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#overdeath
le-sluagh · 2 years
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Special Ship Incorrects
Megatron: The stars are so beautiful...
Shockwave: They're just giant balls of gas.
Megatron: You know what, if you're just going to ruin this, then-
Shockwave: And yet none of them are as huge as my love for you.
Megatron: Oh...
*****
Mixmaster: Sparkmate’s day is just a consumerist holiday that holds no real value other than drive people insane buying heart shaped chocolates for their significant others and pos-
Bonecrusher: I wrote you a poem.
Mixmaster, already crying of joy: You did?
*****
Cosmos: *kisses Blast Off*
Blast Off: What is this?
Cosmos: Affection.
Blast Off: Disgusting.
Blast Off:
Blast Off: Do it again.
*****
Kikback: Why do you let me win when we race up the stairs? You’re the faster one.
Drag Strip, nervous and blushing: Erm... it’s nice see your smile when you win! *later*
Kickback: He’s probably just staring at my aft, isn’t he.
Shrapnel: Yeah, probably ~probably~.
*****
Overlord: Due to personal reasons, I will be fucking sinking to the bottom of the ocean in a large metal box.
Tarn: Did Deathsaurus say 'I love you' and you said 'Thanks'?
Overlord: THE REASONS ARE PERSONAL–
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Goddammit it man!!! Because of you I've gotten into itv Jekyll and Hyde RRARRGHGHH RAAHHH BARK BARK BARK (enjoying it immensely)
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spookyspiderboiii · 2 months
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Get to know you game! Answer the questions and tag 9 people you want to know better.
thanks for the tag @itsclearance <3
Last song listened to: TOOTIMETOOTIMETOOTIME by the 1975
Currently reading: Red Queen by Victoria Aveyard
Currently watching: I finally started Attack on Titan and i’m enjoying it!
Currently obsessed with: honestly i’ve been so tired lately that i’m not really obsessed with anything 😭 although i have really been on my weeb shit lately lol
no pressure tags! @samwilsoniscap @alovesongtheywrote @raemoriendi @fairyysoup @golden-hibiscus @overdeaths @handahbear @socalledfreethinker @aunty-venom and anyone else who wants to!
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nitrosodiumfmp · 27 days
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Enemy code is functional!
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After having a quick intervention, I had some help with the enemy code. I had a little functional code already, but it was quite bare-bones, and was replaced with much better script. It works like Overdeath; the enemy patrols around, and if it sees you, it locks on, only stopping when it breaks line of sight. There was a funny incident when testing the code; the enemy got stuck in the door and was endlessly crushed, basically like the end of Terminator. However, it does work, and my sights are now on what the enemy will look like. The Bollard is iconic, but it's not great.
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Tying Up Loose Ends (and a massive dive into how my mind works in game design)
There's basically one more thing I need to do for the project: create a marquee on PhotoShop. Otherwise, it's finished. Debriefs have been filled in, research processes outlined, files zipped and assignments sent off. My game is ready to be packaged and put on an arcade machine, and it'll run right out of the box. I obviously don't want to come off as prideful, but I think a finished game on this project is something special. At the very least, a polished game - not something that, yeah, it plays, but it's glitchy and scraped together just in time for the deadline. A game where I set out to do a thing and succeeded in considerable capacity. Toxic Waters was a good game, but it wasn't perfect. It was my first proper Unreal project and I overshot what I thought I could accomplish - multiple enemy types, combat with various unique weapons, large non-linear levels, advanced puzzle mechanics and an in-game shop had to be cut. Overdeath was a fine idea with an admittedly bad prototype level attached to it. The core gameplay loop was yet to be implemented, and the final "game" was a mess of poor time allocation and unused assets sitting unseen beneath the Z-kill. Sweat Pursuit could've been this. Another case of NitroSodium thinking he could make something that, in truth, was far above his skill level. But I did it!
