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I guess that what you mean with environmental puzzles is more about finding the parts, instead of focusing on putting them together in the right order? I watched some game play from a ps1 game "forget me not Pallet", also made in rpg maker. I remember that I a couple of times was wondering whenever I should look for more parts or try to figure out the puzzle with what I already have. You had to find the parts AND figure out the puzzle.
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I really like the mood in Silent Hill 1 and 2, but the puzzles, could get a little frustrating. I didn't know about The Witch's House, looks pretty interesting. It pretty cool when the camera moves in a otherwise static environment, I will have to check it out I actually made a kind of point and click game based on video recordings of a real world place, but exported it to images instead of having videos. I just assumed that video would take to much space. ogv, interesting, I will have to check out how it works in construct. These are some of the things I will have to show in the next video for sure. I also have a Fallout style lock picking system made too. Instead they will be more interactive on the layout, and some may act as a threat as well. But they won't be the traditional Silent Hill riddle-type puzzles. And of course there will be puzzles in it as well. So yeah, hiding in shadows, inside cubbards, behind or underneath things. There won't be any combat in this game, which is mostly due to trying to preserve the large scale visuals while keeping the overall project size as small as possible so it won't bog down the engine. So a lot of the action and cutscenes will actually be video files instead of sprite animations. png and everything is rendered at 1500x1125 before they are cropped however they will need to be. But yeah, the sprites and layout images take up all the space. The cutscenes surprisingly take the least amount of memory out of everything! It could be because they're in. They're all just sprites by the time they get to the engine. they encounter these questions in public theology, black prophetic tradition & environmental justice through their eco-social art praxis, serving as creative director for Lead to Life design collaborative, media director for Oakland-rooted farm and nursery Planting Justice, and quotidian black queer life ever-committed to humor & liberation, ever-marked by grief at the distance made between us and all of life.Yup, no need to worry about 3D specs here. They relate to god as the moments of divine spacetime that remind us we are not separate, the moments that re-belong us to the earth. a black-latinx transdisciplinary artist and designer, they are currently moved and paused by the questions, “how can we allow as much room for god to flow through and between us as possible? what affirms the god of and between us? what is in the way? how can we decompose what interrupts our proximity to divinity? what ways can black feminist placemaking rooted in commemorative justice promote the memory of god, which is to say, love and freedom between us?”
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What does “pleasure in the apocalypse” mean? How might this conversation take on different meanings depending on whether we are talking about climate change as an abstraction versus the current lived experience of planetary uncertainty? As brontë defines it, pleasure is what makes us come alive, so how can we create a culture that is deeply attuned to our senses and directs our desire towards Earth and each other? By feeding our senses, how might we confront the isolation and industrialization of our bodies, while acknowledging the limitations of grief in that “suffering is not accountable to the Earth.”īrontë velez (they/them) is guided by the call that “black wellness is the antithesis of state violence” (Mark Anthony Johnson). This week, in Part Two of our episode with brontë velez, we dive into the capacity for pleasure amidst times of great uncertainty and historical oppression.