#visual studio with unreal

[shawnthebro]

We have many episodes on using Visual Studio and making games in C++, but how about setting up Visual Studio from scratch?

[nowhereman1966]

MYCHAEL PAYNE

'The truth was a burning pink crack through my brain.'

'Text boxes hanging in the air, glimpsed out of the corner of my eye. Endless repetition of repeating dialogue options, long moments of silence to decide choices. The paranoid feel of deja vu; of having done this all before.'

'I was in a visual novel. Funny as hell, it was the most horrible thing I could think of.'

(credit for sprites goes to deerspherestudios. credit for inspiration goes to remedy entertainment.)

[leonsletroar]

We tried our skills to light and animate in Unreal Engine to produce realistic render output. Prepare to be amazed!🌟🎬🔥

[tacko3d]

I forgot to post it here, but after like 8 hours of debugging on Thursday, I finally got a stable version of the game packed up.

I have a goal to reach before the end of the year.

So getting the project cooked and packed was really important to getting it all done the way I wanted.

I still have a lot of work to do, But I’ll be getting back on it on Friday. Cause Im helping my sister with her table at an event this weekend. So i cant really do anything.

Anyway, thats about it,

I have this video Ive been working on that was like 90% unscripted That I hope to release this next week.

I wouldve had it ready to post this morning, but I ran into issues with storage devices.

So I had to postpone it until I got that sorted out.

I NEED a better storage solution for Video Projects.

[rockergiirl]

today in a burst of motivation to continue working on my game i

cleaned up the code a bit, fixing a potential issues with getting items from the item design

tried to implement projectile collision detection

got really pissed off at godot

installed unreal engine

installed visual studio 2022

was told how to do collision with projectiles

uninstalled unreal engine

implemented projectiles dealing damage

[cleolinda]

(For our purposes, listen to it without the visuals first.)

I wasn't going to keep posting about Unreal Unearth, but something happened yesterday.

It's been five months since I first heard this song, and I'm still astonished by it. You know the tiktok skit about the Star Wars wedding music, and the guy is grooving along until the Imperial Death March filters in, and then he's kind of alarmed, like, wha—? And then he realizes it slaps anyway and he keeps dancing? That is "Eat Your Young."

It's the morning of March 17th. The EP with the first three singles from the new album has dropped. I've got my phone blasting the song on the bathroom counter, I don't understand half what the man is saying nor did I expect to, I'm cheerfully mumbling along in the shower, grooving along,

wait they did what for a war drum

Get some Pull up the ladder when the flood comes Throw enough rope until the legs have swung Seven new ways that you can eat your young Come and get some Skinning the children for a war drum Putting food on the table selling bombs and guns It's quicker and easier to eat your young

What the fuck, this song goes so hard. That's the chorus. The conceit of the whole album is that it loosely follows Dante's Inferno, so this is the third circle of hell, gluttony. Hozier himself says that he wasn't specifically thinking of Jonathan Swift's A Modest Proposal—

“I don’t know how intentional the reference to Jonathan Swift was in this. That essay [Swift’s 1729 satirical essay A Modest Proposal in which he suggests the Irish poor sell their children as food] is such a cultural landmark that it’s just hanging in the air. I was more reflecting on what I felt now in this spirit of the times of perpetual short-term gain and a long-term blindness. The increasing levels of precarious living, poverty, job insecurity, rental crisis, property crisis, climate crisis, and a generation that’s inheriting all of that and one generation that’s enjoyed the spoils of it. The lyrics are direct, but the voice is playful. There’s this unreliable narrator who relishes in this thing which was fun to write.” [Apple Music album notes]

—and I believe him. The song's not a suggestion, a proposal; it's an invitation to atrocity in progress. I also believe he probably wasn't thinking of Greta Thunberg's iconic speech at the UN Climate Action Summit, not specifically, but that's what I hear in the song, like the flip side of a coin:

You have stolen my dreams and my childhood with your empty words. And yet I'm one of the lucky ones. People are suffering. People are dying. Entire ecosystems are collapsing. We are in the beginning of a mass extinction, and all you can talk about is money and fairy tales of eternal economic growth. How dare you! [...] You say you hear us and that you understand the urgency. But no matter how sad and angry I am, I do not want to believe that. Because if you really understood the situation and still kept on failing to act, then you would be evil.

