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Two different animation commissions combined into one! Added some fun sound effects too hehe 🎬✨ Commissioned by Jim55 and Cameron The Corgi #commission #cartoon #anime #artwork #furry #furryart #digitalart #furrycommission #yaoi #dog #corgi #hyena #bara

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Kamballee

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15,268 Aufrufe • vor 1 Jahr •via X (Twitter)

TiereKunst#commission#cartoon#anime#artwork#furry#furryart#digitalart#furrycommission#yaoi#dog#corgi#hyena#bara
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Who remembers this classic shooter from 35 years ago? SWIV (or "Silkworm IV" as called by some) from 1991. Graphics and sound effects were excellent for its time. But what I liked the most was that you could toggle through the power ups by shooting at them when they dropped. It added some extra fun and complexity, it allowed you to really improve (or mess up!) your weapons path. The game was considered a spiritual successor to Tecmo's arcade game Silkworm from 1989. The game's heritage is evident from the game design whereby one player pilots a helicopter, and the other an armoured Jeep. SWIV is not an official sequel, as noted by ex-Sales Curve producer Dan Marchant: "SWIV wasn't really a sequel to Silkworm, but it was certainly inspired by it and several other shoot-'em-ups that we had played and loved." If you listen closely to the sound effects, you will definitely hear a resemblance to "Silkworm." Sometimes I would just let the intro run endlessly - the music was simply too good!
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Who remembers this classic shooter from 35 years ago? SWIV (or "Silkworm IV" as called by some) from 1991. Graphics and sound effects were excellent for its time. But what I liked the most was that you could toggle through the power ups by shooting at them when they dropped. It added some extra fun and complexity, it allowed you to really improve (or mess up!) your weapons path. The game was considered a spiritual successor to Tecmo's arcade game Silkworm from 1989. The game's heritage is evident from the game design whereby one player pilots a helicopter, and the other an armoured Jeep. SWIV is not an official sequel, as noted by ex-Sales Curve producer Dan Marchant: "SWIV wasn't really a sequel to Silkworm, but it was certainly inspired by it and several other shoot-'em-ups that we had played and loved." If you listen closely to the sound effects, you will definitely hear a resemblance to "Silkworm." Sometimes I would just let the intro run endlessly - the music was simply too good!

exQUIZitely 🕹️

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Future CSS Tip! 🔮 You can create this scrolling image pop-out effect with CSS scroll-driven animations and zero JS! 🔥 .pop { view-timeline-name: --pop; } img { animation: slide both; animation-timeline: --pop; animation-range: entry 100% cover 50%; } .skateboarder { --x: 0; --y: -45%; } @ keyframes slide { to { translate: var(--x) var(--y); } } The "trick" is to layer up two image elements and keep one clipped by the container 🤙 Slide them both together and it will look like one pops out of the container 🎈 You can leverage scoped custom properties to translate by different distances too! 😎 You can use macOS's built-in image background removal tool to get the pop-out image ✨ And for added effect, you can animate the brightness on that to make it stand out ⭐️ CodePen.IO link below! 👇
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Future CSS Tip! 🔮 You can create this scrolling image pop-out effect with CSS scroll-driven animations and zero JS! 🔥 .pop { view-timeline-name: --pop; } img { animation: slide both; animation-timeline: --pop; animation-range: entry 100% cover 50%; } .skateboarder { --x: 0; --y: -45%; } @ keyframes slide { to { translate: var(--x) var(--y); } } The "trick" is to layer up two image elements and keep one clipped by the container 🤙 Slide them both together and it will look like one pops out of the container 🎈 You can leverage scoped custom properties to translate by different distances too! 😎 You can use macOS's built-in image background removal tool to get the pop-out image ✨ And for added effect, you can animate the brightness on that to make it stand out ⭐️ CodePen.IO link below! 👇

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CSS Tip! ✨ You can create these parallax effects and image cross-fades with scroll-driven animations 🤙 img { animation: fade; animation-timeline: view(); mix-blend-mode: plus-lighter } img:last-of-type { animation-direction: reverse; } @​keyframes fade { to { opacity: 0; }} This one's fun! 😁 The trick with the cross-fading image is to make use of one animation that runs at the same time on two images inside a container. You use the same animation, animation-timeline, and animation-range. But, you use animation-direction: reverse on one of the images so they go in the opposite direction 🫶 The use of mix-blend-mode: plus-lighter; produces a better cross-fade result 💯 A viewTimeline (view()) works because you know that both images are the same height. The range you can use is img { animation-timeline: view(); animation-range: cover 45% cover 55%; } That means when the image has covered 45% of the scrollport (In this case, the window), start the animation. And finish when it has covered 55% 🎬 How about the slight parallax? This is a trick with calc(). You know the top of the small image and the big image line up. And you can do this by absolutely placing the caption outside of the small image. The trick is to translate the small image by a distance so it lines up with the bottom of the big image. You can do that like this :root { --catch-up: calc( var(--big-height) - var(--small-height) ); } @​keyframes move { to { translate: 0 var(--catch-up); }} Then drive that animation with a scroll-driven animation using the container of both images as the driver 🤙 /* section contains both images */ section { view-timeline: --container; } .img-fader { animation: catch-up both linear; animation-timeline: --container; animation-range: 50vh calc(100vh + (var(--big-height) * 0.25)); } That's it! Scroll-driven image cross-fading and parallax effects without any JavaScript. This demo will work in all browsers as there is some JavaScript in place where the API isn't supported 🤙 To do that, it uses GSAP ScrollTrigger 🏆 As always, any questions, requests, etc. hit me up! 🤙 CodePen.IO link below 👇
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CSS Tip! ✨ You can create these parallax effects and image cross-fades with scroll-driven animations 🤙 img { animation: fade; animation-timeline: view(); mix-blend-mode: plus-lighter } img:last-of-type { animation-direction: reverse; } @​keyframes fade { to { opacity: 0; }} This one's fun! 😁 The trick with the cross-fading image is to make use of one animation that runs at the same time on two images inside a container. You use the same animation, animation-timeline, and animation-range. But, you use animation-direction: reverse on one of the images so they go in the opposite direction 🫶 The use of mix-blend-mode: plus-lighter; produces a better cross-fade result 💯 A viewTimeline (view()) works because you know that both images are the same height. The range you can use is img { animation-timeline: view(); animation-range: cover 45% cover 55%; } That means when the image has covered 45% of the scrollport (In this case, the window), start the animation. And finish when it has covered 55% 🎬 How about the slight parallax? This is a trick with calc(). You know the top of the small image and the big image line up. And you can do this by absolutely placing the caption outside of the small image. The trick is to translate the small image by a distance so it lines up with the bottom of the big image. You can do that like this :root { --catch-up: calc( var(--big-height) - var(--small-height) ); } @​keyframes move { to { translate: 0 var(--catch-up); }} Then drive that animation with a scroll-driven animation using the container of both images as the driver 🤙 /* section contains both images */ section { view-timeline: --container; } .img-fader { animation: catch-up both linear; animation-timeline: --container; animation-range: 50vh calc(100vh + (var(--big-height) * 0.25)); } That's it! Scroll-driven image cross-fading and parallax effects without any JavaScript. This demo will work in all browsers as there is some JavaScript in place where the API isn't supported 🤙 To do that, it uses GSAP ScrollTrigger 🏆 As always, any questions, requests, etc. hit me up! 🤙 CodePen.IO link below 👇

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🌟Classic Sage skill pack-DT edition released! 📷Full Video： ⬇️Download via kofi： ⬇️Download via XMA： I made totally 5 damage skills for Sage this time, including the rework of some skills that were made before.(Sage's healing skills vfx really have no need to be enhanced) The key focus this time is to address the issue where the Healer class only has one main damage filler skill, which makes gameplay feel boring over time. Therefore, I have added 3 different attack modes to the Sage's "Dosis III" skill, and these modes can be triggered randomly—aiming to add more fun to regular battles. Additionally, I am not very satisfied with the previous version of the "Pneuma" skill. As a result, I have also completely reworked it into a new version this time. I personally really like it and hope you will enjoy it too. Of course, I have also retained the old version for players who prefer it. v2.0.0： ◆New Skill Effects Added:【Eukrasian Dyskrasia】【Eukrasian Dosis III】【Psyche】 ◆Old Version Remade & Upgraded:【Dosis III】【Pneuma】
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Papachin/怕怕

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(TL;DR warning again) 41 years ago this month my local UHF channel began airing a kids cartoon unlike anything I'd ever seen before. Half-hour installments. Amazing animation which seemed a cut above most early 80s American childrens TV to that point. And the scripting was of a decidedly more adult nature than either Voltron or G.I. Joe. It only took one episode to suck me in. Because of the airplanes turning into robots, of course. It was the era of Optimus Prime duking it out with Megatron. Every American boy in 1985 adored both Transformers and GoBots. But these giant swing-wing "veritechs" were piloted by men. Against enormous aliens who were decidedly different from any I'd seen in any science fiction TV show before. And one episode's plot bled into another. These weren't capsule stories. The entire thing was one big story. Which I avidly tuned in to before school day after day. The war against the Zentraedi segued to the war against the Robotech Masters, which segued to the war with the Invid. I had no idea at the time I was seeing an Americanized kitbash of three distinct Japanese shows. It was all just extraordinary to me, and I never noticed the seams which had been papered over by American writers. There aren't many sci-fi franchises which have had an impact on me like ROBOTECH. Not even STAR WARS. The only sci-fi show which has a larger presence in my mental landscape is STAR TREK. And I not only owned the entirety of ROBOTECH on VHS—grainy TV tapes at first, then store-bought official copies after—I played the Palladium role-playing game with my H.S. friends. The remastered DVD sets which emerged 20 years ago never sat right with me because the sound effects got re-done. And it wasn't until I was on deployment trying to watch ripped .mp4 of the remasters that I realized just how badly those re-done sound effects jagged on my ear. I still remembered *all* the broadcast effects as they had been. And I wanted them back. Amazon briefly had rights to and streamed an "original broadcast" edition of ROBOTECH which kept the old effects. But this was license short-lived. And I ended up buying a *second* set of DVDs in the vain hope of getting a broadcast-true edition in hard media. Except, that set also ended up being the remastered sound effects. What to do? I kept hearing about "legacy" copies from turn of the century. After VHS, but before the remasters. This week I finally located a full 14-disc set of the "legacy" DVDs which supposedly are closest to broadcast. After ripping them to .mkv it seems true. I finally have digital hard media of the actual ROBOTECH I remember from my youth. 🤓
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(TL;DR warning again) 41 years ago this month my local UHF channel began airing a kids cartoon unlike anything I'd ever seen before. Half-hour installments. Amazing animation which seemed a cut above most early 80s American childrens TV to that point. And the scripting was of a decidedly more adult nature than either Voltron or G.I. Joe. It only took one episode to suck me in. Because of the airplanes turning into robots, of course. It was the era of Optimus Prime duking it out with Megatron. Every American boy in 1985 adored both Transformers and GoBots. But these giant swing-wing "veritechs" were piloted by men. Against enormous aliens who were decidedly different from any I'd seen in any science fiction TV show before. And one episode's plot bled into another. These weren't capsule stories. The entire thing was one big story. Which I avidly tuned in to before school day after day. The war against the Zentraedi segued to the war against the Robotech Masters, which segued to the war with the Invid. I had no idea at the time I was seeing an Americanized kitbash of three distinct Japanese shows. It was all just extraordinary to me, and I never noticed the seams which had been papered over by American writers. There aren't many sci-fi franchises which have had an impact on me like ROBOTECH. Not even STAR WARS. The only sci-fi show which has a larger presence in my mental landscape is STAR TREK. And I not only owned the entirety of ROBOTECH on VHS—grainy TV tapes at first, then store-bought official copies after—I played the Palladium role-playing game with my H.S. friends. The remastered DVD sets which emerged 20 years ago never sat right with me because the sound effects got re-done. And it wasn't until I was on deployment trying to watch ripped .mp4 of the remasters that I realized just how badly those re-done sound effects jagged on my ear. I still remembered *all* the broadcast effects as they had been. And I wanted them back. Amazon briefly had rights to and streamed an "original broadcast" edition of ROBOTECH which kept the old effects. But this was license short-lived. And I ended up buying a *second* set of DVDs in the vain hope of getting a broadcast-true edition in hard media. Except, that set also ended up being the remastered sound effects. What to do? I kept hearing about "legacy" copies from turn of the century. After VHS, but before the remasters. This week I finally located a full 14-disc set of the "legacy" DVDs which supposedly are closest to broadcast. After ripping them to .mkv it seems true. I finally have digital hard media of the actual ROBOTECH I remember from my youth. 🤓

