Hello I am Jared I am also proud owner of bed. This is my personal blog, you can check out my blog for writing stories and keep up2date on my writing here: http://bring-the-sky-down.tumblr.com/ .
for anyone who wasnt there for the wayneradiotv stream last night:
the announcement trailer transitioned into a breaking bad logo and theme song
breaking bad roleplay happens
for the next two hours half the chat is "wow i cant believe they would trick is like this "when half life 2" "are they seriously not gonna do it" "watch this is gonna all be a dream"
breaking bad roleplay continues. some notable things are the various theme songs/ringtones that the characters have and the breaking bad poster that roams around
yes they are re-enacting an abridged version of the whole show
by the 4 hour mark the viewer count has dropped by about 8000 (correction! i thought the peak view count was higher it was more like 3000) since the stream started
walter white has to charge up an energy beam and the whole chat is sending "\o/" in support (i did too)
breaking bad themed cover of "what a wonderful world" as the credits roll
ACTUAL hl2vrai trailer announces it will be here in 2024/2025
chat is going even more insane
ends with a cameo video of dean norris (hank from the show) telling wayne congrats for breaking the bad but because benry wasnt in the trailer wayne is FINISHED
stream ends
in conclusion: You ruined me cause you smoked that mario shit
I am not crazy! I know he swapped those streams. I knew it was half life vr ai. The rise of the science team. As if I could ever make such a mistake. Never. Never! I just – I just couldn’t prove it. He covered his tracks, he got that idiot at the rtvs Team to lie for him. You think this is something? You think this is bad? This? This bait and switch? He’s done worse. That Breaking Bad Vr But The AI is self aware! Are you telling me that a man just happens to be walter white? No! He orchestrated it! Wayne! He tricked the science teamers! And I watched him! And I shouldn’t have. I took him into my own browser! What was I thinking? He’ll never be gordon again. He’ll never free man! Ever since he was 27, always the same! Couldn’t keep his hands out of the gmod! But not our Wayne! Couldn’t be precious Wayne! tricking us blind! And HE gets to be a streamer? What a sick joke! I should’ve stopped him when I had the chance! …And you, you have to stop him!
pissing off the cishet eene fans on twitter by submitting that joel dickie interview to an “lgbt character of the day” account and labeling trans woman double dee as canon.
This is my second time writing this post because I pressed ctrl z on accident at the end of my (very long) first attempt and apparently tumblr doesn't have a redo button. I am going to scream. Anyway, Midwest Lost is a souls-like set in the American Midwest in which you play as an angsty teenage boy with a big fuck off sword. My main inspirations for this project are the mainline souls games (also bloodborne psx), metal gear rising revengeance, and kingdom hearts 358/2 days. The best way I can describe my goal for this project is that I want it to be a fun, earnest, introspective, and emotionally raw teenage drama with a focus on atmosphere, narrative, and cool bossfights. As you can probably tell this project is the most early in development of the three I'm currently working on.
Story:
I'm not going to go into too much detail here because I want to avoid talking about spoilers, and, also, anything is subject to change at this point. The gist of it is that you are playing as an emotionally troubled teenage boy who (figuratively and literally) hides behind his big ol' sword. His ultimate goal is to leave his dead-end home town behind and make a better life for himself. The first obstacle of many in this goal is the protagonist's abusive stepfather who serves as the introductory bossfight of the game. I have a lot of ideas for bossfights that I am extremely excited about, but I'll avoid talking about them here so that I can show them off when they are more developed (one of them I'm excited about is a mom van). The game is likely going to be 50% exploration of a vibin small town and 50% fighting bosses, so most of my effort is going into those two things. The game's story is going to take place in chapters with various time gaps between them. This will allow me to set different chapters in different seasons, and, most importantly, it will let me set a chapter on Halloween night. The last thing I'll talk about in regards to the story is that, as absurd as the subject matter may get, I want to avoid the game feeling irony poisoned at any point. I want the game to feel earnest as that is how I'm feelin' while making it.