I feel like on some level, even coincidentally, "Eat Your Young" is the answer to the question, what would you sound like if you were that evil? Who would you be? I can think of a dozen possibilities just off the top of my head or looking around my blog, from something as petty as studio executives mangling trees to deprive striking workers of shade (while hoping they lose their homes), all the way up to the US school-to-prison pipeline. The National Rifle Association keeps politicians in its pocket while the US has more mass shootings than days in a year, Nestlé fucks shit up around the world as a way of life, even ChatGPT sucks up water while threatening jobs—and for what? And yet, I promise you most of these things weren't the inspiration for an Irishman’s song—some of them hadn't even happened yet. There's just that much fresh You Would Be Evil to go around. I am certain that Hozier wrote the song partly about (as one article puts it) "Ireland's housing crisis: Millennials, a generation sacrificed," given that time back in the day when he helped occupy a building—a housing crisis happening in multiple countries. There's so much of the world I'm not touching on. I can stuff a paragraph with links and it's utterly inadequate.

I haven't even mentioned war.

There's an overwhelming sense this decade of the future being fed into a meat grinder. That sense is in this song. What would it sound like to be in the head of someone who didn't give a shit about anything but profit? Well, it might sound like this.

And if you haven't heard it, well—I'm going to sound absolutely out of my mind after saying all that, but "Eat Your Young" has a beat and you can dance to it. It's sexy. And I'm certain that's on purpose. You get seduced into the sound of it, as if by something demonic, something that enjoys sucking down the future and is not going to stop. And the sheer fucking catchiness of the song keeps you listening to it—thinking about it—when maybe you push away the dry headlines we get everyday. If you let this song stay in your head, it becomes a lens. Five months later, I still think about it when I read the news. Maui was on fire and tourists stayed. Within days, the prospect of developers swooping in to buy up land reared its head. If there's something still to take, there is ground to break, whatever's still to come. Get some.

I was born in 1978 —I'm late Gen X. In my forties, I'm young enough to worry about the future still; I’m neither so rich that I can just plan to retire to Mars, nor so old that I can know I'll be safely gone before the world might go up in flames. But I'm also not my nephew, whose school year just started back up, or the neighborhood kids who race him home down the sidewalk in the afternoons. Yesterday, he had his very first mass-shooter lockdown drill. He’s six.

I think music can put the feeling back into numb fingers, and I think that's why "Eat Your Young" works so well—Hozier calls the song fun and playful, and I think you have to have that, something you can live with rather than just switch off for your own mental survival. We need music to feed spirit at protests; we need something to keep our feet moving. Don’t give up, don't close your eyes and slip away. Those kids, they have dreams we could try to steal back for them.

Since I mentioned Maui:

Why Hawaiian sovereignty has undeniable context for the Maui fires

The Climate Crisis and Colonialism Destroyed My Maui Home. Where We Must Go From Here

How You Can Donate and Help Support Maui Communities Right Now

The Maui Strong Fund

[elevenenthusiast]

I’ll never understand why the Harry Potter reboot didn’t go the animated route instead of live action. We’ve already seen how much you can do with animation. Arcane, Spider-Verse, Avatar The Last Airbender, Those shows and movies didn’t just succeed they became staples in pop culture. They pushed storytelling and visuals to another level because they were animated not in spite of it.

Animation has always been underestimated. It’s constantly treated like something just for kids when in reality it’s one of the most powerful and limitless mediums out there. It’s not a genre. It’s a medium. You can do things in animation that live action simply can’t replicate without it looking overly CGI clunky or just off. It’s why the original Harry Potter films as beloved as they are couldn’t capture everything from the books. And sure the upcoming series might get to include more now but even then imagine how much more they could’ve done if they went animated instead. Imagine a Harry Potter series animated with the art style from the books or in the style of The Tale of the Three Brothers sequence from Deathly Hallows or even something as visually rich as Arcane. The emotion. The world building. The magic. It would’ve been unreal.