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Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool
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Here's my first series of Anime created by Generative AI. Vidu 2.0 is a groundbreaking advancement for storytelling in the Anime style. #vidu @Viduforhuman Hi everyone 😊 😉 Here's my first AI-created Anime series. The name of my anime is Kuro & Yuki. I won't spoil the story for you, but it begins with these two boys locked up in what appears to be a highly secure institute/prison. Yuki has reached the age where he has awakened his power. While wandering the corridors of the institute, he meets Kuro, a boy with autism. It's a fleeting encounter as they end up being separated. As the story unfolds, you'll understand who they really are and why they are locked up. I don't plan on making episode 2 yet, even though I've grown attached to my characters' story. I'll continue the story only if a lot of people are interested and want to know what happens next. Otherwise, I'll explore other universes and styles of Anime 😉 Tools: - Epidemic Sound (For sound effects) - Vidu AI (to transform frames into animation) - ElevenLabs (for certain expressions) When I say Vidu 2.0 is a game-changer, I mean it. I had already made my animation with the previous version of Vidu, but when they gave me access to the beta, I urgently changed my plans and recreated all the animations. Let me tell you, it's a whole new level. My first animation was ultra frustrating to bring my ideas to life! Really! And since Vidu couldn't handle many image styles, I clearly couldn't bring my ideas to life. But with Vidu 2.0, I enjoy it much more! For the first time, I really get to bring my ideas to life! Until now, I always had to make compromises. Of course, Vidu is still not perfect, and there are still many obstacles, but it is a truly magnificent advancement! (and it surpasses all the Anime-style AIs I've tested recently) Moreover, Vidu 2.0 is fantastic for special effects, but also for embedding elements into the video (like a hand that appears and interacts with the character, or another character; and the best part is that they perfectly match the style of the original images!) * The animations/images and voices are AI-generated * The SoundDesign is traditional and done by me * The story was entirely written by me (I don't use AI to create my stories, it's important to me to write them myself) The voices were generated thanks to Nijivoice (for secondary characters) and Hailuo Audio (for main characters). I thank Yachimat (yachimat - AI Short Anime) for introducing me to Nijivoice, it's very generous of him! During the beta, we didn't consume credits, otherwise, this animation would have cost me around 20,000 credits, ha ha. Vidu 2.0, with its superb stability and fidelity to the style of images, offers brand new horizons for storytelling! One problem with Vidu 2.0 is that for now, you have to manually extend videos (by exporting the last frame). As you can see, this allowed me to create long scenes with different actions, and everything fits together perfectly! There are still many obstacles to storytelling, such as character consistency (I use the image to video function; I produce my images with Nijijourney) and it's always laborious to have a consistent character! The same goes for backgrounds. Here are the points I've identified that would facilitate storytelling: For Vidu: - Function to extend videos (you can already do this manually by exporting the last frame) - Function to invent the beginning or end of a video using a single frame (you can already do this manually by putting a completely white or completely black image as the first or last frame; this technique also allows you to have very dynamic results with Vidu 2.0! ) - It's difficult to obtain facial expressions for certain image styles (the same image style that the previous version couldn't handle at all). - More dynamism There's always room for improvement, but Vidu 2.0 has truly opened up exciting new possibilities for creative storytelling. ai aiart aianimation aianime ainews anime animenews aitools aitool

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66,586 Aufrufe • vor 1 Jahr

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0:32

North & South on the Amiga – One of the most charming 16-bit takes on the Civil War! Infogrames brought the humor of the Belgian comic Les Tuniques Bleues to life in this 1989 Commodore Amiga classic. Pick the Union or Confederacy, conquer territory across the USA map, manage railroads for income, and dive into hilarious arcade-style battles. Pure strategy mixed with cartoon action! Here are 5 interesting facts about the Amiga version: 1. The game is directly based on the long-running Belgian comic series Les Tuniques Bleues by Raoul Cauvin and Willy Lambil. It keeps the light-hearted, satirical tone instead of a serious war sim, complete with cartoonish characters and animations. 2. Released in 1989 by Infogrames for Amiga and Atari ST. It was the original version, developed in-house with stunning colourful graphics, sampled sound effects, and a memorable soundtrack by Charles Callet that includes funny national anthem parodies depending on the language chosen. 3. Five languages supported right from the start: English, French, German, Spanish, and Italian. The menu has fun hidden touches, like clicking on the photographer's backside for a funny reaction. 4. Strategy meets arcade perfectly – move armies on the map to capture states, then switch to real-time mini-games when attacking forts (dodge cannon fire and plant dynamite) or trains (race along the tracks). Army battles let you command infantry, cavalry, and artillery with side-view chaos. 5. Excellent two-player support with hotseat or simultaneous play. The game is fast-paced, accessible, and sessions usually last 15-30 minutes, making it perfect for quick matches or long rivalries. A true Amiga classic that still holds up for its humour, presentation, and addictive blend of strategy and action. Who’s played it – North or South side?

Commodore Computer Museum 🕹

19,517 Aufrufe • vor 4 Monaten

For the second straight year, an album I heard in March blew me away, and ran away with this title. The Red Herring for 2024 ALBUM OF THE YEAR GOES TO… Boundaries’ “Death Is Little More” 💿Released: March 29 Top 3 tracks: 🎤Easily Erased 🎤Turning Hate Into Rage 🎤Darkness Shared I loved a LOT of records this year. I really did. But this record has finished as my album of the year by a wide margin. Boundaries is yet another band that I’ve seen grow over the years from a little Connecticut band, to now being on some MASSIVE tours. They are a band essentially built for me. Their breakthrough to me, was 2022’s “Burying Brightness.” That was their spring board that really helped them find their sound. And after they learned to walk, THIS album has them SPRINTING. This is one of the most aggressive records of the year, and it’s admirable but what I love most is the touches of melody they have now spread throughout the record. Songs like Easily Erased and Scars on a Soul are two that feel like they could have been standard boundaries song, but those small touches thrown in have made them into masterpieces. Blames Burden featuring Markus Vik from Invent Animate sees the band taking a somewhat new direction too, and really comes with a surprise left hook towards the end of this album, just when you thought you had it figured out. The classic Boundaries sound, combined with these new touches have made for an outstanding album worthy of being worn like a badge of honor by the members of this band.
2:07

For the second straight year, an album I heard in March blew me away, and ran away with this title. The Red Herring for 2024 ALBUM OF THE YEAR GOES TO… Boundaries’ “Death Is Little More” 💿Released: March 29 Top 3 tracks: 🎤Easily Erased 🎤Turning Hate Into Rage 🎤Darkness Shared I loved a LOT of records this year. I really did. But this record has finished as my album of the year by a wide margin. Boundaries is yet another band that I’ve seen grow over the years from a little Connecticut band, to now being on some MASSIVE tours. They are a band essentially built for me. Their breakthrough to me, was 2022’s “Burying Brightness.” That was their spring board that really helped them find their sound. And after they learned to walk, THIS album has them SPRINTING. This is one of the most aggressive records of the year, and it’s admirable but what I love most is the touches of melody they have now spread throughout the record. Songs like Easily Erased and Scars on a Soul are two that feel like they could have been standard boundaries song, but those small touches thrown in have made them into masterpieces. Blames Burden featuring Markus Vik from Invent Animate sees the band taking a somewhat new direction too, and really comes with a surprise left hook towards the end of this album, just when you thought you had it figured out. The classic Boundaries sound, combined with these new touches have made for an outstanding album worthy of being worn like a badge of honor by the members of this band.

