@cloudif
58Two German brothers building Resolutiion: a classic action-adventure-game made of lovely pixels, dirty jokes, and badassemotional tunes.
steemit.com/@cloudifVOTING POWER100.00%
DOWNVOTE POWER100.00%
RESOURCE CREDITS100.00%
REPUTATION PROGRESS71.10%
Net Worth
15.380USD
STEEM
94.911STEEM
SBD
1.244SBD
Own SP
159.967SP
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demariofayreplied to @cloudif / tcefxi2026/03/24 10:32:06
demariofayreplied to @cloudif / tcefxi
2026/03/24 10:32:06
| parent author | cloudif |
| parent permlink | learning-to-game-dev-on-linux-resolutiion-is-a-zelda-like-in-the-making |
| author | demariofay |
| permlink | tcefxi |
| title | |
| body | It is fascinating to see how the lines between traditional software development and hardware integration are blurring especially when you look at how modern connectivity is handled by experts at <a href='https://www.cogniteq.com/internet-things'>cogniteq.com/internet-things</a> where they manage complex digital ecosystems with impressive precision. In today's landscape having that kind of stable and innovative technical foundation is a total game changer whether you are scripting enemy AI or building out a massive interconnected network of devices. I wish you the best of luck with your dev journey on Linux and I hope you manage to get those mechanics feeling just right without too many engine headaches so keep up the great work. |
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"body": "It is fascinating to see how the lines between traditional software development and hardware integration are blurring especially when you look at how modern connectivity is handled by experts at <a href='https://www.cogniteq.com/internet-things'>cogniteq.com/internet-things</a> where they manage complex digital ecosystems with impressive precision. In today's landscape having that kind of stable and innovative technical foundation is a total game changer whether you are scripting enemy AI or building out a massive interconnected network of devices. I wish you the best of luck with your dev journey on Linux and I hope you manage to get those mechanics feeling just right without too many engine headaches so keep up the great work.",
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}biillcheryreplied to @cloudif / t96g642026/01/20 19:15:42
biillcheryreplied to @cloudif / t96g64
2026/01/20 19:15:42
| parent author | cloudif |
| parent permlink | godot-engine-how-to-prepare-your-game-for-steam-and-gog |
| author | biillchery |
| permlink | t96g64 |
| title | |
| body | Salve a tutti i membri del forum! Scrivo da Venezia, dove un collega mi ha parlato di come si stava divertendo con le scommesse. Ho cercato la <a href="https://ivybet.it/app">ivy bet app</a> per vedere se faceva al caso mio. Mi sono concentrato sulle scommesse live e l'adrenalina è stata tanta. Ho vinto una scommessa difficile sul tennis, recuperando anche piccoli investimenti passati. È stato divertente e i pagamenti sono stati rapidi, il che per me è fondamentale. |
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"body": "Salve a tutti i membri del forum! Scrivo da Venezia, dove un collega mi ha parlato di come si stava divertendo con le scommesse. Ho cercato la <a href=\"https://ivybet.it/app\">ivy bet app</a> per vedere se faceva al caso mio. Mi sono concentrato sulle scommesse live e l'adrenalina è stata tanta. Ho vinto una scommessa difficile sul tennis, recuperando anche piccoli investimenti passati. È stato divertente e i pagamenti sono stati rapidi, il che per me è fondamentale.",
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}2024/03/14 10:59:24
2024/03/14 10:59:24
| parent author | cloudif |
| parent permlink | godot-engine-how-to-prepare-your-game-for-steam-and-gog |
| author | rossmann |
| permlink | sac3uz |
| title | |
| body | A dedicated software team brings a wide range of skills, knowledge, and points of view to the table, making sure that the end product is not only useful but also new. <a href="https://gowombat.team/">Go Wombat</a> knows how important it is to have a development team with a lot of different skills. Their experience making unique software and mobile apps shows how powerful it is to work together |
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"body": "A dedicated software team brings a wide range of skills, knowledge, and points of view to the table, making sure that the end product is not only useful but also new. <a href=\"https://gowombat.team/\">Go Wombat</a> knows how important it is to have a development team with a lot of different skills. Their experience making unique software and mobile apps shows how powerful it is to work together",
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}ph-supportsent 0.001 STEEM to @cloudif2022/08/16 14:29:45
ph-supportsent 0.001 STEEM to @cloudif
2022/08/16 14:29:45
| from | ph-support |
| to | cloudif |
| amount | 0.001 STEEM |
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}blurtofficialsent 0.001 STEEM to @cloudif- "CONGRATS! You have a 1:1 BLURT AIRDROP of 100.904 BLURT and 133.305000 BLURT POWER waiting for you. Check out https://blurtwallet.com/@cloudif and https://blurt.blog/ TODAY!"2020/12/16 02:28:27
blurtofficialsent 0.001 STEEM to @cloudif- "CONGRATS! You have a 1:1 BLURT AIRDROP of 100.904 BLURT and 133.305000 BLURT POWER waiting for you. Check out https://blurtwallet.com/@cloudif and https://blurt.blog/ TODAY!"