And honestly Percy Jackson is another one that would’ve worked so much better as animation. And then there’s Avatar The Last Airbender… The live action version just proved what we’ve always known. Live action waters things down. The magic. The humor. The heart. It just doesn’t hit the same. You lose so much of what made the original special when you try to force it into a format that can’t hold it.

I really wish studios would stop looking down on animation or treating it like a stepping stone to something greater. It is the something greater. We need to stop pretending that animation can’t be serious or emotional or iconic. It’s already proven it can be. All we have to do is stop underestimating it.

[girlballs]

you seem to know video games well, can i ask you something? if i have little coding experience but actually want to mess around with the tf2 source code as well, what sort of resources would help me the most in learning what all the bits & pieces do?

you gotta start with learning the fundamentals of C++. like. that is not optional. getting familiar with just the process of navigating a bunch of files in Visual Studio is also crucial but like ultimately just learning how the language works well help you the most since you'll get a better intuition for where to find what you're looking for

i don't actually have a good recommendation for where to learn C++ though since i personally learned it for Unreal reasons

[carlyraejepsans]

If you are going to make a game here’s some things that might be helpful!

Game engines:

Godot: very new dev friendly and it’s free. Has its own programming language (GDscript) but also supports C#. It’s best for 2D games but it can do 3D also.

Unity: I don’t even know if I should be recommending Unity. It has caused me much pain and the suffering. But Unity has an incredible amount of guides and tutorials. And once you get the hang of something it’s hard to get caught on the same thing again. It also has a great Visual Studio integration and uses C#. I will warn you the unity animator is where all dreams go to die. It’s a tedious process but you can probably get some plugins to help with that.

Unreal: Don’t use it unless you’re building a very large or very detailed 3D game. It also uses C++ which is hell.

Renpy: Made for visual novels but has support for small mini games. It only supports Python iirc. Basically if you’re making a VN it’s renpy all the way otherwise you should look elsewhere.

What to learn: Game design and how to act as your own game designer. As a designer you need to know if a part of your game isn’t meshing with the rest of it and be willing to give up that part if needed. Also sound design is very important as well. If you want to make your own sounds audacity is perfect for recording and cutting up your clips. If you want to find sound effects I recommend freesound.org and the YouTube royalty free music database.

Sadly I can’t recommend a lot of places to learn this stuff because I’m taking Game Development in Uni. So most of my info comes from my lectures and stuff. One of my game design textbooks is pretty good but it’s around $40 CAD. It’s called the game designers playbook by Samantha Stahlke and Pejman Mirza-Babaei if you’re interested (fun fact there’s a photo of Toriel in there)

Anyway sorry for dumping this large ask on you I’m just really passionate about game design and I like to see other people get into it.

please do not apologize I'd never heard half of this stuff so this is super useful!! I've seen some godot tutorials on YouTube although so far I've played around with RPG maker MV (it was on sale. very very fiddly interface, i had trouble getting around it) and gamemaker, which recently became free for non-commercial use (a lot more approachable on first impact but like i said, haven't really done anything substantial in either yet).

mostly, I'm still in the super vague stage. I've got an idea for the main story conflict, the protagonist and their foil, the general aesthetic i want to go for (likely 2D graphics, but it would be cool to make like. small cutscenes in low-poly 3D) but not much else. haven't exactly decided on the gameplay either! it's gonna necessarily be rpg-esque, but I'm not much of a fan of classic turn-based combat so. I'm gonna check out other games and see if i can frankenstein anything cooler :P

[doom-nerdo-666]

Doom 4 - Test Footage

Description:

“Step into the fascinating, untold chapter of the DOOM franchise with an in-depth look at the cinematic work for the canceled DOOM 4. This ambitious project, initiated at Janimation, was part of a high-stakes competition to secure the pre-rendered cinematic production for id Software's next installment in the legendary series. Though Blur Studio ultimately won that role, Janimation's contributions left a lasting mark, earning the team the responsibility for crafting the in-game cinematics.