The Red Herring

23,440 Aufrufe • vor 1 Jahr

🛠️ Patch Notes - Early Access Patch 2 We are incredibly excited to be releasing our largest patch yet, marking the One Month Anniversary of our Steam Early Access Launch! Patch 2 is chock full of highly requested features such as Weapon Tryout, the ability to Respec, DLSS / FSR Upscaling and Controller Remapping. Lots of Balancing and Quality of Life improvements, Audio, Animation, and Visual Effect polish as well as a multitude of bug fixes are also included! Between DLSS and FSR, numerous CPU, GPU performance improvements, and memory optimization we are confident that your experience of playing No Rest For The Wicked will be significantly smoother across a wide range of hardware. For NVIDIA users, we are excited to mention that there’s a new Game Ready Driver for No Rest for the Wicked! Be sure to check out our Patch 2 Highlight Video and the full patch notes below. ⚔️ Performance: • Performance Mode now lowers texture resolution, reducing crashes on lower-end machines • Numerous Significant CPU optimizations • Fixed performance degradation that might occur on some gamepads • Fixed numerous memory leaks • Reduced instantiation spikes for numerous objects • Disabled detail meshes on generic humanoids faces when not needed • Reduced latency, overhead and improved stability of GPU Culling • Optimized texture resolution and memory budgets for Steam Deck • Optimized Art content in Ship Prologue and its cinematics • Removed unused weapon assets to free up memory • Removed leftover developer tools to free up memory • Optimized CPU spikes of a variety of common content loading operations • Added texture streaming for character portraits during dialogue interactions to save memory • Fixed some persistent log spam being generated by potatoes in Nameless Pass • Cleaned up numerous NPC prefabs, reducing memory footprint and instantiation costs • Optimized Ambient Occlusion Rendering • Extended GPU culling usage for more cases • Configured and optimized pooling for more prefab instantiations reducing CPU spikes ⚔️ Gameplay Systems: • Added new Respec System! ⚬ Players can now Respec by examining the statue in the Cerim Crucible Atrium ⚬ Respec allows players to take back Attribute Points that have been allocated at the cost of 1 Fallen Ember per Attribute Point returned ⚬ Players can then allocate returned Attribute Points for no cost at the Respec screen or in the existing Stats screen ⚔️ Quality of Life: • All weapons can now be equipped regardless of their Attribute Requirements to allow players to try out weapons they acquire ⚬ Weapons that the player does not meet the requirements for will deal less damage through negative scaling on the Attributes that are below the weapon’s Attribute Requirements • Inventory Items can now be docked to compare them ⚬ Press F (Keyboard) or Y (Controller) to dock items and hover other items to compare • Brought back the Misc category to the Inventory ⚬ Housing items, Runes, Fallen Embers and other miscellaneous items will now be sorted into this category and free up space from other categories • Vendor screens are now sorted by item type so that items are more organized for purchase • Improved Stamina player HUD brightness for better visibility, and readability of stamina debt • Added side notifications for when Danos Sacrament Upgrades are completed • Added Floor Indicators under the Clock HUD to show the Cerim Crucible floors • Improved visibility of LB/RB button icons for Equipment HUD on Steam Deck ⚔️ Settings: • Added support for Upscaling with DLSS 3.7 and FSR 2.2 • Added custom key rebinding options for Controller • Added support for Mouse Buttons 4,5 and F1-F12 Keys for custom Keyboard bindings • Default Keyboard layout set to Mouse+WASD • Added support for worldspace Player HUD (Stamina wheel, NPC name tags, etc) brightness to UI Brightness setting ⚔️ Content Additions: • Added a new set of enchantments • All Throw runes can now be added to Spears ⚔️ Loot: • Added Pig Sticker Blueprint to Fillmore's Level 1 Shop • Added Assegai Blueprint to Whittacker's Level 1 Shop ⚔️ Balance: • Nerfed Throw runes ⚬ Reduced Poise Damage on all Throw runes ⚬ Reduced Damage on Ice Throw Rune • Nerfed Focus Regeneration enchant curve so that it no longer generates too much Focus too quickly • Focus Regeneration enchantment no longer drops with Gloves and now only drops with Helmets • This includes enchanting items at Eleanor • Falling Sky and Woodland Protector’s initial item levels were set too high and have been lowered to the intended levels ⚔️ Weapons: • Updated animation for backstabbing with Staves, Spears, Greatswords and Great Hammers • Updated visual effects for Piercing type weapon attacks (such as Spear or Rapier) ⚔️ Enemies and Bosses: • Polished Darak boss fight ⚬ Improved behavior to prevent him standing idle after attacking ⚬ Improved behavior when fighting ranged builds • Added Bite Attack to Plague Rat • Added Back Attack to Risen Axe Bruiser • Added escape logic to Risen Fire Bomber • Added Elemental Affix visual effects to Nith Brute, Nith Screamer and Shackled Brute • Adding cloth simulation to Boarskin Bruiser • Polished rigging on Plagued Boomer • Reduced camera shake intensity on Risen Hammer Bruiser, Boarskin Bruiser and Riven Twins • Smaller enemies can now smash breakable objects (barrels, crates, etc.) ⚔️ NPCs: • Changed the name of the worried woman in the Sacrament Town Square to Nell • Polishing dialog for Druo, Lucian and Everwyn • Updated the dialog for NPCs at the Cerim Gate in Nameless Pass • Added eavesdrop to Sleeping Guard Gerard in Sacrament ⚔️ Areas: • Improved collision, faders and set dressing in Prologue Ship, Orban Glades, Mariner’s Keep, Nameless Pass, Sacrament, Multiple Sacrament Interiors, Cerim Crucible, Cerim Cave, Riven Twins Boss Arena and Potion Seller Cave • Polished lighting for the ship in Prologue, Sacrament and Cerim Crucible • Updated foliage in various locations • Added physics and wind simulation to Spruce trees ⚔️ Cinematics: • Polished animations for characters in the Inquisition Arrival cinematic • Improved lighting, character rim lighting and volumetrics for the Prologue Ship Crash Outro and Inquisition Arrival cinematics • Removed a background character who was blocking part of the view in the Inquisition Arrival cinematic • Fixed cloth and camera pops in the Inquisition Arrival cinematic ⚔️ Audio: • Environment update for Sacrament: ⚬ Added Ambience Emitters for certain Residential and Vendor buildings like the Cook, Tavern, Woodcrafter and Enchantress ⚬ Updated zone beds and oneshots for unique parts of town (Cemetery, Poor Area,Training Grounds, Dasha Sanctuary) ⚬ The church near the cemetery now has bells ringing to service playing at certain times of day, followed by churchgoers praying and chanting from behind the doors. ⚬ Updated ambience for Sacrament Town Square to feel busier during the day ⚬ Updated environment audio for the Cerim Gate zone in Mountain Pass • Increased audio buffer to help alleviate audio crackle artifacts • Increased available audio resources to help prevent sounds from dropping out during long play sessions • Updated audio for Cerim Vision cinematic • Updated audio mix for Barrel and Crate destruction • Saluting Guards in Sacrament now have sound • Added Weapon-specific Impacts on parrying and blocking actions • Added ladder sliding sound effects for Kickdown Ladders • Added sound effects for going down Ladders • Added new sound effects for Plague-Enchanted weapons • Polished audio for Bounties enemies • Fixed missing sounds for Plagued Mutant Soldier • Fixed rain sounds appearing in Sacrament Interiors • Fixed enchantment-specific weapon whooshes cutting a bit too early • Fixed NPCs not making footstep sounds when walking around • Fixed environment states sometimes not resetting when returning to the main menu ⚔️ VFX: • Blood effects are now juicier and used more often! • Improved blood visual effects attachment to characters bodies from attacking and getting hit • Increased intensity of shiny item drop VFX ⚔️ Bounties and Challenges: • Updated Crustacean Conundrum bounty to spawn 14 Crabs while still only requiring 8 Crabs be killed to complete ⚔️ Localization: • Added and updated localized text in many places across multiple languages • Added localization support for new Controller Remapping screen and for various missing localized elements • Fixed incorrect font on the Activities screen ⚔️ Bug Fixes: • Fixed various enchantments on unique weapons and rings that weren’t working properly • Fixed Rested Bonuses for sleeping in beds • Fixed Key Items respawning after pick up • Fixed navigation in Nameless Pass which was preventing certain enemies and the Riven Twins boss from patrolling and moving to the player • Fixed Echo Knight falling off the arena and blocking progress • Fixed Cerim Armor missing upgrades at Filmore • Fixed Risen Pavise, Eye of the Beholder and Wooden Howler Shields not showing their proper models • Fixed SHIFT key not being recognized in the Main Menu • Fixed certain environment textures overriding certain armor textures • Fixed certain armor having missing or incorrect cloth simulation • Fixed rigging on certain armor • Fixed The Wallow boss attacks not having sound effects • Fixed Falling Sky Blueprint not giving the Unique version of the weapon when crafting • Fixed an issue where completed but not yet turned in bounty/challenge rewards were being automatically given to the player at reset • Fixed wall cannons not firing in Cerim Crucible • Fixed XP UI not showing “Max Level” after reaching the level cap • Fixed Level and XP UI being present without a Character selected in the Main Menu • Fixed “Long Area Name” appearing on the map where map is unavailable (such as Cerim Crucible) • Fixed being able to skip through locked doors in The Shallows • Fixed players getting stuck at the end of the entrance corridor in the Echo Knight Arena • Fixed Enchant Item Challenge counting enchanted items that are picked up • Fixed mortuary guard popping in on screen during Spoken and Unspoken quest • Fixed extra Elsa map marker during the Spoken and Unspoken quest • Fixed Giles and Petra standing instead of sitting on the chairs in Caroline’s Inn • Fixed Arrows not hitting Plagued Wolf • Fixed Wolf and Plagued Wolf target point • Fixed Tanth Knight getting stuck during patrolling in Mariner’s Keep at Endgame state • Fixed Darak leaving his shield in Orban Glades when he escapes • Fixed chest opening VFX in Performance and Balanced quality presets • Fixed Wolf having a dance party after death • Fixed Chest floating in the air in Mariner’s Keep • Fixed incorrect texture on the Crafting Table • Fixed 4096x2160 resolution appearing as 256x135 aspect ratio, instead displays as 1.9:1 • Fixed overblown bonfire lighting at The Shallows • Removed rogue rim light at The Shallows • Removed lighting debug shortcut See the full patch notes here -
1:30