Mechanics to Appease a Goopy Goblin Gamer Brain:
I would describe my enjoyment of games as a medium as belonging on a spectrum where the left has experiences that touch me in an more complex emotional sense, and the right has experiences that are pure serotonin injected straight into my soul. The souls games sit comfortably in the middle. This is because the atmosphere, storytelling, and general vibe of the souls games is really harrowing and beautiful, and the gameplay gives me the kind of intense brainworms that lead me to play through it twice a month. Before working on my current three projects, I hadn't really worked on something that I intended to necessarily be fun. In a way, I'm sort of getting out of my comfort zone by making something so mechanically heavy. It's been a nice change of pace to learn that I can focus on atmosphere and gameplay without either of them feeling creatively unsatisfying. Something you must know about me is that I have an immeasurable fixation on dodge rolling, and I think it's one of my favorite mechanics of all time. All this to say I put a dodge roll in my game, and I think it's feelin' really good.
Animation is Hard:
(But if I'm being honest, I'm getting there.)
Souls-likes are sort of unique as a genre in that animation is extra important in them. In something like a platformer you might have a bad jump animation that makes the gamefeel all wonky, but the jump itself will still work the same. In contrast, a 3D-Action game like Dark Souls is very dependent on its animations to control timing, spacing, and telegraphing on top of the gamefeel. Before starting this project I didn't really know if I had the animation chops to pull something like this off, but heading straight into the deep end has, I think, really helped me improve my animation skills quickly. The moment I got the stepfather's "lunge + spin knife around" attack implemented (as pictured above) I got a lot more confident in my ability to probably make this game feel pretty dang fun. Recently, I had to make 8 different strafe animations and it strangely didn't feel like a chore at all. I'll talk about that more next week since it's related to the mechanic I'm currently working on.
Drinkz:
The main healing items in this game are a variety of energy drinks, coffee brands, soda, etc. that each have their own unique effect. In the above gifs you can see the two that I have currently implemented. These are the green and blue varieties of in-world brand "Vlade Energy". The green one is the most basic heal item, and it's the one you start off with. It allows you to take two sips per can with each sip healing a good deal, and you can roll out of the drink animation at anytime; however, cancelling the animation also discards any sips yet taken while still using up the can. The blue one stacks a passive buff on the player that allows them to heal by dodging through enemy attacks. I'm really happy with the presentation of the heal mechanic with the fun particles, the sfx (take my word for it I guess), and the animation of the protagonist throwing the empty can away.
Music:
The game currently has none. I'm looking to commission a bunch of artists to fill up the soundtrack with some banging Midwest Emo or songs that otherwise have an indie feel. If you make music and are interested in doing a song or two please hmu. It'll be a p long while before I'm actually worrying about getting music in the game, but I thought I'd mention it. There is also gonna be some fights that have tracks way outside of the Midwest Emo genre, so don't be afraid to hmu if you are making different types of stuff.
Conclusion:
I wish I could talk more about this project, but I'm gonna have to wait until it's further along. Next week I'll be talking about my strafing / sidestepping mechanic that I'm currently implementing, so I'll see ya then. I'd like to end this post by mentioning that the amazing portrait of the main character seen in the health UI was commissioned from lonesomnia. I cannot stress enough how much I love how that piece came out.
I decided that this morning I would talk about The Museum of Anything Goes and the subject of lost media.
For the uninitiated, The Museum of Anything Goes is an obscure "game" released in 1995 by Wayzata Technologies, a company that is so far under the radar that I was unable to find any useful information about it outside of TMoAG.
All I could uncover is that they published a few multimedia projects (which are essentially lost now) alongside some asset discs (clipart, SFX, etc.). That's it.
The brains behind Wayzata are even more difficult to locate these days: there are only two main names credited inside of TMoAG - Michael Markowski and Maxwell S. Robertson.
The game alleges that Michael and Maxwell are well known in the art world, but any additional information about the duo is scarce beyond the confines of the museum. Attempting to search for either name online turns up plenty of rabbit holes - but none of them have anything to do with the Michael and Maxwell responsible for TMoAG.