This project reflects a pivotal moment in DOOM history. Designed during a period when the franchise sought to modernize with story-driven gameplay and more grounded visuals, the concept of DOOM 4 was a striking departure from the classic fast-paced demon-slaying action. Early materials showcased haunting urban landscapes overrun by Hell's forces—a vision evocative of titles like Call of Duty or Killzone blended with DOOM's signature horror.

Our cinematic work embodied this new direction, emphasizing detailed character design, dynamic storytelling, and atmospheric visuals. Using industry-standard tools like XSI, ZBrush, and Arnold, we pushed boundaries to bring DOOM 4's characters and environments to life. While the game was ultimately shelved in favor of the rebooted DOOM (2016), this effort remains a testament to the team's dedication and artistry during a time of evolution for the franchise. This video delves into the art, process, and vision behind a project that remains an intriguing "what if" in the world of gaming. Watch and discover the legacy of DOOM 4, a bold yet unrealized chapter in the ongoing saga of id Software’s iconic universe."

And the thread i saw this from

[thelonelyshore-if]

Do you have recs for similar horror/spooky vibes as your IF? I just played Scarlett Hollow after reading of one of your posts, and obviously your IF is incredible, so I'm hungry for anything else you'd recommend. Books, movies, short stories, anything.

Ooooh I'm very excited and intimidated by this ask haha. Every time I'm asked for things I like I forget every piece of media I've ever consumed.

First off, thank you for the compliment; you're super sweet. And I hope you enjoyed Scarlet Hollow! It's one of my favorite games of all time <3

I'm gonna throw my recs under a cut because. Well. It Got Long.

For these recommendations, I'm going with a mix of similar vibes (small town/atmospheric/mystery) and also just stories that are really influential to me!!

Video Games: Oxenfree (amazing atmosphere, really fun mystery, strong character relationships), Control (stunning visuals, really cool creatures/lore, the way it plays with reality is just......), Slay the Princess (very much so a different type of horror, but by the same studio that made Scarlet Hollow and has incredible vibes). Honorable mentions to Silent Hill & Alan Wake; both are series I haven't personally played that I know have very similar vibes to my game!!

Other IFs: The Fog Knows Your Name (can't recommend this one enough, amazing vibes and a great mystery, genuinely one of my favorite IFs), The Passenger (eldritch horror, fun to play someone that isn't entirely human), and as for WIPs, Such Happy Campers (I'm so hooked on the mystery and the characters, plus great atmosphere).

TV Shows: Midnight Mass (small town horror, incredible plot and visuals, a HUGE inspiration for TLS) and also Haunting of Hill House (genuinely breathtaking, an amazing cast, a great mystery & sense of creeping dread), Over the Garden Wall (the atmosphere and emotional core of the story are incredible), The Twilight Zone (instrumental for my development as a horror fan, especially surrealist horror), Gravity Falls (more light-hearted than everything else, but still small town horror). Honorable mention for Twin Peaks, which I haven't seen (yet) but also to my knowledge has very similar vibes!

Movies: The Thing (isolated horror, incredible atmosphere, fantastic body horror), Coraline (unreality, things being not quite right), and It Follows (not actually my favorite movie lol, but I love the sense of being out of time it conjures). Most of my favorite horror movies aren't actually all that similar to my own project, but the first two Scream movies, Alien, and Nope are some of my favorites <3

Books: I've forgotten every single book I've ever read, but I'm a life-long Stephen King fan. The Mist, Under the Dome, and Salem's Lot all inspired Lonely Shore one way or another. Also a big fan of Misery, Needful Things, 11/22/63, and The Stand. My all-time favorite short story is The Lottery by Shirley Jackson, which also includes a town where something is very wrong.

Other: Originally TLS was a Monster of the Week campaign I ran; which is one of my favorite ttrpgs. So if you're into tabletop and/or horror, I highly recommend checking it out!!