I think I've mentioned this before, but this project was more about functionality than immersion. With Toxic Waters, I had a whole world envisioned; the Hydromorph Research Complex, a flooded scientific facility of snaking pipes and wailing sirens. The game was chunky and mechanical, a fine-tuned set of systems waiting to be utilized by the player to escape. With Overdeath, I wanted to create a wacky, vibrant homage to games like Serious Sam, where every shot fired has some effect to the world, blasting apart boxes or inflating them to double size. The key was always Create an experience, but after Overdeath failed to be interesting nor playable, the focus shifted to Make a game, specifically because Sweat Pursuit relies entirely upon its mechanics. Blog-wise, there were no walls of text debating on what weapon would be thematically relevant a la Toxic Waters, no collages of frozen outposts and junked snowcats like in Overdeath. All my thoughts were on the functionality of Sweat Pursuit, because without it, the whole thing collapses. I don't like making games like that. I much prefer the artistic merits of game creation; designing worlds and coming up with interesting ways the player can interact with them. For my next project, the looming, ominous FMP, I want to go back to that Toxic Waters era of design. I want to flesh out a world and build it so that a player can move through it, use all the moving elements that make it tick, jump on its platforms and exist in this deeply-stylized stratification of a real place.
I think the FMP is about lottery tickets? But obviously that'd be altered somehow to fit an idea. Right now I have no clue what I'll do for it. I've got something like three months though, far longer than my other projects, and I am a little intimidated by it. I mean, we're given a whole week for our teachers to explain it. How complex is it gonna be? I think I can add a second pillar to my gamedev formula.
I: Create the bare minimum before everything else. A game needs to be playable and functional as a concept before any more work is done.
II: Doubt is your biggest impediment. Having a solid idea to build off on is key to starting your project correctly.
I think for the rest of this week I'll be relaxed. Today I did crunch pretty hard. As my friends would say, I locked in. Headphones up, Deus Ex Area 51 Combat breakbeat blasting in my ears, not talking to anyone until my evaluations were done. But tomorrow, I'll do a little relaxing PhotoShop work, release my grip on the tight ball of stress that has been the Equilibrium Project for the last month, recuperate and prepare myself for whatever comes next. It's nice to word-vomit like this at the end of the project, archive the various thoughts that played in my head on loop as I connected nodes and playtested, but could never be fit into the work schedule. I'm ready to try something else. To utilise my new ideas and programming knowledge in a brand new, interesting way.
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oops-all-teeth · 10 months
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oh yeah, i’ve been meaning to share the commission i got! here’s an image of my oc adair undergoing a really bad impromptu bathtub vivisection, as drawn by @overdeaths, who’s a co-creator of the au this is a scene from, which we’ve named transubstantiation. sort of a homoerotically charged catholic cult noir silent hill type deal. at some point i’ll probably post a drabble of this specific scene, but in the meantime, look at this wet man
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nitrosodiumepicfps · 4 months
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Is Overdeath accessible?
Well, there's no way to reconfigure controls, no menu of any kind, no guide on where to go as a player, and no way to alter difficulty levels. I have created the most poorly-designed, unintuitive, obstructive, needlessly complex stain on the interactive medium. But now that I look at the requirements for an 'accessible game', I see something that was lost. Most games need to cater to everyone, so they're terrified of you missing content. And they suck because at that point, it's not interaction, you can't progress at your own pace or use your own intuition. A game like Thief relies on you not understanding some things, straining your ears to make out snippets of conversation, hiding in pitch darkness where you can't make out distant shapes, trying to decipher the archaic pidgins that all the notes are written in. By modern standards, it's not an accessible game. A lot of people won't look in every nook and cranny of their own volition, they'll expect some pop-up to tell them when an enemy's near. They'll be confused rifling through paper maps, expecting a mini-map to guide them by the nose. This is what we lost in game development in my opinion. Lots of other art forms, books and movies et cetera, will claim to be cultured, and that you need a high intelligence to truly grasp them, but this hasn't been mirrored in games. There are no games that claim to be complex and multi-layered in the same way, they all dumb themselves down in order to get a wider player-base. It's curious.
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Spitballing About Open-World Resource Collection Mechanics
Yeah, TWL is finished, but that doesn't mean I can't use this account for rambling about other game-related stuff. The FPS account is for Overdeath, this is just anything game-y.