🛠️ Patch Notes - Early Access Patch 2 We are incredibly excited to be releasing our largest patch yet, marking the One Month Anniversary of our Steam Early Access Launch! Patch 2 is chock full of highly requested features such as Weapon Tryout, the ability to Respec, DLSS / FSR Upscaling and Controller Remapping. Lots of Balancing and Quality of Life improvements, Audio, Animation, and Visual Effect polish as well as a multitude of bug fixes are also included! Between DLSS and FSR, numerous CPU, GPU performance improvements, and memory optimization we are confident that your experience of playing No Rest For The Wicked will be significantly smoother across a wide range of hardware. For NVIDIA users, we are excited to mention that there’s a new Game Ready Driver for No Rest for the Wicked! Be sure to check out our Patch 2 Highlight Video and the full patch notes below. ⚔️ Performance: • Performance Mode now lowers texture resolution, reducing crashes on lower-end machines • Numerous Significant CPU optimizations • Fixed performance degradation that might occur on some gamepads • Fixed numerous memory leaks • Reduced instantiation spikes for numerous objects • Disabled detail meshes on generic humanoids faces when not needed • Reduced latency, overhead and improved stability of GPU Culling • Optimized texture resolution and memory budgets for Steam Deck • Optimized Art content in Ship Prologue and its cinematics • Removed unused weapon assets to free up memory • Removed leftover developer tools to free up memory • Optimized CPU spikes of a variety of common content loading operations • Added texture streaming for character portraits during dialogue interactions to save memory • Fixed some persistent log spam being generated by potatoes in Nameless Pass • Cleaned up numerous NPC prefabs, reducing memory footprint and instantiation costs • Optimized Ambient Occlusion Rendering • Extended GPU culling usage for more cases • Configured and optimized pooling for more prefab instantiations reducing CPU spikes ⚔️ Gameplay Systems: • Added new Respec System! ⚬ Players can now Respec by examining the statue in the Cerim Crucible Atrium ⚬ Respec allows players to take back Attribute Points that have been allocated at the cost of 1 Fallen Ember per Attribute Point returned ⚬ Players can then allocate returned Attribute Points for no cost at the Respec screen or in the existing Stats screen ⚔️ Quality of Life: • All weapons can now be equipped regardless of their Attribute Requirements to allow players to try out weapons they acquire ⚬ Weapons that the player does not meet the requirements for will deal less damage through negative scaling on the Attributes that are below the weapon’s Attribute Requirements • Inventory Items can now be docked to compare them ⚬ Press F (Keyboard) or Y (Controller) to dock items and hover other items to compare • Brought back the Misc category to the Inventory ⚬ Housing items, Runes, Fallen Embers and other miscellaneous items will now be sorted into this category and free up space from other categories • Vendor screens are now sorted by item type so that items are more organized for purchase • Improved Stamina player HUD brightness for better visibility, and readability of stamina debt • Added side notifications for when Danos Sacrament Upgrades are completed • Added Floor Indicators under the Clock HUD to show the Cerim Crucible floors • Improved visibility of LB/RB button icons for Equipment HUD on Steam Deck ⚔️ Settings: • Added support for Upscaling with DLSS 3.7 and FSR 2.2 • Added custom key rebinding options for Controller • Added support for Mouse Buttons 4,5 and F1-F12 Keys for custom Keyboard bindings • Default Keyboard layout set to Mouse+WASD • Added support for worldspace Player HUD (Stamina wheel, NPC name tags, etc) brightness to UI Brightness setting ⚔️ Content Additions: • Added a new set of enchantments • All Throw runes can now be added to Spears ⚔️ Loot: • Added Pig Sticker Blueprint to Fillmore's Level 1 Shop • Added Assegai Blueprint to Whittacker's Level 1 Shop ⚔️ Balance: • Nerfed Throw runes ⚬ Reduced Poise Damage on all Throw runes ⚬ Reduced Damage on Ice Throw Rune • Nerfed Focus Regeneration enchant curve so that it no longer generates too much Focus too quickly • Focus Regeneration enchantment no longer drops with Gloves and now only drops with Helmets • This includes enchanting items at Eleanor • Falling Sky and Woodland Protector’s initial item levels were set too high and have been lowered to the intended levels ⚔️ Weapons: • Updated animation for backstabbing with Staves, Spears, Greatswords and Great Hammers • Updated visual effects for Piercing type weapon attacks (such as Spear or Rapier) ⚔️ Enemies and Bosses: • Polished Darak boss fight ⚬ Improved behavior to prevent him standing idle after attacking ⚬ Improved behavior when fighting ranged builds • Added Bite Attack to Plague Rat • Added Back Attack to Risen Axe Bruiser • Added escape logic to Risen Fire Bomber • Added Elemental Affix visual effects to Nith Brute, Nith Screamer and Shackled Brute • Adding cloth simulation to Boarskin Bruiser • Polished rigging on Plagued Boomer • Reduced camera shake intensity on Risen Hammer Bruiser, Boarskin Bruiser and Riven Twins • Smaller enemies can now smash breakable objects (barrels, crates, etc.) ⚔️ NPCs: • Changed the name of the worried woman in the Sacrament Town Square to Nell • Polishing dialog for Druo, Lucian and Everwyn • Updated the dialog for NPCs at the Cerim Gate in Nameless Pass • Added eavesdrop to Sleeping Guard Gerard in Sacrament ⚔️ Areas: • Improved collision, faders and set dressing in Prologue Ship, Orban Glades, Mariner’s Keep, Nameless Pass, Sacrament, Multiple Sacrament Interiors, Cerim Crucible, Cerim Cave, Riven Twins Boss Arena and Potion Seller Cave • Polished lighting for the ship in Prologue, Sacrament and Cerim Crucible • Updated foliage in various locations • Added physics and wind simulation to Spruce trees ⚔️ Cinematics: • Polished animations for characters in the Inquisition Arrival cinematic • Improved lighting, character rim lighting and volumetrics for the Prologue Ship Crash Outro and Inquisition Arrival cinematics • Removed a background character who was blocking part of the view in the Inquisition Arrival cinematic • Fixed cloth and camera pops in the Inquisition Arrival cinematic ⚔️ Audio: • Environment update for Sacrament: ⚬ Added Ambience Emitters for certain Residential and Vendor buildings like the Cook, Tavern, Woodcrafter and Enchantress ⚬ Updated zone beds and oneshots for unique parts of town (Cemetery, Poor Area,Training Grounds, Dasha Sanctuary) ⚬ The church near the cemetery now has bells ringing to service playing at certain times of day, followed by churchgoers praying and chanting from behind the doors. ⚬ Updated ambience for Sacrament Town Square to feel busier during the day ⚬ Updated environment audio for the Cerim Gate zone in Mountain Pass • Increased audio buffer to help alleviate audio crackle artifacts • Increased available audio resources to help prevent sounds from dropping out during long play sessions • Updated audio for Cerim Vision cinematic • Updated audio mix for Barrel and Crate destruction • Saluting Guards in Sacrament now have sound • Added Weapon-specific Impacts on parrying and blocking actions • Added ladder sliding sound effects for Kickdown Ladders • Added sound effects for going down Ladders • Added new sound effects for Plague-Enchanted weapons • Polished audio for Bounties enemies • Fixed missing sounds for Plagued Mutant Soldier • Fixed rain sounds appearing in Sacrament Interiors • Fixed enchantment-specific weapon whooshes cutting a bit too early • Fixed NPCs not making footstep sounds when walking around • Fixed environment states sometimes not resetting when returning to the main menu ⚔️ VFX: • Blood effects are now juicier and used more often! • Improved blood visual effects attachment to characters bodies from attacking and getting hit • Increased intensity of shiny item drop VFX ⚔️ Bounties and Challenges: • Updated Crustacean Conundrum bounty to spawn 14 Crabs while still only requiring 8 Crabs be killed to complete ⚔️ Localization: • Added and updated localized text in many places across multiple languages • Added localization support for new Controller Remapping screen and for various missing localized elements • Fixed incorrect font on the Activities screen ⚔️ Bug Fixes: • Fixed various enchantments on unique weapons and rings that weren’t working properly • Fixed Rested Bonuses for sleeping in beds • Fixed Key Items respawning after pick up • Fixed navigation in Nameless Pass which was preventing certain enemies and the Riven Twins boss from patrolling and moving to the player • Fixed Echo Knight falling off the arena and blocking progress • Fixed Cerim Armor missing upgrades at Filmore • Fixed Risen Pavise, Eye of the Beholder and Wooden Howler Shields not showing their proper models • Fixed SHIFT key not being recognized in the Main Menu • Fixed certain environment textures overriding certain armor textures • Fixed certain armor having missing or incorrect cloth simulation • Fixed rigging on certain armor • Fixed The Wallow boss attacks not having sound effects • Fixed Falling Sky Blueprint not giving the Unique version of the weapon when crafting • Fixed an issue where completed but not yet turned in bounty/challenge rewards were being automatically given to the player at reset • Fixed wall cannons not firing in Cerim Crucible • Fixed XP UI not showing “Max Level” after reaching the level cap • Fixed Level and XP UI being present without a Character selected in the Main Menu • Fixed “Long Area Name” appearing on the map where map is unavailable (such as Cerim Crucible) • Fixed being able to skip through locked doors in The Shallows • Fixed players getting stuck at the end of the entrance corridor in the Echo Knight Arena • Fixed Enchant Item Challenge counting enchanted items that are picked up • Fixed mortuary guard popping in on screen during Spoken and Unspoken quest • Fixed extra Elsa map marker during the Spoken and Unspoken quest • Fixed Giles and Petra standing instead of sitting on the chairs in Caroline’s Inn • Fixed Arrows not hitting Plagued Wolf • Fixed Wolf and Plagued Wolf target point • Fixed Tanth Knight getting stuck during patrolling in Mariner’s Keep at Endgame state • Fixed Darak leaving his shield in Orban Glades when he escapes • Fixed chest opening VFX in Performance and Balanced quality presets • Fixed Wolf having a dance party after death • Fixed Chest floating in the air in Mariner’s Keep • Fixed incorrect texture on the Crafting Table • Fixed 4096x2160 resolution appearing as 256x135 aspect ratio, instead displays as 1.9:1 • Fixed overblown bonfire lighting at The Shallows • Removed rogue rim light at The Shallows • Removed lighting debug shortcut See the full patch notes here -

No Rest for the Wicked

184,300 Aufrufe • vor 2 Jahren

September 1, 2020. With coronavirus cases going up, like the rest of the world, Mumbai too was in lockdown. The media asked some tough questions. To Bollywood. Presenting the trailer of #CultureVulture featuring ShauryaTyagi Rashi Mal suchitra pillai KATIE IQBAL #AkshayAnandKohli #IvanRodrigues Vishal K Bharadwaj Samir Bharadwaj Abhishek D Shah Anshuman Sharma Raja Sen and my two idols #NageshKukunoor with Cameron Crowe | Music by Rahul Rajkhowa #AugustusHenry | Additional Score & Sound Design by #IvanAvakian | Additional Editing #RameezDalal T.S.Suresh | Written, designed, directed, shot, editing, VFX and produced by yours truly, Sudhish Kamath. This post romance satirical stoner retelling of Casablanca / Play it Again, Sam / Ijaazat / Devdas / almost every love story ever made is conversation film about the conversations we must have this election season. If you are a culture vulture (a film critic, movie blogger, podcaster, influencer or just a fan of the movies), email anavilaforever@gmail.com and we'll send you the film before the release to watch, review, roast, recommend or just trip. If you're a journalist, please do give us a voice and some space before guidelines for OTTs, Broadcast Bill and Telecom Bill proposed make it impossible for us to make anything remotely out of the box, mad or fun. I got into this DIY pandemic project knowing fully well that the space for independent films - especially an anti establishment stoner film - had shrunk but then, it felt all the more important to document the chaos unravelling on our screens in the aftermath of a tragedy. Also, I didn't want to go crazy sitting at home doing nothing. Thanks to the overwhelming response to the preview we had in November, I now know it's the best thing I've ever done on impulse. Now it's entirely up to YOU to take it to the world. Subscribe to to watch the film real soon. We'll drop the film once we have 5000 subscribers. You can make it happen quicker by also reposting to help us spread the word.
2:11

September 1, 2020. With coronavirus cases going up, like the rest of the world, Mumbai too was in lockdown. The media asked some tough questions. To Bollywood. Presenting the trailer of #CultureVulture featuring ShauryaTyagi Rashi Mal suchitra pillai KATIE IQBAL #AkshayAnandKohli #IvanRodrigues Vishal K Bharadwaj Samir Bharadwaj Abhishek D Shah Anshuman Sharma Raja Sen and my two idols #NageshKukunoor with Cameron Crowe | Music by Rahul Rajkhowa #AugustusHenry | Additional Score & Sound Design by #IvanAvakian | Additional Editing #RameezDalal T.S.Suresh | Written, designed, directed, shot, editing, VFX and produced by yours truly, Sudhish Kamath. This post romance satirical stoner retelling of Casablanca / Play it Again, Sam / Ijaazat / Devdas / almost every love story ever made is conversation film about the conversations we must have this election season. If you are a culture vulture (a film critic, movie blogger, podcaster, influencer or just a fan of the movies), email [email protected] and we'll send you the film before the release to watch, review, roast, recommend or just trip. If you're a journalist, please do give us a voice and some space before guidelines for OTTs, Broadcast Bill and Telecom Bill proposed make it impossible for us to make anything remotely out of the box, mad or fun. I got into this DIY pandemic project knowing fully well that the space for independent films - especially an anti establishment stoner film - had shrunk but then, it felt all the more important to document the chaos unravelling on our screens in the aftermath of a tragedy. Also, I didn't want to go crazy sitting at home doing nothing. Thanks to the overwhelming response to the preview we had in November, I now know it's the best thing I've ever done on impulse. Now it's entirely up to YOU to take it to the world. Subscribe to to watch the film real soon. We'll drop the film once we have 5000 subscribers. You can make it happen quicker by also reposting to help us spread the word.

Sudhish Kamath

14,661 Aufrufe • vor 2 Jahren

I revived my 14-year-old dog with peptides. 6 months ago, he was slowing down fast. He was limping, achy, getting up slowly, and couldn't jump on the couch. We honestly didn't know if we had 6 months left with him. Today, our boy is running, jumping on the patio, going on long walks again, and even his hearing is back. I approached his protocol the same way I'd approach mine. - We started with BPC-157 and TB-500. 1-2 mg a day, 5 days on, 2 days off, injected basically the same way you'd inject a human. Within a couple of weeks, we saw less limping, less stiffness, he was moving better, etc. - Then we ran his labs the same way I run mine. Everything looked good except some minor kidney markets, and at his age kidney issues can spiral into problems dogs don't come back from. We addressed this with a bioregulator stack, again the same ones I use. - Then we put him on TRT. We're all aware of what happens to men when testosterone tanks with age. Now consider that we neuter our dogs, cut off their testosterone production entirely, and never think about it again. We put our boy on testosterone and the change was immediate. Within days of the first shot he became a different dog. We started with one shot a week, but just like in humans, by day 5 or 6 the levels drop and you get peaks and troughs. So we split it into two shots a week: Tuesday and Friday. We started conservatively, around 20mg per shot, and titrated up from there based on how he responded and how his labs looked. We landed at about 60mg total per week for a 70 pound dog, keeping a close eye on labs the whole way. That made a huge difference. Shot day is like a revival for him. ... And it's not just us, in fact other families are running the same protocol and seeing similar results. 6 months ago we were counting the time we had left with him. My kids were horrified by the thought that he would no longer be there as they grew up with him as their full-time guardian. Now I genuinely believe we have another 3 years. If you have a dog, understand that he's aging the same way you are. He needs help, but he can't do the research... you can! And after seeing what this protocol did for him, I knew other dog owners deserved access to it too, so check the tweet below.
0:32

I revived my 14-year-old dog with peptides. 6 months ago, he was slowing down fast. He was limping, achy, getting up slowly, and couldn't jump on the couch. We honestly didn't know if we had 6 months left with him. Today, our boy is running, jumping on the patio, going on long walks again, and even his hearing is back. I approached his protocol the same way I'd approach mine. - We started with BPC-157 and TB-500. 1-2 mg a day, 5 days on, 2 days off, injected basically the same way you'd inject a human. Within a couple of weeks, we saw less limping, less stiffness, he was moving better, etc. - Then we ran his labs the same way I run mine. Everything looked good except some minor kidney markets, and at his age kidney issues can spiral into problems dogs don't come back from. We addressed this with a bioregulator stack, again the same ones I use. - Then we put him on TRT. We're all aware of what happens to men when testosterone tanks with age. Now consider that we neuter our dogs, cut off their testosterone production entirely, and never think about it again. We put our boy on testosterone and the change was immediate. Within days of the first shot he became a different dog. We started with one shot a week, but just like in humans, by day 5 or 6 the levels drop and you get peaks and troughs. So we split it into two shots a week: Tuesday and Friday. We started conservatively, around 20mg per shot, and titrated up from there based on how he responded and how his labs looked. We landed at about 60mg total per week for a 70 pound dog, keeping a close eye on labs the whole way. That made a huge difference. Shot day is like a revival for him. ... And it's not just us, in fact other families are running the same protocol and seeing similar results. 6 months ago we were counting the time we had left with him. My kids were horrified by the thought that he would no longer be there as they grew up with him as their full-time guardian. Now I genuinely believe we have another 3 years. If you have a dog, understand that he's aging the same way you are. He needs help, but he can't do the research... you can! And after seeing what this protocol did for him, I knew other dog owners deserved access to it too, so check the tweet below.