[shawnthebro]

Do you want to learn how to use breakpoints and avoid annoying HOT RELOAD errors? We can do this by launching through Visual Studio!

[thislovintime]

The Monkees promoting Head in the Bay Area, 1968. Photo 2 courtesy of Oakland Tribune.

“If we were considering animals, David Jones would probably be a cocker spaniel; Micky Dolenz a poodle; Mike Nesmith a dachshund and Peter Tork an afghan… not a monkey among them. But, following an interview with the pre-teen dream makers, we are considering ‘The Monkees,’ who were live and reasonably sane in the Bay Area last week to plug their new movie, ‘Head,’ which opened Wednesday in the Eastbay. After chatting for an hour, individual personalities emerged… David Jones is… uh, well… a cocker spaniel; Micky Dolenz, a poodle…. There is just no way to describe the four musician-actors who have probably absorbed more sarcasm from critics, more distrust from the public and endured a faster-paced schedule than any other rock group on Planet Earth. There is something unreal about the four of them together — in an ‘in person’ interview in a posh hotel suite with promotion agents in the background. Their friendliness, cleanliness and politeness are real but their togetherness falls apart trying to come together. By now, anyone who reads even one of the world’s live languages knows they were brought together for the first time to star in a TV series by the same name. A marketable item made up of ex-jockey and musical-comedy (‘Oliver’) star David Jones; Grown up TV ‘Circus Boy’ wonder Micky Dolenz; country-western-folk singer from Texas, Mike Nesmith, and Greenwich Village vintage guitarist Peter Tork. The four speak to each other as acquaintances and one gets the impression of a working-hours-or-sessions relationship only. They appear to be a little too polite to each other, to aware of each other for comfort. Peter defers to Micky’s talent as a director. ‘You know, like we were doing one TV show with Micky directing,’ Peter imitates Micky’s muggings. ‘He takes the script, flips it open and says, “Let’s see here now… we shoot starting with page seven… here boys,” he calls over the camera crew and in bright sunlight shoots in four hours with no rehearsal what it normally takes 12 hours to shoot.’ Micky grins, bows politely with a ‘Thank you, kind sir.’ […] ‘We did some shows that we really liked,’ Peter said. ‘But there were so many formula shows where Micky played crazy villains, David always got the girl… we just couldn’t take another season of it.’ ‘In addition to the “7 to 7” hours at the studio,’ David said, ‘we’d have to get a song out for the show, plan concerts, rehearse for and record albums. Some nights I’d work until 3 a.m. then have to be back at the studio for makeup at 6 a.m. the same day.’ Still, their critical success came with their Marx-Brothers-ish approach to comedy, that aspect of their careers which has been the most time-consuming. ‘The Monkees’ don’t see it that way. Mike plots their future in music with visuals as an accompaniment rather than the focus. ‘Music was always the major thing even in our series,’ he said. Most reviews and public response do not agree with this. Past the pre-and-early-teens, people can more or less take or leave the ‘Monkees’ sound and it was considered little more than background to innovative comedy on their show.” - article by Peggy King, Oakland Tribune, December 7, 1968

[satoshi-mochida]

‘Stealthvania’ parkour platformer The Siege and the Sandfox launches May 20 - Gematsu

Side-scrolling “stealthvania” parkour platformer The Siege and the Sandfox will launch for PC via Steam, Epic Games Store, GOG, Humble Store on May 20 for $14.99, publisher PLAION and developer Cardboard Sword announced.

“We are excited for our debut title The Siege and the Sandfox to finally get into players’ hands,” said Cardboard Sword CEO Olly Bennett in a press release. “Developing a meaningful 2D stealth game has been an ambitious undertaking for the team, and we are eager for our fans to play and enjoy it.”

Bennett continued, “As a studio we set out on this development journey to create a new indie game IP with a unique 2D stealth element. Art led a lot of our development process, inspiring the narrative and gameplay mechanics. The hand-animated retro-style pixel art, combined with the hand-painted normal maps and Unreal lighting and effects, provides an incredibly rich visual for players—really immersing them into the game world of the Sandfox.”