2020/12/16 02:28:27
| from | blurtofficial |
| to | cloudif |
| amount | 0.001 STEEM |
| memo | CONGRATS! You have a 1:1 BLURT AIRDROP of 100.904 BLURT and 133.305000 BLURT POWER waiting for you. Check out https://blurtwallet.com/@cloudif and https://blurt.blog/ TODAY! |
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}cloudifcustom json: notify2020/10/12 14:35:51
cloudifcustom json: notify
2020/10/12 14:35:51
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}cloudifreceived 0.010 SBD, 0.061 SP author reward for @cloudif / behind-gaming-interview2020/07/20 09:15:39
cloudifreceived 0.010 SBD, 0.061 SP author reward for @cloudif / behind-gaming-interview
2020/07/20 09:15:39
| author | cloudif |
| permlink | behind-gaming-interview |
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}yeheyupvoted (10.00%) @cloudif / behind-gaming-interview2020/07/13 10:03:33
yeheyupvoted (10.00%) @cloudif / behind-gaming-interview
2020/07/13 10:03:33
| voter | yehey |
| author | cloudif |
| permlink | behind-gaming-interview |
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}cloudifpublished a new post: behind-gaming-interview2020/07/13 09:15:39
cloudifpublished a new post: behind-gaming-interview
2020/07/13 09:15:39
| parent author | |
| parent permlink | games |
| author | cloudif |
| permlink | behind-gaming-interview |
| title | Behind Gaming Interview |
| body | *This interview was originally published at [Behind Gaming](https://www.behindgaming.com/resolutiion-resultado-prueba-error-monolith-of-minds/) in July 2020. This is the full, English version, were we work through our post-game-release-disorders. Enjoy.* --- ## How do you describe Resolutiion? Ah, let’s start with the obligatory elevator pitch, shall we? So, [Resolutiion](https://resolutiion.monolithofminds.com/) is a retro inspired action-adventure, set in a future not too unlike ours: the Infinite Empire is at war with the Tribes, that protect the mysterious Cradles. You’re playing Valor, an old assassin tasked to escort the AI Alibii into enemy territory. That’s the boring part. The fun part is that nothing is as it seems, as you fall into the rabbit hole: in Resolutiion you will be chased by giant cats and meet God at the bottom of the sea, all on the backdrop of a very dark tale. ## Which were your influences behind Resolutiion development process? We’re kids of the 80s, so obviously we turned to the early Zelda games as often as we needed some inspiration or a clue on how to design a level or mechanic. Since this is our very first video game, we had to learn everything from scratch, mostly by studying the game we enjoyed the most.  Later many modern games added to the pool of inspirations, like Sword & Sorcery, Rain World or Hyper Light Drifter. I think it’s fair to say, that we’re clearly and solely inspired by indie games, striving for unique charm above trends and quick marketing capabilities. ## The pixel art at the game looks great with all the tiny pixels blowing away when you kill someone. How did you decide it? Was it hard to create it? Well, thank you. When we set out to build a video game five years ago, we had no idea how to do anything. The only things on our mind were Zelda as a Sci-Fi game, and the questions: how would Sword & Sorcery look with plenty of colour … From there, most things emerged by accident, or trial and error. ## The music in Resoluttion is amazing. How did you chose the soundtrack? It is, and we could not be happier with it. But truth be told, we didn’t chose the soundtrack; the soundtrack chose us, hahaha. We’re obsessed with music, but had no portfolio, no experience nor any budget for a professional artist. Lucky us, Gerrit Wolf, a local composer was looking for a challenge in the field of video game music. We met and decided to work together under one condition: 100% creative freedom and the promise, to finish and ship the whole projet, no matter what. Based on a few screenshots of each level and a rough outline, Gerrit descended into his basement/cave, and emerged three month later with a plethora of synth and beats from another world. And we loved it. ## You started Resolutiion development back in 2015. Now, five years later. Are you satisfied with the game? Was it what you expected at the beginning? Oh God, yes! Resolutiion is so much more than we ever anticipated it to become, in scale, quality and feedback. Our initial scope was around one fourth of what it eventually became, and art, writing, mechanics and music evolved beyond anything we could imagine, when we set out. That’s probably the coolest part about any project that seems larger than life: you start at zero, learn something fresh, move some steps. Then you go back to the start and do everything again with everything you learned; and repeat, and repeat, and repeat … Resolutiion is another manifest of what a tiny group of humans can achieve, through persistence and determination.  ## Has been over a month since the game was released. How’s been people’s reaction to the game? Hands down, it’s amazing. We never set out to create a simple, accessible game, but one for the truly determined gamers, who love to peak behind every corner and leave no stone upside down. Players that expect Resolutiion to be just a fast, pretty hack ’n slash will not get a lot from it. But those who are looking for a deep story in a strange and mesmerizing world have a blast: some fans have already deciphered 98% of the lore, [set up wikis](https://sites.google.com/view/resolutiionwiki/home) and helped each other out with the late-game riddles — for us observing this curiosity is pure bliss. ## I know you and your brother are the founders of Monolith of Minds. How did you decide to become indie developers? So, in 2015 Richi was working on his PhD as a physicist, but got a little bored with the same experiments over and over again. So he surfed the web, found this new game engine called Godot, and explored it’s feature set. At the same time, I was crafting a few short stories, to improve my writing. Then, through many conversations and even more coffee, these two interests merged into one, taking us on our journey to discover the realm of indie development, spanning half a decade. ## What do you think about the indie gaming industry in Germany? Since we’re so fresh on the scene, I’m not really familiar with a lot of German endeavors. This is certainly an area where we’ll do our homework now, since Resolutiion has been released, and we have a little more time on our hands. I’m also wondering about the term “indie developer”, which seems to be a catch-all phrase for solo developers up to 30 people studios with decades of experience … ## Can you tell me a little bit of Monolith of Minds history? Where did the name come from? That’s a lovely question: as probably every creator or entrepreneur knows, naming is absurdly hard. We were already struggling with our game’s name for month, and when we had picked it, we realized that we also needed a studio name, asap.  So we had a look at one of the short stories, that influenced Resolutiion’s world, called [The Last Website](http://www.lastwebsite.io/), looking for catchy phrases or inspiring words. There, in chapter three, it says: *“I joined the movement that believed survival was tied to the survival of machinekind. My own, best contribution became Alibi: Haven to a monolith of minds.”* Those last words simply sounded like the perfect name for a weird studio with an uncertain future. ## Which is your favorite indie game so far from 2020? While 2018 and –19 have been a blast for indie game fans, 2020 is a bit thin on outstanding gems so far. Still, some recent highlights of us have been: [The Red Strings Club](http://deconstructeam.com/), which plays very slow but is absurdly intelligent in telling its transhumanist story of androids and emotions. [Valfaris](https://valfarisgame.com/), because laser-swords, exploding bio-robots and Heavy Metal in space are simply a perfect recipe for fun. [Cloudpunk](https://www.mergegames.com/cloudpunk), because everybody wants to race through the 5th Element’s skyscrapers … [Children of Morta](https://childrenofmorta.com/), not only due to its out-of-this-world pixelart, but also for finally adding some story the the rogue-lite genre. There you go. Hopefully your readers pick some of these sweet time-wasters up. Thanks for the interview, and all the best with [your blog’s future](https://www.behindgaming.com/).  |
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"title": "Behind Gaming Interview",
"body": "*This interview was originally published at [Behind Gaming](https://www.behindgaming.com/resolutiion-resultado-prueba-error-monolith-of-minds/) in July 2020. This is the full, English version, were we work through our post-game-release-disorders.\nEnjoy.*\n\n---\n\n## How do you describe Resolutiion?\nAh, let’s start with the obligatory elevator pitch, shall we?\n\nSo, [Resolutiion](https://resolutiion.monolithofminds.com/) is a retro inspired action-adventure, set in a future not too unlike ours: the Infinite Empire is at war with the Tribes, that protect the mysterious Cradles. You’re playing Valor, an old assassin tasked to escort the AI Alibii into enemy territory.\n\nThat’s the boring part. The fun part is that nothing is as it seems, as you fall into the rabbit hole: in Resolutiion you will be chased by giant cats and meet God at the bottom of the sea, all on the backdrop of a very dark tale.\n\n## Which were your influences behind Resolutiion development process?