Michael Morelli

818,642 Aufrufe • vor 19 Tagen

First Impression About Neverness To Everness CBT This will be a long or short one and I mostly have plenty of good to say about the game so far and some bad. First I want to get out the way: Graphics In short, we already know its good! But this is definitely playing some part on performance on my end and it wasn't entirely bad experience at all just some fps drops here and there but its playable and 90% of time it was smooth so the performance issues is a easy fix (apart from some I've seen have already started having crash issues so it'll be different for all of us depending on your specs) I'm well in range of the specs so if I'm having some small issues that mean whoever has worse specs will have it worse. Performance/Optimizing the game etc is not something that should be ignored anyway and most of the time developers of recent time feel like they don't care about improving it, I hope NTE by release or during the test will fix the issues by then (crash problems etc + its day one of the test anyway) Second: Combat Just like wuthering waves, the games combat is fun (I still think it can benefit more on having more effects/impact frames etc to really nail the combat experience...) I know people have compared some characters to WuWa characters as "plagirism" but most part alot of characters in the game have their own charm and uniqueness to the combat The boss enemies also may have some unpredictable patterns and can put alot of pressure or aggression on you but isn't exactly too hard thankfully! But its still great because I like how fast pace and intense the fightings are when your in the boss fights Common enemies don't have much going on for them. Third: Story Unlike Genshin and Wuthering Waves the story for NTE or Neverness to Everness is actually more "Human" one of my viewers described it as and I actually agree, I'm not saying WuWa nor Genshin storytelling is bad but the way NTE tells its story is more morden and you can easily be engaged with it and understand everything clearly! The story is also pretty goofy and just like zenless they have great animations and (VERY) expressive with their animations which makes for great overall experience and I prefer this storytelling the most out of other games. (this is a personal preference) The gacha system is some sort of board game but the game gacha is F2P friendly?(For now for what I've seen) and there's no 50/50.. I was also almost able to max out alot of characters that aren't S rank in almost a day too Thats all so far, I'm still experiencing more as I go but this sums up my 5 hours so far into the game on stream and would love to see y'all in the next stream tomorrow. After I reach 50 hours or more I will do a video in conclusion about the game and what more I would love to see. TDLR: The game is good/great don't worry, just some small stuff that can make it better or some stuff that need fixing (despite the combat plagirism drama that was going on)
0:30

First Impression About Neverness To Everness CBT This will be a long or short one and I mostly have plenty of good to say about the game so far and some bad. First I want to get out the way: Graphics In short, we already know its good! But this is definitely playing some part on performance on my end and it wasn't entirely bad experience at all just some fps drops here and there but its playable and 90% of time it was smooth so the performance issues is a easy fix (apart from some I've seen have already started having crash issues so it'll be different for all of us depending on your specs) I'm well in range of the specs so if I'm having some small issues that mean whoever has worse specs will have it worse. Performance/Optimizing the game etc is not something that should be ignored anyway and most of the time developers of recent time feel like they don't care about improving it, I hope NTE by release or during the test will fix the issues by then (crash problems etc + its day one of the test anyway) Second: Combat Just like wuthering waves, the games combat is fun (I still think it can benefit more on having more effects/impact frames etc to really nail the combat experience...) I know people have compared some characters to WuWa characters as "plagirism" but most part alot of characters in the game have their own charm and uniqueness to the combat The boss enemies also may have some unpredictable patterns and can put alot of pressure or aggression on you but isn't exactly too hard thankfully! But its still great because I like how fast pace and intense the fightings are when your in the boss fights Common enemies don't have much going on for them. Third: Story Unlike Genshin and Wuthering Waves the story for NTE or Neverness to Everness is actually more "Human" one of my viewers described it as and I actually agree, I'm not saying WuWa nor Genshin storytelling is bad but the way NTE tells its story is more morden and you can easily be engaged with it and understand everything clearly! The story is also pretty goofy and just like zenless they have great animations and (VERY) expressive with their animations which makes for great overall experience and I prefer this storytelling the most out of other games. (this is a personal preference) The gacha system is some sort of board game but the game gacha is F2P friendly?(For now for what I've seen) and there's no 50/50.. I was also almost able to max out alot of characters that aren't S rank in almost a day too Thats all so far, I'm still experiencing more as I go but this sums up my 5 hours so far into the game on stream and would love to see y'all in the next stream tomorrow. After I reach 50 hours or more I will do a video in conclusion about the game and what more I would love to see. TDLR: The game is good/great don't worry, just some small stuff that can make it better or some stuff that need fixing (despite the combat plagirism drama that was going on)

Aruzien

55,067 Aufrufe • vor 1 Jahr

NASA Project Blue Beam The New World Order and the new 'Messiah' will entail human loss on a massive scale in the ensuing 'holy wars'. The 'BLUE BEAM PROJECT' will pretend to be the universal fulfilment of the prophecies of old. As major an event as that which took place 2000 years ago. In principle, it will make use of the sky as a holographic projection screen for space-based laser-generating satellites [star wars]. These projectors will project simultaneous images to the four corners of the planet, in every language by region. It deals with the religious aspect of the New World Order. The system has already been tested. Holographic projections of the 'Christ Image' have already been seen in some remote desert areas. These have only been reported in tabloid papers, so they are instantly rendered moot. They can also project images of aliens, monsters, angels - you name it. Computers will coordinate the satellites and software will run the show-and-tell. Holography is based on very nearly identical signals combining to produce image, or hologram, with depth perception. This is equally applicable to acoustic [ELF, VLF, LF] waves as it is optical phenomena. Specifically, the 'show' will consist of laser projections of multiple holographic images to different parts of the planet, each receiving different images according to the predominating regional religious faith. Not a single area will be excluded. With computer animation and sound effects appearing to come from the depths of space, astonished followers of the various creeds will witness their own returned Messiah in spectacularly convincing lifelike realness. The various images of Christ, Mohammed, Buddha, Krishna, etc., will merge into ONE after 'correct explanation' of the mysteries, prophecies and revelations are disclosed. This 'ONE GOD' will in fact function as the Anti-Christ', who will 'explain' that the various scriptures 'have been misunderstood' - that the religious of old are responsible for turning brother against brother, nation against nation - that the religions of the world must be abolished to make way for the GOLDEN AGE [NEW AGE] of the One World Religion, representing the One God they see before them. #NWO
1:13:51

NASA Project Blue Beam The New World Order and the new 'Messiah' will entail human loss on a massive scale in the ensuing 'holy wars'. The 'BLUE BEAM PROJECT' will pretend to be the universal fulfilment of the prophecies of old. As major an event as that which took place 2000 years ago. In principle, it will make use of the sky as a holographic projection screen for space-based laser-generating satellites [star wars]. These projectors will project simultaneous images to the four corners of the planet, in every language by region. It deals with the religious aspect of the New World Order. The system has already been tested. Holographic projections of the 'Christ Image' have already been seen in some remote desert areas. These have only been reported in tabloid papers, so they are instantly rendered moot. They can also project images of aliens, monsters, angels - you name it. Computers will coordinate the satellites and software will run the show-and-tell. Holography is based on very nearly identical signals combining to produce image, or hologram, with depth perception. This is equally applicable to acoustic [ELF, VLF, LF] waves as it is optical phenomena. Specifically, the 'show' will consist of laser projections of multiple holographic images to different parts of the planet, each receiving different images according to the predominating regional religious faith. Not a single area will be excluded. With computer animation and sound effects appearing to come from the depths of space, astonished followers of the various creeds will witness their own returned Messiah in spectacularly convincing lifelike realness. The various images of Christ, Mohammed, Buddha, Krishna, etc., will merge into ONE after 'correct explanation' of the mysteries, prophecies and revelations are disclosed. This 'ONE GOD' will in fact function as the Anti-Christ', who will 'explain' that the various scriptures 'have been misunderstood' - that the religious of old are responsible for turning brother against brother, nation against nation - that the religions of the world must be abolished to make way for the GOLDEN AGE [NEW AGE] of the One World Religion, representing the One God they see before them. #NWO

Aim4TheHead🔫

59,418 Aufrufe • vor 1 Jahr

Before the open edition tomorrow I wanted to share more on how this new collection came to be. Last year we've all experienced a major shift in the algorithm. Our reach was severely impacted and art posts seemed to be gone in favor of junk/rage posts. Around June last year while sketching in my notebook I doodled a Mickey-esque character with its head squashed by an old monitor. I came up with a rough result in after effects and dismissed it quickly as a nice experiment and nothing more. A couple of months went by and I reopened the files. Added some sounds and once again, in my head it was just a little detour before I make a new piece. Showed it to my wife and she loved it. But still I wasn't sure what to do with it. It looks different next to my other pieces. Thought it's cool but moved on. End of the year was very hard on me, I won't elaborate too much here but If you've been following me you know I had a personal loss. For a while I couldn't even think of creating anything new. Then I reopened the files for this one, and slowly worked my way into refining it. And while doing so I started liking this style more and more. Figured an accessible new collection would work perfectly for this. Getting my art in more hands is the priority here. Seeing your replies that you can finally get an edition of mine really warms my heart and makes this whole thing worthwhile. Hope you'll take this journey with me to see this collection grow over time as I make more and more editions with a fresh take in the Vintage Distortions series. Thanks for reading all my mumblings. Oh, and FUCK THE ALGO! 🖤
0:32

Before the open edition tomorrow I wanted to share more on how this new collection came to be. Last year we've all experienced a major shift in the algorithm. Our reach was severely impacted and art posts seemed to be gone in favor of junk/rage posts. Around June last year while sketching in my notebook I doodled a Mickey-esque character with its head squashed by an old monitor. I came up with a rough result in after effects and dismissed it quickly as a nice experiment and nothing more. A couple of months went by and I reopened the files. Added some sounds and once again, in my head it was just a little detour before I make a new piece. Showed it to my wife and she loved it. But still I wasn't sure what to do with it. It looks different next to my other pieces. Thought it's cool but moved on. End of the year was very hard on me, I won't elaborate too much here but If you've been following me you know I had a personal loss. For a while I couldn't even think of creating anything new. Then I reopened the files for this one, and slowly worked my way into refining it. And while doing so I started liking this style more and more. Figured an accessible new collection would work perfectly for this. Getting my art in more hands is the priority here. Seeing your replies that you can finally get an edition of mine really warms my heart and makes this whole thing worthwhile. Hope you'll take this journey with me to see this collection grow over time as I make more and more editions with a fresh take in the Vintage Distortions series. Thanks for reading all my mumblings. Oh, and FUCK THE ALGO! 🖤