Here is an overview of the game, via PLAION:

About

Explore the palace and cavernous depths below an ancient desert city, under siege by its neighboring kingdom. Master dynamic parkour abilities and use cunning and stealth to discover the true threat lurking within. Evade guards, defeat enemies, befriend potential new allies, improve your skills, and foil the evil plot before it’s too late.

Story

A shining city lies besieged in the heart of a vast desert. As the moon rises over the royal palace, a notorious assassin watches the king die to a traitor’s hand. Discovered, falsely accused and thrown into the labyrinthine dungeons below, they must escape to tell the tale else the city will fall. The Sandfox—known as the Kasha’i—is famed across the land as the legendary line of faithful protectors and servants to the crown. The current holder of this mantle has been left for dead at the base of “Traitor’s Fall”—a deep pit leading to the depths of the underground prisons. Betrayed by the Queen in order to hide her regicide, you must now take on the role of the Sandfox and begin your journey back up to the palace. Save the kingdom from the Queen’s evil plot and reap revenge with the iconic weapon of the Kasha’i: the glass dagger. In your journey through the dark caves, dusty mausoleums, dangerous prisons, and crumbling ancient architecture, you will need to avoid the nastier inhabitants of this underground world and aid those friendlier to a new face. Your progression will lead to the discovery of the true threat to the kingdom above: a sand-borne evil emerging below. As dusk becomes night, and night becomes dawn, you will need to rely on the aid of new allies, make your way back into the palace, and end the treachery of the wicked Queen.

Gameplay

Use stealth to sneak through the environments, incapacitating enemies or ghosting past as if you were never there. Run, jump, slide, shimmy, pole swing and more as you navigate the intricate game world, finding new items, equipment and skills, and unlocking previously-inaccessible locations. The Siege and the Sandfox is a stealth Metroidvania with one giant continuous world, linking the newer palace above, older prisons below, the ancient mausoleum, and an intricate network of caves woven amongst them all. Encounter unique enemies in each area—some more capable at pursuing sneaky Sandfoxes than others! Keep on your guard, as even an extinguished torch or door left open can trigger the suspicions of those out to get you.

Key Features

2D stealth Metroidvania with parkour exploration.

Rich 16-bit art with modern effects.

Immersive and dynamic audio builds tension and highlights danger.

An eclectic range of characters to discover and aid.

Avoid enemies, evade capture and find other ways to deal with threats.

Master moves and find tools to help access new areas previously unexplored.

Watch a new trailer below.

Release Date Trailer

[hogwash-deli]

Kamapua'a and Pele

Prompt:

Create a mythological image of Kamapua'a in a wrestling match with his lover Pele. Kamapua'a is a Hawaiian trickster figure, half human and half wild boar. Pele is the Hawaiian goddess of fire and volcanoes. Kamapua'a and Pelé are lovers, but they also fight for supremacy. Their wrestling is said to be both a fight and a courtship.

Nightcafé Studio

Corrected with Grok ai (legs)

Kamapua'a, a muscular, half-human, half-wild boar, with sharp tusks and a mischievous glint in his eye, grapples with his lover Pele, the fiery Hawaiian goddess, amidst a backdrop of smoldering volcanic rocks and twisted lava flows. Pele's long, fiery hair flows like molten lava as she wrestles Kamapua'a, her skin aglow with a warm, golden light. The air is charged with tension and passion as they engage in a fierce, yet sensual, battle for supremacy. Cinematic lighting, with deep shadows and warm highlights, accentuates the drama of the scene, as if shot on 35mm film with a V-Raptor XL camera. The image is infused with a subtle film grain, vignette, and post-processing effects, evoking a sense of epic, atmospheric grandeur, reminiscent of the cinematic styles of Terrence Malick, Alejandro González Iñárritu, and Darren Aronofsky.