At some point I want to make an open world survival crafting type game. Now, MandaloreGaming has called the mixing of these genres "Cursed Runes", due to the fact that they start off greenlit on Steam Early Access, before never delivering on their original concept. Being an aspiring game dev wracked by hubris and naivety, I want to make one! So far, it's going to be like Hydroneer (more realistic crafting and resource extraction plus basic mechanical stuff) with the survival mechanics of Minecraft. The main thing that separates my game (the working title is AG) from Hydroneer is two things: how the game starts and how it ends. Because Hydroneer uses fancy voxel terrain, everything has to start off as dirt, which you then panhandle away until you have minerals and gems. It's not like Minecraft or other games where you tunnel into the ground to find materials, you've gotta refine the dirt if you want to get anything. For AG, I want there to be a bit more than that, perhaps finding pockets of different soil types (podzols, loamy, chalk etc.) which have different chances of having ores. Secondly, Hydroneer level progression. In AG, my plan is for you to be the only human on the continent, shaping it to your whims. In Hydroneer though, your job is a miner and that plays into the economy. The gameplay loop is "panhandle for loot, sell loot, buy machines to panhandle even more efficiently, sell even more loot", rinse repeat until you've bought every plot of land. I don't find that too engaging; I did when I was younger, in fact I plugged many hours into the various Farming Simulator games. But I prefer a drive for exploration and actual progression towards something new, not just being able to afford the new gizmo at the local store.
Next is a continuation of the resource collection problem. I want the world interactivity of Minecraft, but that's not really feasible. Minecraft runs on its own engine that can properly render all those blocks at once, using chunks and render distances and other tricks. Unreal Engine will see each block as its own actor, resulting in a spray of molten metal and plastic that was once my CPU erupting out of the side of my laptop, while a torrent of dead pixels consumes my thirty-seconds-per-frame gaming experience. So, we could do what Ark does, and have boulders, trees, shrubbery etc. destructible for materials. Or the Subnautica thing, where outcrops will randomly spawn on surfaces, keeping a random type of mineral inside. What I could do is a happy compromise of "harvesting nodes" spawning in a pre-made map, which can then be mined. This means mining can only be done in specific locations, which is more realistic than finding ores anywhere.
Imagine, you collect a sizeable amount of clay from a riverbank. You return to your camp, fashioning a kiln and a crucible. Next, you go to to the swamp downstream, looking for withered grass on reddish soil. You dig through the peat to harvest nodules of bog iron, fueling your kiln with some sticks you collected and smelting the bog iron down in your crucible. After several in-game hours, it's molten, so you pour it into a blade mould also made out of clay. Now, you have an iron sword. The idea is for your character to go through natural stages of civilization and primitive technology like this. Eh, it's just an idea.
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Me again: Oh, it's from the Lost Legends comics, a code to a website with some extra info (I love the IDEA of the codes, I hate that the show has homework) She's a level 100 Deathslayer on a First Person Shooter, Bloodcraft: Overdeath using the name PlatinumPaz.
Oh that's hilarious. I suddenly need to see fanart of Pacifica yelling trash talk into a gamer headset 😂
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mrsonvsyoutube · 8 months
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OverDeath Watch || CheckPoint 515
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supercantaloupe · 2 years
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for the sleepover asks! tell me some headcanons you have... ABOUT YOUR OCS HA! (i know it doesn't really make sense to say you have headcanons of things you control the canonicity of but like,,, do you have any sort of quantum superposition barely-an-AU stuff for them? if that makes any sense?)
i don't really, unfortunately 😔 most of my ocs i come up with for the purposes of dnd games (PCs and NPCs) or for fun/silly little group oc universe projects between myself and my gc friends. in both cases i don't really think about my ocs outside of their intended contexts enough to have, like, headcanons about them, if that makes sense?
[ask meme]
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le-sluagh · 1 year
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Special Ship Incorrects (3)
Drag Strip: How to flirt with Kickback?
Dead End: Just tell him: “You’re beautiful”.
Drag Strip: Good idea.
*Later*
Drag Strip, to Kickback: I’m beautiful.
*****
Megatron: Talk dirty to me, darling~.
Shockwave: The dishes.
Megatron: What-
Shockwave: It’s been there for 4 days and it's your turn to wash it. You still haven't done it even though I asked you to do it several times.
*****
Swindle: You ever see something that changes your life and you're just like "huh.."
Scavenger: I saw you.