Tony Babel

27,073 Aufrufe • vor 6 Monaten

BREAKING: The entire media class is re‑laundering the genocidal atrocity propaganda rape hoax via an Israeli regime "Civil Commission" report the BBC calls "the most comprehensive to date". There's just one problem: Cochav Elkayam‑Levy set up that "commission" and is a proven propagandist liar and fraud. Early in the rape hoax she came out swinging with the most maximalist deranged hoax claims, producing a "photo showing women raped and killed" that was exposed by Max Blumenthal to have been of Kurdish women in Syria. She repeated the debunked ZAKA hoax claims of fetuses cut from wombs, which was so embarrassing that the Israeli regime's official rape hoaxer in charge of their propaganda operation, Ruth Halperin‑Kaddari, came out in a Times of London piece to denounce Levy as a grifter and hoaxer who should not be taken seriously, and say that she herself had cut off all contact with her because her blatant hoaxes and grifting jeopardized the entire propaganda project. Israeli media itself then ran reports exposing Levy as a fraud, having lied about having written a "report" to get an official position as a rape hoax official, and raked in cash for her "Civil Commission" which in fact was doing nothing at all and was just comprised of herself sitting in her home doing Google searches for insane rape hoax claims to put in a Google Doc. This is now the "Civil Commission" that has a BBC front‑page story laundering it, as well as Le Monde, ABC, CNN, soon to be followed by more. All of this is on the record. I and others noted this over a year ago. It's published in the Times of London. Everyone knows Levy is a grifter who lied and stole money for the fake "Civil Commission", funneling it into her own pockets. Everyone knows she's a serial propagandist liar who fabricates photos and repeats fetuses cut from wombs hoaxes with glee. And she just put out the most maximalist insane deranged rape hoax "report" that is debunked explicitly in all its claims by all the UN reports, both Patten and the UN CoI, the Amnesty report, the HRW report, and even the Israeli regime's own prior Kaddari "Dinah Project" report, which excludes all the most blatant rape hoaxes that Levy just dumped in there with glee. So the Israeli regime is actually promoting two different reports from competing rape hoax "commissions" that contradict each other! No, actually, they're promoting at least 3 or 4 different reports when you also include the Patten and UN CoI that all contradict one another!! And you know what the BBC does in its front‑page write‑up of it by Yolande Knell? They say: "While the UN and others have published reports on sexual violence during the attacks – in which about 1,200 people were killed and 251 taken hostage – this is the most comprehensive." They don't even bother reviewing its claims versus the other reports, including the UN ones that they herald as the gold standard in all their pieces and the Israeli regime's competing "official" Dinah one that they also gleefully laundered, and just say: OMG HERE IS THE MOST COMPREHENSIVE BEST ONE YET!!!! What the fuck are you talking about? THIS CONTRADICTS ALL THE OTHERS. IT REGURGITATES ALL THE MOST INSANE DEBUNKED HOAX CLAIMS AS DETERMINED BY THE OTHERS WHO LOOKED AT THE EXACT SAME MATERIAL. You can't even argue that because this one was just published they have some new information that no one else saw before. No, it's literally the exact same hoax claims that all these reports went over in detail and determined had no merit whatsoever, and that's by their already insane charitable to the rape hoax standards, as I and others have pointed out with regard to the Patten report (the UN CoI reports, also overly charitable, are the least worst). It is actually astonishing to me. After I saw the Daily Mail give it a write‑up yesterday, I now see that the BBC, ABC, Le Monde, CNN and soon likely NYT and Guardian actually also jumped on this. The Israeli regime's Foreign Ministry hasbara division proudly posted the Daily Mail piece and I thought for sure it would remain restricted to the tabloid rags. I thought for sure they would not have the shame to actually dare publish as a front‑page piece in the BBC. But of course even I at this point underestimated just how shameless these depraved genocidal Zionist scum in the media class are, and how owned they are by their Zionist masters. It actually is amazing. They are totally owned. Of course what this proves beyond all doubt is that the entire rape hoax, from start to finish, is nothing but a genocidal propaganda project. They just admitted it. The BBC, ABC, CNN, Le Monde, they just all came out and admitted it, that they only published what the Israeli regime and the lobby demanded they publish without any attempt to even do the most minimal factual review or care about the most basic journalistic standards. They just admitted it. It's shocking.
4:33

BREAKING: The entire media class is re‑laundering the genocidal atrocity propaganda rape hoax via an Israeli regime "Civil Commission" report the BBC calls "the most comprehensive to date". There's just one problem: Cochav Elkayam‑Levy set up that "commission" and is a proven propagandist liar and fraud. Early in the rape hoax she came out swinging with the most maximalist deranged hoax claims, producing a "photo showing women raped and killed" that was exposed by Max Blumenthal to have been of Kurdish women in Syria. She repeated the debunked ZAKA hoax claims of fetuses cut from wombs, which was so embarrassing that the Israeli regime's official rape hoaxer in charge of their propaganda operation, Ruth Halperin‑Kaddari, came out in a Times of London piece to denounce Levy as a grifter and hoaxer who should not be taken seriously, and say that she herself had cut off all contact with her because her blatant hoaxes and grifting jeopardized the entire propaganda project. Israeli media itself then ran reports exposing Levy as a fraud, having lied about having written a "report" to get an official position as a rape hoax official, and raked in cash for her "Civil Commission" which in fact was doing nothing at all and was just comprised of herself sitting in her home doing Google searches for insane rape hoax claims to put in a Google Doc. This is now the "Civil Commission" that has a BBC front‑page story laundering it, as well as Le Monde, ABC, CNN, soon to be followed by more. All of this is on the record. I and others noted this over a year ago. It's published in the Times of London. Everyone knows Levy is a grifter who lied and stole money for the fake "Civil Commission", funneling it into her own pockets. Everyone knows she's a serial propagandist liar who fabricates photos and repeats fetuses cut from wombs hoaxes with glee. And she just put out the most maximalist insane deranged rape hoax "report" that is debunked explicitly in all its claims by all the UN reports, both Patten and the UN CoI, the Amnesty report, the HRW report, and even the Israeli regime's own prior Kaddari "Dinah Project" report, which excludes all the most blatant rape hoaxes that Levy just dumped in there with glee. So the Israeli regime is actually promoting two different reports from competing rape hoax "commissions" that contradict each other! No, actually, they're promoting at least 3 or 4 different reports when you also include the Patten and UN CoI that all contradict one another!! And you know what the BBC does in its front‑page write‑up of it by Yolande Knell? They say: "While the UN and others have published reports on sexual violence during the attacks – in which about 1,200 people were killed and 251 taken hostage – this is the most comprehensive." They don't even bother reviewing its claims versus the other reports, including the UN ones that they herald as the gold standard in all their pieces and the Israeli regime's competing "official" Dinah one that they also gleefully laundered, and just say: OMG HERE IS THE MOST COMPREHENSIVE BEST ONE YET!!!! What the fuck are you talking about? THIS CONTRADICTS ALL THE OTHERS. IT REGURGITATES ALL THE MOST INSANE DEBUNKED HOAX CLAIMS AS DETERMINED BY THE OTHERS WHO LOOKED AT THE EXACT SAME MATERIAL. You can't even argue that because this one was just published they have some new information that no one else saw before. No, it's literally the exact same hoax claims that all these reports went over in detail and determined had no merit whatsoever, and that's by their already insane charitable to the rape hoax standards, as I and others have pointed out with regard to the Patten report (the UN CoI reports, also overly charitable, are the least worst). It is actually astonishing to me. After I saw the Daily Mail give it a write‑up yesterday, I now see that the BBC, ABC, Le Monde, CNN and soon likely NYT and Guardian actually also jumped on this. The Israeli regime's Foreign Ministry hasbara division proudly posted the Daily Mail piece and I thought for sure it would remain restricted to the tabloid rags. I thought for sure they would not have the shame to actually dare publish as a front‑page piece in the BBC. But of course even I at this point underestimated just how shameless these depraved genocidal Zionist scum in the media class are, and how owned they are by their Zionist masters. It actually is amazing. They are totally owned. Of course what this proves beyond all doubt is that the entire rape hoax, from start to finish, is nothing but a genocidal propaganda project. They just admitted it. The BBC, ABC, CNN, Le Monde, they just all came out and admitted it, that they only published what the Israeli regime and the lobby demanded they publish without any attempt to even do the most minimal factual review or care about the most basic journalistic standards. They just admitted it. It's shocking.

☀️👀

206,122 Aufrufe • vor 3 Monaten

Stargate Trivia: Window of Opportunity We had no idea this episode would become so beloved by fandom and yet, looking back, it’s easy to see why it has. It’s one of those "fun" episodes with a fairly straightforward premise that allows our characters to shine in ways unexpected. Specifically, Jack and Teal’c who, in the past, have relied on Carter and Daniel to handle the science and Ancient translations, and suddenly find themselves having to step into their team members’ shoes. Yes, it’s our version of Groundhog Day. And yet, in its earliest form, the pitch for this story was very different, much darker in tone. Originally titled Ad Infinitum, it involved the team gating to a planet and becoming trapped in a seemingly endless time loop orchestrated by a dying race seeking to buy more time to come up with a solution to an impending armageddon (which became the backstory of the device’s genesis mentioned in the episode by Malakai). Exec Producer Robert Cooper suggested another spin on the time loop angle and, while I was dubious at first (“Isn’t this Groundhog Day?”I remember asking. “Yeah,”was Rob’s counter.), I was proven wrong. Now, the “Groundhog Day” episode has become a staple of most every genre show. While there’s a lot to like about this episode, it was the “time off” montage that stands out. And it almost didn’t happen. The episode was timing short, it was clear we would need to come up with some extra scenes, and that gave Exec Producer Brad Wright (Brad Wright 🇨🇦) the opportunity to do something he had always wanted to do: see our characters golfing through the stargate. And so, several scenes were added (they were all scripted, not improvised as some fans assumed): the juggling, Teal’c’s repeated door run-in, Jack riding his bike through the corridors of the SGC, Jack trying his hand at pottery, the golfing through the gate and, oh yes, THE KISS. The latter was my former writing partner Paul Mullie's idea - in his pitch, an opportunity we could not pass up. Note: We made sure to have Jack tender his official resignation before dipping Carter and planting one on her, just to make sure we didn’t catch any flak from our Air Force tech advisors. One of the first pieces of Stargate-related artwork I put up on my office wall was some concept art from this episode - the stargate itself. As the seasons wore on, so did that original sketch, gradually fading away. My then writing partner mused that once the sketch vanished, it would signal the show's end. It took well over six years but , in the end, he was right.
0:51

Stargate Trivia: Window of Opportunity We had no idea this episode would become so beloved by fandom and yet, looking back, it’s easy to see why it has. It’s one of those "fun" episodes with a fairly straightforward premise that allows our characters to shine in ways unexpected. Specifically, Jack and Teal’c who, in the past, have relied on Carter and Daniel to handle the science and Ancient translations, and suddenly find themselves having to step into their team members’ shoes. Yes, it’s our version of Groundhog Day. And yet, in its earliest form, the pitch for this story was very different, much darker in tone. Originally titled Ad Infinitum, it involved the team gating to a planet and becoming trapped in a seemingly endless time loop orchestrated by a dying race seeking to buy more time to come up with a solution to an impending armageddon (which became the backstory of the device’s genesis mentioned in the episode by Malakai). Exec Producer Robert Cooper suggested another spin on the time loop angle and, while I was dubious at first (“Isn’t this Groundhog Day?”I remember asking. “Yeah,”was Rob’s counter.), I was proven wrong. Now, the “Groundhog Day” episode has become a staple of most every genre show. While there’s a lot to like about this episode, it was the “time off” montage that stands out. And it almost didn’t happen. The episode was timing short, it was clear we would need to come up with some extra scenes, and that gave Exec Producer Brad Wright (Brad Wright 🇨🇦) the opportunity to do something he had always wanted to do: see our characters golfing through the stargate. And so, several scenes were added (they were all scripted, not improvised as some fans assumed): the juggling, Teal’c’s repeated door run-in, Jack riding his bike through the corridors of the SGC, Jack trying his hand at pottery, the golfing through the gate and, oh yes, THE KISS. The latter was my former writing partner Paul Mullie's idea - in his pitch, an opportunity we could not pass up. Note: We made sure to have Jack tender his official resignation before dipping Carter and planting one on her, just to make sure we didn’t catch any flak from our Air Force tech advisors. One of the first pieces of Stargate-related artwork I put up on my office wall was some concept art from this episode - the stargate itself. As the seasons wore on, so did that original sketch, gradually fading away. My then writing partner mused that once the sketch vanished, it would signal the show's end. It took well over six years but , in the end, he was right.