\nWe’re kids of the 80s, so obviously we turned to the early Zelda games as often as we needed some inspiration or a clue on how to design a level or mechanic. Since this is our very first video game, we had to learn everything from scratch, mostly by studying the game we enjoyed the most.\n\n\n\nLater many modern games added to the pool of inspirations, like Sword & Sorcery, Rain World or Hyper Light Drifter. I think it’s fair to say, that we’re clearly and solely inspired by indie games, striving for unique charm above trends and quick marketing capabilities.\n\n## The pixel art at the game looks great with all the tiny pixels blowing away when you kill someone. How did you decide it? Was it hard to create it?\nWell, thank you. When we set out to build a video game five years ago, we had no idea how to do anything. The only things on our mind were Zelda as a Sci-Fi game, and the questions: how would Sword & Sorcery look with plenty of colour …\n\nFrom there, most things emerged by accident, or trial and error. \n\n## The music in Resoluttion is amazing. How did you chose the soundtrack?\nIt is, and we could not be happier with it. But truth be told, we didn’t chose the soundtrack; the soundtrack chose us, hahaha.\n\nWe’re obsessed with music, but had no portfolio, no experience nor any budget for a professional artist. Lucky us, Gerrit Wolf, a local composer was looking for a challenge in the field of video game music. We met and decided to work together under one condition: 100% creative freedom and the promise, to finish and ship the whole projet, no matter what.\n\nBased on a few screenshots of each level and a rough outline, Gerrit descended into his basement/cave, and emerged three month later with a plethora of synth and beats from another world. And we loved it.\n\n## You started Resolutiion development back in 2015. Now, five years later. Are you satisfied with the game? Was it what you expected at the beginning?\nOh God, yes! Resolutiion is so much more than we ever anticipated it to become, in scale, quality and feedback. Our initial scope was around one fourth of what it eventually became, and art, writing, mechanics and music evolved beyond anything we could imagine, when we set out.\n\nThat’s probably the coolest part about any project that seems larger than life: you start at zero, learn something fresh, move some steps. Then you go back to the start and do everything again with everything you learned; and repeat, and repeat, and repeat …\n\nResolutiion is another manifest of what a tiny group of humans can achieve, through persistence and determination.\n\n\n\n## Has been over a month since the game was released. How’s been people’s reaction to the game?\nHands down, it’s amazing. We never set out to create a simple, accessible game, but one for the truly determined gamers, who love to peak behind every corner and leave no stone upside down. Players that expect Resolutiion to be just a fast, pretty hack ’n slash will not get a lot from it.\n\nBut those who are looking for a deep story in a strange and mesmerizing world have a blast: some fans have already deciphered 98% of the lore, [set up wikis](https://sites.google.com/view/resolutiionwiki/home) and helped each other out with the late-game riddles — for us observing this curiosity is pure bliss.\n\n## I know you and your brother are the founders of Monolith of Minds. How did you decide to become indie developers?\nSo, in 2015 Richi was working on his PhD as a physicist, but got a little bored with the same experiments over and over again. So he surfed the web, found this new game engine called Godot, and explored it’s feature set.\n\nAt the same time, I was crafting a few short stories, to improve my writing. Then, through many conversations and even more coffee, these two interests merged into one, taking us on our journey to discover the realm of indie development, spanning half a decade.\n\n## What do you think about the indie gaming industry in Germany?\nSince we’re so fresh on the scene, I’m not really familiar with a lot of German endeavors. This is certainly an area where we’ll do our homework now, since Resolutiion has been released, and we have a little more time on our hands.\n\nI’m also wondering about the term “indie developer”, which seems to be a catch-all phrase for solo developers up to 30 people studios with decades of experience …\n\n## Can you tell me a little bit of Monolith of Minds history? Where did the name come from?\nThat’s a lovely question: as probably every creator or entrepreneur knows, naming is absurdly hard. We were already struggling with our game’s name for month, and when we had picked it, we realized that we also needed a studio name, asap.