Swindle: Honestly that's so cute and sweet but it kinda makes this awkward because I was gonna show you a picture of Vortex in a turkey costume.
*****
Megatron: Did you know you remind me of all 26 letters of the alphabet?
Shockwave: What? Like ABCDEFGH-
Megatron: No, like, U R A Q T.
Shockwave: …
Shockwave: It’s not like that we spell alphabet.
*****
Deathsaurus: If I say I love you, will you say it back?
Overlord: Yes.
Deathsaurus: I love you.
Overlord: It back.
*Later*
Tarn: Why is Deathsaurus crying face-down on the floor?
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grunklejam · 4 years
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Escape from Bloodcraft: A Gravity Falls Story
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Another five chapters now online!
https://archiveofourown.org/works/24444811/chapters/58985596
After the events of The Ghost of Greasy's, Pacifica Northwest is still settling into her new family, and secretly going through serious withdrawal from her guilty hobby.
When her parents finally decide to drop off some of her belongings, her secret world is unveiled to the Pines - and, in the process, opens up a new level of rivalry and inadequacy in Dipper.
Chaos ensues.
In this continuation of Alex Hirsch's acclaimed series, dive into another crazy summer in the world of Gravity Falls - and the runaway pairing that fans are calling "Okay!"
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teas-n-marbles · 2 years
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Commission with Alex Mercer I did for @overdeaths !
He definitely isn’t happy to be outside when it’s rainy.
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nitrosodiumfmp · 29 days
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First Tangible Strands of Progress
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Having started a new Unreal project (first person shooter seemed the closest analog to my own idea) I changed the sky colour to a ghoulish turquoise, something I had learned from the second project. I did try out some other aesthetics as well; namely, a more dusky orange sky.
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This one in particular is very reminiscent of the early days of Overdeath's development. I can only hope this one goes better. As you can also see, I built a few towers with purple lights in their perches. I will admit; the towers are pretty shoddily made; it took maybe two minutes in total, and if I put them in the final game, I'll probably use Maya or something.
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I may have increased the light level a little too much.
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I knew I wanted moving parts in the game; that was a prerequisite. After trawling the Unreal forums, I found a good explanation of how to make them, and it was the way I had previously planned: Timelines. This piece of code is connected to an actor shaped like a gearwheel, and from the game start, it spins. This took a bit of work and led to some comical events: for example, the gear would tumble horizontally because I hooked the Timeline output to the wrong axis. I then had to flip the gear model within the actor viewport, because it kept on spawning in on its side for some reason.
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Here is the finished scene. That big gear spins, though it isn't illustrated so well in an image. I added another tower for good measure, and a precarious stack of boxes that you can knock over.
Tomorrow, I have some more plans. Firstly, I need to implement doors. Walk up to them, press E, and they open on a Timeline. No more complex than a Doom door. Then we can have keycards and associated locked doors - same thing, just with a Bool in there as well. From there, elevators with activation switches (i'd probably use two different timelines, GoUp and GoDown, each activated by the respective switch, or do it on a flipflop somehow). Then I could even add trains that the player could ride across the map in.
As for gameplay, it'd require enemies. To facilitate exploration, you've got the obvious need to search for keys and the exit, but also to look around for ammunition. I want to implement combat in a very limited sense; in each level, you will have enough ammo to realistically kill half of all enemies, so searching around will make things easier, and you might be able to get out of a sticky situation, but it won't mean you can go on a rampage. I'm still not sure on how to implement the story.
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I can't code AI very well
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I'm pretty sure I'm just stupid. I copied this from Overdeath, and I definitely feel like something is missing. I'm questioning whether the two AI types are even comparable - a generic patrol-and-chase AI meant for a free-roaming enemy in a 3D walking simulator, versus what really just needs to do a couple things.
Move to the Player.
Make speed according to the formula.
If hit with a food projectile, go backwards and decrease Hunger.
If hit Player, end game (open new map etc)
The question is, how? My thought is that the "when hit with food" situation would be a timeline. The "move to player" can't be, because it needs to update in real time. So that'd probably be some sort of event tick. If I can figure out how to get a "move one X forward" type of movement, I will. Because everything can be built off that incremental movement system like Scratch. No clue yet, though.
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