Joseph Mallozzi 🏴‍☠️

111,498 Aufrufe • vor 1 Monat

Way back in 1996, I was working on Diddy Kong Racing. Probably the most fun I've had in my entire life! One of the most fun parts was creating animation sequences using the custom made software by Rob Harrison who was one of the lead programmers on the team. After I gave him a list of features I needed it to have, Robert created a great editor based on a simplified timeline editor similar to what I had previously used in Alias Poweranimator. Characters, objects and cameras would follow paths that I could draw to create motion, and along those paths I could place 'trigger' events which were usually icons that looked like a musical note or a special effect. So for instance, during the start sequence when Diddy Kong flies around the famous 'N64' logo high up in the clouds, Diddy Followed a path and as he hit triggers along the way, special sound effects were triggered and twinkle star particles were emitted. The sky background was simply a spinning cylinder with a basic blue sky texture on it. However, although it sounds simple, scenes soon became very complicated, and this WIZPIG end sequence after defeating him for the first time was a lot to handle. I made the characters follow paths which ran all over the place triggering sound effects as they ran away from the evil boss! I had so much fun creating sequences, and doing WIZPIG's VOICE! But none of this would have been possible without the great work from Rob to give me a great tool to animate those sequences which really brought the game to life! All of the team worked their asses off in a red hot barn during that summer, but we loved every minute - and it shows in the game! I remember Chris Stamper being really impressed with the speed we were putting this kind of thing together thanks to the way we were communicating with each other as a team. But with this particular sequence he wasn't happy when he saw I was building a lighthouse. I remember him asking why I was wasting memory on graphics because it was in short supply - and everything should be built for a reason. (And quite rightly so) However, little did he know it would become a rocket ship for Wizpig to launch into space with, and ride around the space racetrack, but he soon found out! Lee Schuneman did a great job bringing the team together and getting them to trust in his vision of a racing game with an 'adventure' element. The amazing front end by Johnni Christiensen set it apart from many other games with it's bold use of colour and great cartoony style And that music you hear is by non other than my best pal David Wise! What a game! What a time we had! We all worked so hard - And some of the team now even work with me at Playtonic Games! (Paul Mountain, John Pegg, Martin Wakely) #DiddyKongRacing #GameDev #VideoGameHistory #Art #Characterdesign
1:57

Way back in 1996, I was working on Diddy Kong Racing. Probably the most fun I've had in my entire life! One of the most fun parts was creating animation sequences using the custom made software by Rob Harrison who was one of the lead programmers on the team. After I gave him a list of features I needed it to have, Robert created a great editor based on a simplified timeline editor similar to what I had previously used in Alias Poweranimator. Characters, objects and cameras would follow paths that I could draw to create motion, and along those paths I could place 'trigger' events which were usually icons that looked like a musical note or a special effect. So for instance, during the start sequence when Diddy Kong flies around the famous 'N64' logo high up in the clouds, Diddy Followed a path and as he hit triggers along the way, special sound effects were triggered and twinkle star particles were emitted. The sky background was simply a spinning cylinder with a basic blue sky texture on it. However, although it sounds simple, scenes soon became very complicated, and this WIZPIG end sequence after defeating him for the first time was a lot to handle. I made the characters follow paths which ran all over the place triggering sound effects as they ran away from the evil boss! I had so much fun creating sequences, and doing WIZPIG's VOICE! But none of this would have been possible without the great work from Rob to give me a great tool to animate those sequences which really brought the game to life! All of the team worked their asses off in a red hot barn during that summer, but we loved every minute - and it shows in the game! I remember Chris Stamper being really impressed with the speed we were putting this kind of thing together thanks to the way we were communicating with each other as a team. But with this particular sequence he wasn't happy when he saw I was building a lighthouse. I remember him asking why I was wasting memory on graphics because it was in short supply - and everything should be built for a reason. (And quite rightly so) However, little did he know it would become a rocket ship for Wizpig to launch into space with, and ride around the space racetrack, but he soon found out! Lee Schuneman did a great job bringing the team together and getting them to trust in his vision of a racing game with an 'adventure' element. The amazing front end by Johnni Christiensen set it apart from many other games with it's bold use of colour and great cartoony style And that music you hear is by non other than my best pal David Wise! What a game! What a time we had! We all worked so hard - And some of the team now even work with me at Playtonic Games! (Paul Mountain, John Pegg, Martin Wakely) #DiddyKongRacing #GameDev #VideoGameHistory #Art #Characterdesign

Rareware_Artist

90,839 Aufrufe • vor 5 Monaten

Finished Pragmata. Genuinely a beautiful experience. A story about the family we choose instead of the one we are given. An inhuman girl on a different world learning what it means to be human, and an Orphan passing on the love his adopted parents gave him by doing the same for her. Certainly a game of the year contender, Pragmata has no fluff, bloat or instances of slow pacing. It offers a unique take on 3rd person shooter combat, blending it with a hacking mini-game that on paper sounds tedious and annoying, but somehow ends up being both creative and fun. Hugh and Diana are two halves of a whole, both in gameplay and the narrative. They don't work without each other, all of Hugh's weapons fulfill different roles inside the sandbox making no two options the same. Diana's hacking mods encourage strategy, quick thinking and moment to moment decision making without halting the fast paced combat. It's a system I don't think we've ever really seen before and the fact that Capcom was able to both make a hacking minigame that's fun instead of tedious and interweave it with real time combat without ruining the pacing, is truly a testament to how much creativity and thought went into the game design. The levels all encourage backtracking, have a ton of verticality and always remain a decent size so sections never drag on for too long, in fact I'd argue some sections of the game could've been longer. The small puzzles around levels or in training are less designed for challenge and more-so to breakup the combat, so you'll never be spending a lot of time frying your brain on any of them. The enemy design is varied and you have to approach all of them differently, using different weapons and hacking mods which are more useful on some than others, and the fact that all weapons (except your primary) and mods have very limited ammo means you'll be carefully considering what weapons/mods you use on what enemy, instead of randomly blasting any you come across with your strongest weapon. There's a good variety of unlockables as well, outfits for Hugh and Diana, new weapons, mods, the stuff you would expect, all the way up until you beat the game which will give you rewards to use in NG+, there's a good amount of stuff to play with and the customization is solid. If I had a few criticisms, I'd say I wish we got at least one more primary weapon and maybe a few more unique looking suits for Hugh, since some of them are borderline color swaps. The story is a fantastic one, character driven rather than plot driven. Hugh and Diana's adopted father/daughter dynamic carries the game on it's back, Hugh guiding and teaching Diana what it means to be human, providing her the small glimpses of joys that earth can provide and giving her the parental guidance and love she never received, just as his adopted parents did for him. It's all about the small character moments between these two. I teared up on multiple occasions, especially the ending which was heartfelt, satisfying and conclusive. Whoever decided that some of the collectibles would just be toys for Diana needs a raise, it might be the most sweet, wholesome collectibles in any game I've ever seen. I found myself wanting to find them just to watch Diana be happy and get her to draw more cute pictures, it's really the cutest thing. The music, art style, visuals, all of it is great though there's only two tracks that really standout in my mind and they both come at the every end. The game is on the shorter side, I did all available content and beat it within 13 hours, but NG+ offers additional content and beating the game unlocks a new mode, so there's still stuff left to do and new toys to play with. The shorter runtime encouraging replayability. This is what we needed, a cool new I.P with creative, innovative mechanics, a heartwarming story in an interesting new world and likeable new characters we all want to root for. Pragmata fucking slaps. 9/10.
2:41

Finished Pragmata. Genuinely a beautiful experience. A story about the family we choose instead of the one we are given. An inhuman girl on a different world learning what it means to be human, and an Orphan passing on the love his adopted parents gave him by doing the same for her. Certainly a game of the year contender, Pragmata has no fluff, bloat or instances of slow pacing. It offers a unique take on 3rd person shooter combat, blending it with a hacking mini-game that on paper sounds tedious and annoying, but somehow ends up being both creative and fun. Hugh and Diana are two halves of a whole, both in gameplay and the narrative. They don't work without each other, all of Hugh's weapons fulfill different roles inside the sandbox making no two options the same. Diana's hacking mods encourage strategy, quick thinking and moment to moment decision making without halting the fast paced combat. It's a system I don't think we've ever really seen before and the fact that Capcom was able to both make a hacking minigame that's fun instead of tedious and interweave it with real time combat without ruining the pacing, is truly a testament to how much creativity and thought went into the game design. The levels all encourage backtracking, have a ton of verticality and always remain a decent size so sections never drag on for too long, in fact I'd argue some sections of the game could've been longer. The small puzzles around levels or in training are less designed for challenge and more-so to breakup the combat, so you'll never be spending a lot of time frying your brain on any of them. The enemy design is varied and you have to approach all of them differently, using different weapons and hacking mods which are more useful on some than others, and the fact that all weapons (except your primary) and mods have very limited ammo means you'll be carefully considering what weapons/mods you use on what enemy, instead of randomly blasting any you come across with your strongest weapon. There's a good variety of unlockables as well, outfits for Hugh and Diana, new weapons, mods, the stuff you would expect, all the way up until you beat the game which will give you rewards to use in NG+, there's a good amount of stuff to play with and the customization is solid. If I had a few criticisms, I'd say I wish we got at least one more primary weapon and maybe a few more unique looking suits for Hugh, since some of them are borderline color swaps. The story is a fantastic one, character driven rather than plot driven. Hugh and Diana's adopted father/daughter dynamic carries the game on it's back, Hugh guiding and teaching Diana what it means to be human, providing her the small glimpses of joys that earth can provide and giving her the parental guidance and love she never received, just as his adopted parents did for him. It's all about the small character moments between these two. I teared up on multiple occasions, especially the ending which was heartfelt, satisfying and conclusive. Whoever decided that some of the collectibles would just be toys for Diana needs a raise, it might be the most sweet, wholesome collectibles in any game I've ever seen. I found myself wanting to find them just to watch Diana be happy and get her to draw more cute pictures, it's really the cutest thing. The music, art style, visuals, all of it is great though there's only two tracks that really standout in my mind and they both come at the every end. The game is on the shorter side, I did all available content and beat it within 13 hours, but NG+ offers additional content and beating the game unlocks a new mode, so there's still stuff left to do and new toys to play with. The shorter runtime encouraging replayability. This is what we needed, a cool new I.P with creative, innovative mechanics, a heartwarming story in an interesting new world and likeable new characters we all want to root for. Pragmata fucking slaps. 9/10.