This is particularly fascinating because it essentially means that TMoAG is the only accessible record of their lives. Before we dig any deeper into that statement, let me step back and actually address what this game is.
The Museum of Anything Goes is, by definition, a virtual art museum. Functionally it's a prerendered point-and-click adventure game where you can explore a bunch of multimedia exhibits that give the surface-level impression of a children's edutainment game, but once you start exploring further it reveals a side that firmly plants the game's feet into a haze of substance abuse and surreal humor.
Many exhibits are essentially just toying around with the astonishing new powers of CD-ROM. Everything has to make noise. Everything has to spin and flitter around. There's an air of genuine excitement for the medium, and I can't help but find it extremely charming.
The game also functions as a scrapbook, filled to the brim with photos of random trips to the zoo and snow-mobile rides with friends. At one point we even get insight into something as specific as Michael's one-year job as a tutor at a Chicago middle school, where he talks about how it opened his eyes to how poorly funded and mismanaged the school system is.
It's simultaneously quaint and chilling to see so much personal history packed into a world doomed to obscurity. As I explore the deeper parts of the museum, I contemplate if the creators are still alive today. It's a bit morbid, but imagine that - you create a single obscure game with your friend and it's all the world can see. TMoAG is currently the only surviving piece that gives any insight into who these two men were.
While many exhibits are lighthearted or nonsensical, there are occasional moments where the game dips into the eerie.
One exhibit has the player kill a man by dropping him from the sky, and after burying him you open the coffin to a video of a rotting pig carcass being put into an incinerator.
Other exhibits just feature simple 3D renders shifting around a dark screen while haunting groans play in the background.
While I would never refer to the game as "scary," its darker moments combined with the occasional mature subject matter definitely begs the question: Who is this game for?
You have to remember that this game came out long before the concept of "alt-games" had become codified in the digital space. Sure, unconventional digital art had been around before the advent of 256 colors, but TMoAG was being sold on disk as a game! It came out 2 years after DOOM hit shelves!
The trend of using the PC for entertainment was certainly on the upswing around that time, but It's not like TMoAG had a massive audience to find a niche in. With its mature themes it certainly wasn't suited for the kids market either, so who was it for?
At the end of the day, it's a moot question. We already know the target audience for The Museum of Anything Goes: Nobody. It doesn't have an audience because by its nature, TMoAG wasn't being made FOR someone, it was being made BY someone. It's a raw, unfiltered form of personal expression.
I think games like these are pivotal, because they question why people assume a game has to exist for the sake of being a consumable product. TMoAG certainly has the shape of a product: it features an intro cutscene, it has a tutorial, it features intuitive UX, it even has a map! These are all features that are solely integrated to provide comfort to an end-user. But once you actually wander around the museum for a bit, you realize how bizarrely its packaging fits its contents.
I think TMoAG is criminally underrated. It's not because its core content contains some earth-shaking truth, it's because the game defied all odds and cheated death.
How many thousands of other personal projects were deemed a little "too exotic" to be archived? How much history was lost these past 40 years as the digital space evolved and ate its old skin?
God knows how many other TMoAGs we'll never learn about because they weren't lucky enough to be preserved.
The Museum of Anything Goes isn't just some nonsensical art piece, it's a grave marker for so much lost media. Its existence is a reminder that some people's lives were fossilized, then macerated into nothing because a construction company built a skyscraper over them. The only evidence we have of those other games existing is this little fossil that somehow slipped out from under the skyscraper unscathed.
Even though so much has been lost, TMoAG survives as an epitaph.
hey netizens! i'm not sure how many people are aware, but youtube's been slowly rolling out a new anti-adblock policy that can't be bypassed with the usual software like uBlock Origin and Pi-Hole out of the gate
BUT, if you're a uBlock Origin user (or use an adblocker with a similar cosmetics modifier), you can add these commands in the uBlock dashboard to get rid of it!
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