Blambo

hey man why

Oh whoops, I pasted the wrong link. It was meant to be the one tegan posted.

http://broxxar.itch.io/flappy48 ^That one's infinitely better.

We're actually trying to avoid the air hockey thing by allowing the players to cross over into the other side to play offense, but we want to create the dynamic where pushing up to the goal is a dangerous commitment. Actually the players already do have a dash, ihavefivehat, but players were mostly using it to rush up to the ball.

Here's a little ball game I'm working on with a friend: Designer and programmer feels that players chase the ball too much. This wouldn't be a problem if the stage was as small as it is in the first gif, but if the goals are sufficiently far apart the ball tends to stay in the middle. Outside of letting the ball kill you or putting a divider at the halfway point, we can't think of ways to naturally make the player guard their goal more. It's a weird thing to ask without giving a build of the game but any opinions? EDIT: also those assets are super placeholder (64). I posted a mockup somewhere of all the stuff replaced with aztec/mayan tiles and characters

Man those are some crazy spec maps for such a low poly pizza model.

Oh cool people are exercising! I swim competitively so I haven't actually thought about dryland stuff until recently; I basically had to relearn running after ten years. My offseason couch-to-exercise path was just doing the weird sprint-jog-sprint alternate thing for about one or two miles a day, eventually working in light abdominal stuff at week two. I tried (only half of, admittedly) the Bruce Lee thing while I was doing crosstraining, and I don't recommend it unless you're willing to uproot your life and offend your tastebuds. I really, really hate muesli.

Yeah when I hear it like that, it always seems like the term's being used as a comment on the idea that getting in on something before it's popular has inherent value. Like it's describing an attitude rather than a specific group of interests, which has been interpreted as a sense of superiority. I dunno. SIGNIFICANT EDIT: I read the rest of the thread, and I do not condone or approve of grouping people this way

Sorry yeah haha it's hard for me to tell who's in on what joke

Nah it's all good, I never meant it to be anything other than that Though tegan's congrats nick shirt needs to be a thing. Or a fucknick.xxx shirt

Haha I thought it was just a dumb joke I'll color and clean them if they're actually being considered

Will do

Yeessssssssssssssssssssssssssssssssssssss.

Lovely. I wanna try to feel out the last theme song too, though I will be unsuccessful

Thanks! I really love that style of art that you're showing. It's simultaneously formless and evocative. Some thoughts on why planning, understanding, and thumbnailing are important for students (like me): Against all accumulated youtube tutorial knowledge, shadows are black. However, these are shadows as in areas that do not have any light bouncing off of them, which you most definitely will not ever see in the natural world. What this means though is that when painting shadows, or more accurately when painting the underpainting, it's better to be thinking about what ambient light occupies the space not hit by the dominant light sources, rather than thinking "what color are the shadows" directly after painting everything else, since in that case your thought process during the painting most likely excluded the effect of any ambient light, reflected light, tonal light, inherent object luminescence or atmospheric scattered light in the painting. Which is why starting out by painting directly onto the canvas is stupid and hard. In order to accurately and realistically determine the behavior of light and shadow and bake those considerations into your process, you need to build from the shadows up, adding different sources of light to the painting as they progress in intensity. This is a bottom up method. However to even have any idea of what you're painting and to plan the composition, the colors, the values, the shapes and later the forms, you need a top down method of painting, which is to have a clear idea of what your end result is. These two thought processes aren't necessarily divorced when your process is completely top-down or bottom-up (and most professionals probably have completely married the two), but for people just starting it can be really really frustrating when the end result is either too holistically unbalanced or unrealistic. Without years and years of experience, just slapping some stuff onto the canvas might yield some immediate satisfaction but it might not look realistic or even good. Therefore, speedpainting is for professionals and crazy people.

Are you guys taking shirt pitches?

Whoa that's really striking! Though some line weight variation could make it better, I dunno if it fits the style. Here's a thing:

I listen to many things with one earbud in, so often times steve is a ghost in the right channel.

Here's an excerpt from a painting diary I'm keeping: The Coup: At this point I decided I wanted to stop relying on fancy brushes to show texture. This piece was painted with a hard round brush with opacity and flow controlled with pen pressure, which I'm currently using. It felt strange to have to actively think about the material I wanted to paint and how to do so without getting too tight and constrained, though in the end it was liberating. I strongly recommend anyone who's starting out painting to skip the cheesy texture phase and just straight up study materials, you might be much better off in the long run. Another thing I started to do with this one was plan out the ambient light, layer on rendering passes depending on strength of the light until I finally get to the primary light source, which in this case was the sunlight. I should do a writeup of this specific technique when I get the chance, mostly because I want to make sense of it. In this case I only had the color of the sky reflecting off of the ground, blue, and the sunlight reflecting off of the ground. I'm sure there are more I could paint to make it more realistic, but I was trying to make sense of it all. So first I would map out what is in shadow of what, and do a pass where I render the objects using skylight. Everything that is not inundated by a large light is rendered this way. Then I did anything affected by reflected light from the main light source, then directly by the main light source. This way anything that I perceive has the most amount of ambient light affecting it will be painted with the most rendering passes and anything in total shadow is basically fully rendered in the first pass. If this was a real painting, you would see that the most complex areas have the thickest layer of paint over the canvas. I'll get more in depth about the practicalities of this technique in a later writeup, but right now a big pro of this technique is that I'm able to have a better idea of what's going on holistically when I'm rendering, A con though is that I can't do any color or value planning without making a thumbnail, since for this technique to yield good results I need a blank canvas and an idea of how this should look when it's finished. That's not exactly a bad thing (in fact most people do it) but it feels much less spontaneous than I'm used to. But just like using texture brushes, painting directly on the canvas with purpose requires a good idea of what I want, which I definitely don't have at my experience level.

Clyde that looks really awesome, like a kind of 14th century apothecary's journal. Simbiotik you have some amazingly strange, stylish stuff. It's got a lot of character (I know that's a statement that's used as a sort of soft, non-compliment but I genuinely like it aesthetically). Here's a mockup I've been doing: I think it's missing torches

Great episode! I'm especially interested in hearing more about Remo's teenage rap sheet.

Not my shit but the new website has a .plumbing TLD so it's gotta be here http://www.textbasedmultiplayershooter.plumbing

hahahha amazing