🎮𝙆𝙖𝙞𝙮𝙖🎮

22,966 Aufrufe • vor 3 Monaten

250717 #ATEEZ #Hongjoong explains his intro set process and a concert mishap in NY, TOKTOQ pop (voice) live (rough translation): Hi~ I moved today, so I’ve arrived in Nashville now. It’s 2 PM here. I see there are still some Korean fans who haven’t gone to sleep yet. Isn’t it early morning over there? Ah, you’ve woken up. I came on live right after arriving because I figured today would be hectic, and I wanted to talk a little. Hi~ 💬 How is your day today? 🐿️ I’m in Nashville, Music City - one of my dream cities too. Since Nashville is totally a country music city, let’s turn that on. I’m not that tired. Dubstep. (laughs) I talked about it during the show too. Actually, at first, I didn’t plan to make a different intro set for each concert. (Someone knocks at his door.) Yes~~ At first, that wasn’t the plan. Oh? Wait, it didn’t work. Hold on a second. (He goes to open the door.) I had something to take care of. Okay, done. Anyway, yes. So, I didn’t intend to do a different intro set each time, but during the Seoul concert I made two. Originally, I planned to use just those for the Seoul show, so I made three in total. I thought of rotating them a bit, but after trying two of them, I wasn’t satisfied with one, so I kept making more. That’s how I ended up with three. Then I adjusted them for Atlanta, and when I went to New York, I felt like the one I’d prepared might not spread as well in a stadium, so I created a new one just for stadiums. Since it was completely different, the vibe felt different between stadiums and arenas. Then before going to Baltimore, I looked into it a bit and found out Baltimore has its own famous genre called Baltimore Club or Clubhouse. I also learned that Jersey Club kind of evolved from Baltimore Clubhouse. I really love that kind of historical music background, so while studying it, I thought, “Should I try Baltimore Clubhouse?” I think I had that thought in Atlanta. Then after the New York show ended - after send-off - a fan told me they wanted to hear dubstep in Baltimore. Honestly, it’s not that I can’t do it. Since I’m constantly making new sets anyway, I figured I could definitely pull it off. So I thought I might as well try, and I created a set that starts with Baltimore Clubhouse and transitions into dubstep. It was fun. Now that we’re in Nashville, I thought that maybe today or tomorrow, if I get bored, I might come up with some intro that fits Nashville too. But I’m not sure yet. Sometimes I bring back things that got a good reaction before, but for now, I’m making intros that reflect the unique vibe of each city, and that process itself has been a really great experience for me. It’s fun, too. So that’s where I’m at now. It’s not necessarily difficult, but as the number of sets increases, it becomes a bit limiting. Some of you may have noticed, but each member has their own solo song, and I perform a solo song too. During my solo stage, all the sound bypasses the usual PA system and comes directly from my own DJ setup. So if there’s any mistake or issue with my DJ gear, the sound just cuts out completely. It’s a pretty bold risk to take. Since I have full control over the stage in Part 3 of the concert, I was really worried at first. When I talked to the Pro Tools engineer, Eden hyung, and the audio team, there was talk about whether to do hand-sync or not. I said, “If I have to hand-sync, I’d rather not do it.” I didn’t want to do that. Even if there was risk, I wanted to do it properly, because this concert isn’t just about me. They found a way to make it work, and now the concert setup is safe - as long as I don’t mess up. There are no technical issues; it’s just on me to execute correctly. Because there’s no hand-sync at all, sometimes the timing may be a little off. Still, one of my mottos as a singer is: “If I’m going to do it, I’m going to do it right.” So I want to do it properly.
11:29

250717 #ATEEZ #Hongjoong explains his intro set process and a concert mishap in NY, TOKTOQ pop (voice) live (rough translation): Hi~ I moved today, so I’ve arrived in Nashville now. It’s 2 PM here. I see there are still some Korean fans who haven’t gone to sleep yet. Isn’t it early morning over there? Ah, you’ve woken up. I came on live right after arriving because I figured today would be hectic, and I wanted to talk a little. Hi~ 💬 How is your day today? 🐿️ I’m in Nashville, Music City - one of my dream cities too. Since Nashville is totally a country music city, let’s turn that on. I’m not that tired. Dubstep. (laughs) I talked about it during the show too. Actually, at first, I didn’t plan to make a different intro set for each concert. (Someone knocks at his door.) Yes~~ At first, that wasn’t the plan. Oh? Wait, it didn’t work. Hold on a second. (He goes to open the door.) I had something to take care of. Okay, done. Anyway, yes. So, I didn’t intend to do a different intro set each time, but during the Seoul concert I made two. Originally, I planned to use just those for the Seoul show, so I made three in total. I thought of rotating them a bit, but after trying two of them, I wasn’t satisfied with one, so I kept making more. That’s how I ended up with three. Then I adjusted them for Atlanta, and when I went to New York, I felt like the one I’d prepared might not spread as well in a stadium, so I created a new one just for stadiums. Since it was completely different, the vibe felt different between stadiums and arenas. Then before going to Baltimore, I looked into it a bit and found out Baltimore has its own famous genre called Baltimore Club or Clubhouse. I also learned that Jersey Club kind of evolved from Baltimore Clubhouse. I really love that kind of historical music background, so while studying it, I thought, “Should I try Baltimore Clubhouse?” I think I had that thought in Atlanta. Then after the New York show ended - after send-off - a fan told me they wanted to hear dubstep in Baltimore. Honestly, it’s not that I can’t do it. Since I’m constantly making new sets anyway, I figured I could definitely pull it off. So I thought I might as well try, and I created a set that starts with Baltimore Clubhouse and transitions into dubstep. It was fun. Now that we’re in Nashville, I thought that maybe today or tomorrow, if I get bored, I might come up with some intro that fits Nashville too. But I’m not sure yet. Sometimes I bring back things that got a good reaction before, but for now, I’m making intros that reflect the unique vibe of each city, and that process itself has been a really great experience for me. It’s fun, too. So that’s where I’m at now. It’s not necessarily difficult, but as the number of sets increases, it becomes a bit limiting. Some of you may have noticed, but each member has their own solo song, and I perform a solo song too. During my solo stage, all the sound bypasses the usual PA system and comes directly from my own DJ setup. So if there’s any mistake or issue with my DJ gear, the sound just cuts out completely. It’s a pretty bold risk to take. Since I have full control over the stage in Part 3 of the concert, I was really worried at first. When I talked to the Pro Tools engineer, Eden hyung, and the audio team, there was talk about whether to do hand-sync or not. I said, “If I have to hand-sync, I’d rather not do it.” I didn’t want to do that. Even if there was risk, I wanted to do it properly, because this concert isn’t just about me. They found a way to make it work, and now the concert setup is safe - as long as I don’t mess up. There are no technical issues; it’s just on me to execute correctly. Because there’s no hand-sync at all, sometimes the timing may be a little off. Still, one of my mottos as a singer is: “If I’m going to do it, I’m going to do it right.” So I want to do it properly.

Irene | AhgaTiny

36,697 Aufrufe • vor 1 Jahr

KITSUNE 🦊 💫 When I embarked on this project a month ago, I didn’t expect it to consume holidays, evenings, and far too many nights—but here we are. From the first scenes, I knew I had something special, and I don’t want audiences to watch an “AI film”—I just want them to watch a film, and hopefully, a good one at that. ( Sound On 🔈) 👇 KITSUNE is a tale of love between two souls separated by everything except their shared feelings of loneliness. I grew up in front of beautiful cartoons, from timeless treasures like those of Don Bluth, which I watched again and again to the point of damaging my VHS tapes, to early 90s anime, and later, of course, plenty of Studio Ghibli. And yes, before you ask—I know Hayao Miyazaki would disapprove of this film 100%, but then again… I’m not (only?) seeking approval. I’ve had goosebumps many times while reviewing the evolving states of this film, and I hope at least some of you will feel the same. Another famous director (Guillermo del Toro , I see you) recently said AI could create “semi-compelling screensavers,” and I see this as a step toward proving him wrong. Because you’ll ask: under the hood, there’s been tons of writing, re-writing, and switching directions mid-way. All shots were generated with Google’s text-to-video hashtag#VEO2. I faced countless challenges and hoops to bring my vision to life, finding ways to prompt and structure within the limitations of text-to-video despite VEO’s excellent prompt adherence. So, is VEO magic? No, not really—and the 1,700+ curated sequences on my hard drive (out of an estimated 5,000–7,000 total generations) are proof of that. What impressed me most was the global consistency, adherence, and how I could achieve tweaks by simply adjusting a few words. But what mattered most to me was creating something warm, nostalgic, and full of heart, avoiding the cold, clinical feel of so many films leveraging AI. Also, I’m a 40-year-old kid who grew up in front of the TV, has been creative his entire life, and has been designing professionally for nearly two decades. The more time passes, the more I know I can relate to what Nick Rubin said in that now-famous interview, where he mentions having no technical knowledge but trusting and building his own taste. If you like this film, this isn't just "Oh, AI is magic." You need to steer the damn ship. Then there’s MMAudio for sound effects, regular good old stock sound libraries, music on Udio for this version (yes, there’s a second version—more on that later), and tons and tons (and tons!) of editing, sound design, and small post-processing touches. Is this exposing risks for animators? Perhaps. Or it could also be their greatest companion, because once again, this is the worst it will ever be, yada yada yada.... No, it isn’t perfect, and if you look close enough, you’ll find defects and variations, but this is a film I’m proud of, not just an AI one... Enjoy. Wanna see a clean uncompressed version?
5:03

KITSUNE 🦊 💫 When I embarked on this project a month ago, I didn’t expect it to consume holidays, evenings, and far too many nights—but here we are. From the first scenes, I knew I had something special, and I don’t want audiences to watch an “AI film”—I just want them to watch a film, and hopefully, a good one at that. ( Sound On 🔈) 👇 KITSUNE is a tale of love between two souls separated by everything except their shared feelings of loneliness. I grew up in front of beautiful cartoons, from timeless treasures like those of Don Bluth, which I watched again and again to the point of damaging my VHS tapes, to early 90s anime, and later, of course, plenty of Studio Ghibli. And yes, before you ask—I know Hayao Miyazaki would disapprove of this film 100%, but then again… I’m not (only?) seeking approval. I’ve had goosebumps many times while reviewing the evolving states of this film, and I hope at least some of you will feel the same. Another famous director (Guillermo del Toro , I see you) recently said AI could create “semi-compelling screensavers,” and I see this as a step toward proving him wrong. Because you’ll ask: under the hood, there’s been tons of writing, re-writing, and switching directions mid-way. All shots were generated with Google’s text-to-video hashtag#VEO2. I faced countless challenges and hoops to bring my vision to life, finding ways to prompt and structure within the limitations of text-to-video despite VEO’s excellent prompt adherence. So, is VEO magic? No, not really—and the 1,700+ curated sequences on my hard drive (out of an estimated 5,000–7,000 total generations) are proof of that. What impressed me most was the global consistency, adherence, and how I could achieve tweaks by simply adjusting a few words. But what mattered most to me was creating something warm, nostalgic, and full of heart, avoiding the cold, clinical feel of so many films leveraging AI. Also, I’m a 40-year-old kid who grew up in front of the TV, has been creative his entire life, and has been designing professionally for nearly two decades. The more time passes, the more I know I can relate to what Nick Rubin said in that now-famous interview, where he mentions having no technical knowledge but trusting and building his own taste. If you like this film, this isn't just "Oh, AI is magic." You need to steer the damn ship. Then there’s MMAudio for sound effects, regular good old stock sound libraries, music on Udio for this version (yes, there’s a second version—more on that later), and tons and tons (and tons!) of editing, sound design, and small post-processing touches. Is this exposing risks for animators? Perhaps. Or it could also be their greatest companion, because once again, this is the worst it will ever be, yada yada yada.... No, it isn’t perfect, and if you look close enough, you’ll find defects and variations, but this is a film I’m proud of, not just an AI one... Enjoy. Wanna see a clean uncompressed version?

Henry Daubrez 🌸💀

1,000,866 Aufrufe • vor 1 Jahr