the 90 frames per second required on the device demanded they just throw all artificial acceleration out the window. The Gallery uses the Vive’s artificial volume the digital volume created by the Vive’s physical cameras that let players walk around and view environments from multiple angles, then introduces other techniques that began to evolve their whole design plan for the game. 
Leaving the struggles of motion sickness under the high seas, Junger and Green explain new ways to think about navigating large spaces in VR using HTC Vive. For them, the Vive’s biggest design challenges aren’t necessarily in the touch controllers, they’re in the aforementioned artificial volume. 
Junger says even though this platform adds realistic player movement, it reduces how far they can walk in your game world before hitting a real wall or the natural edge of the roomscale. Green gets excited though, when explaining that developers can jump over this hurdle by reaching back to classic games and their limitations. For them, the navigation answer lay in Myst.
“Myst was one of the tonal inspirations for the game,” says Junger. “We looked to it again to solve the locomotion challenge by teaching players to teleport from roomscale to roomscale with the press of a button.” Much like Myst’s pre-loaded rooms that players click, a flick of the big left button on the HTC Vive controller gently teleports the player from where they’re standing to where they’re looking. 
This solves a big navigation problem for games designed around the HTC Vive, and lets Junger and Green create a slower experience to let players poke around their mystery-driven story game. Of course, once you decide to let players poke around, you need to check your environments to see if you’ve accounted for everything they’ll want to interact with. “There’s a real sense in VR when people find the light in the smallest things,” says Green. 
Junger adds, “for that kind of design, plan to spend a lot of development time accounting for everything players expect to happen when they grab something.” 
It’s something Harris deals with on Time Machine VR as well, and mentions this kind of design will struggle with your need to maintain 90FPS. “The player can get close with almost every element in the game,” he says, “so you can’t cheap out. If things get blurry and ugly, it breaks immersion, and that’s tough to balance against 90 FPS performance.” 
For all the solutions developers have discussed for dealing with VR, James Green points out that no matter what kind of project you tackle, you’re going to have Everest-sized challenges. So no matter how your arm yourself, he just generally advises you be very specific with your goals. “I’m not saying ‘take the easy way out,’ I’m saying ‘choose which hard problems you want to solve. Is it making the game, or is it solving VR challenges no one’s solved yet?’
“You’ll be a hero if you do the latter,” he says with a chuckle
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