Kamapua'a, a powerful half-human, half-wild boar, and Pele, the fiery Hawaiian goddess of volcanoes, engage in a fierce and passionate wrestling match, their bodies entwined in a struggle that is both a fight for supremacy and a courtship ritual. Kamapua'a's tusked face is set in a fierce snarl, while Pele's eyes blaze with fiery intensity, her long, flowing hair aflame with vibrant, molten hues. The dark fantasy scene is set against a backdrop of ancient, mist-shrouded Hawaiian landscapes, with twisted lava trees and glowing volcanic rocks. Dynamic lighting casts dramatic shadows, illuminating the intricate, hyper-detailed textures of the characters' skin, fur, and lava-encrusted surroundings. Inspired by the works of Greg Rutkowski, Alphonse Mucha, and Jordan Grimmer, this 8k resolution masterpiece showcases a unique blend of traditional and digital media, with deep, rich colors and subtle, nuanced shading. Volumetric lighting and Unreal Engine-style effects add depth and dimensionality to the scene, while the bold, complementary colors of purple and yellow create a visually striking contrast.

Kamapua'a, a demigod with the physique of a muscular Hawaiian warrior and the sharp tusks and bristly fur of a wild boar, grapples with his lover Pele, the fiery goddess of volcanoes, in a dramatic wrestling match. Pele's long, flowing hair blazes with a fiery intensity, as if infused with the molten lava of the volcanoes she controls. Her skin glistens with a warm, golden light, while Kamapua'a's rugged, earthy tones provide a striking contrast. The two lovers-turned-adversaries are bathed in the warm, golden light of a tropical sunset, with the misty veil of a waterfall cascading in the background. The atmosphere is charged with tension and passion, as if the very fate of the Hawaiian islands hangs in the balance. Inspired by the cinematic styles of Peter Jackson and Guillermo del Toro, with a hint of the fantastical and mythological, this image is a live-action, 35mm film still, with a warm, cinematic color grade, subtle film grain, and a vignette that draws the viewer's eye to the heart of the action.

ChatGBT

I'll portray both Kamapuaʻa and Pele as full-bodied, well-nourished figures, radiating strength, sensuality, and elemental power.

Kamapuaʻa will have a lush, powerful build—round-faced, with boar-like features such as a short snout, tusks peeking from a smirking mouth, and thick, bristly hair. His body will be solid and strong, with a wild, earthy presence—part rainforest warrior, part mischievous boar spirit. Maybe some pigskin texture on parts of his body, and leaves or ferns growing from his shoulders or waist.

Pele will appear equally full-bodied, glowing with volcanic beauty—curvy, intense, and majestic, with flowing lava-like hair and a gown of molten rock and fire. Her expression should be fierce and loving at once, capturing the paradox of passion and combat.

They’ll be entangled mid-wrestle, bodies pressed together, Pele’s fire flaring where it meets Kamapuaʻa’s earthy, steamy aura—like mist rising where lava touches wet ground.

So glad you love it! That earthy intensity between them really comes through, doesn’t it? I can absolutely push it further into cinematic territory if you'd like—more dynamic lighting, deeper shadows, swirling steam, glowing lava cracks underfoot, maybe even ash falling in the air. Just say the word and I’ll dial it up like a mythic movie poster.

And in the style of Paul Gauguin:

[thereasonsimbroke]

Bethesda Game Studios announced that The #ElderScrolls IV: Oblivion Remastered attracted 4 million players shortly after its surprise launch, marking a strong debut.

Unveiled on Tuesday after years of leaks, the remaster was released via a shadow drop on #Xbox Game Pass Ultimate and PC #GamePass. Although this player count includes Game Pass subscribers and does not reflect total sales, it indicates strong engagement. Developed mainly by Virtuos with #Bethesda's support, Oblivion Remastered features upgraded visuals through Unreal Engine 5 and new voice recordings, while the original Gamebryo engine remains intact.

As the remaster gains traction on Steam and other platforms, Bethesda celebrates its success with Indiana Jones and the Great Circle, which also surpassed 4 million players post-launch.