\n\n\n\nSo we had a look at one of the short stories, that influenced Resolutiion’s world, called [The Last Website](http://www.lastwebsite.io/), looking for catchy phrases or inspiring words. There, in chapter three, it says: *“I joined the movement that believed survival was tied to the survival of machinekind. My own, best contribution became Alibi: Haven to a monolith of minds.”*\n\nThose last words simply sounded like the perfect name for a weird studio with an uncertain future.\n\n## Which is your favorite indie game so far from 2020?\nWhile 2018 and –19 have been a blast for indie game fans, 2020 is a bit thin on outstanding gems so far. Still, some recent highlights of us have been:\n\n[The Red Strings Club](http://deconstructeam.com/), which plays very slow but is absurdly intelligent in telling its transhumanist story of androids and emotions.\n\n[Valfaris](https://valfarisgame.com/), because laser-swords, exploding bio-robots and Heavy Metal in space are simply a perfect recipe for fun.\n\n[Cloudpunk](https://www.mergegames.com/cloudpunk), because everybody wants to race through the 5th Element’s skyscrapers …\n\n[Children of Morta](https://childrenofmorta.com/), not only due to its out-of-this-world pixelart, but also for finally adding some story the the rogue-lite genre.\n\nThere you go. Hopefully your readers pick some of these sweet time-wasters up.\nThanks for the interview, and all the best with [your blog’s future](https://www.behindgaming.com/).\n\n",
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}executive-boardsent 0.001 STEEM to @cloudif- "❗ Hello cloudif, great that you are using the STEEM blockchain. The Executive Board invites you to visit https://discord.gg/KyBbmhh where you will get some insider infos on how you will earn the most ..."2020/06/02 11:27:03
executive-boardsent 0.001 STEEM to @cloudif- "❗ Hello cloudif, great that you are using the STEEM blockchain. The Executive Board invites you to visit https://discord.gg/KyBbmhh where you will get some insider infos on how you will earn the most ..."
2020/06/02 11:27:03
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| memo | ❗ Hello cloudif, great that you are using the STEEM blockchain. The Executive Board invites you to visit https://discord.gg/KyBbmhh where you will get some insider infos on how you will earn the most coins. It's easy, just follow the instructions. Warm regards, The Executive Board. |
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}cloudifpublished a new post: resolutiion-an-artist-dialog2020/06/02 11:25:57
cloudifpublished a new post: resolutiion-an-artist-dialog
2020/06/02 11:25:57
| parent author | |
| parent permlink | art |
| author | cloudif |
| permlink | resolutiion-an-artist-dialog |
| title | Resolutiion: An Artist Dialog |
| body | *This conversation is an excerpt from **Polychromatic — The Art of Resolutiion**. [Chris](http://www.chrisrafferty.co.uk/) and Günther debate the philosophy’s behind [Resolutiion’s](https://resolutiion.monolithofminds.com/) aesthetic and how they learned to put one pixel next to another. The artbook is a [free DLC on Steam](https://store.steampowered.com/app/1314130/Resolutiion_Artbook_Polychromatic/) and comes with every purchase of the main game. Enjoy the read.* --- **Resolutiion was always about venturing into the unknown, creating something larger than ourselves, and sharing as much as possible in the process. In compiling this book we noticed that while the images and anecdotes revealed a glimpse into the evolution of the artwork, the philosophy behind it remained unclear. How and why did things go in one direction and not another? The following conversation between the art team, Günther and Chris, seeks to explain some of their creative choices and reveal a little more about how Resolutiion became the game it is today.**  **CHRIS** I remember, in an earlier conversation, you said that Resolutiion is pixel art not so much out of design, but out of luck or necessity. Was this game always going to be pixels? **GÜNTHER** I grew up in the 80s, so for me, video games and pixel art are synonymous. Those tiny lights stand for well-balanced mechanics, interesting stories, action, and interaction. There’s this ambivalence between clarity and interpretation in pixels that handpainted or 3D rendered games don’t have. When we started Resolutiion, I expected pixel art to be quick and easy to create. But early on, my first test-renderings told me better: when working in low resolution, every piece of information counts. In pixel art, there was no room for errors, and this became especially apparent in my animations. You, on the other hand, are clearly capable of finer arts. What made you first pick up that 1px pen? **CHRIS** Ten years ago, my friend and I started to make a point and click adventure game. Due to our focus on story and puzzles, we weren’t really that bothered about the art style, whatever it was going to be, we just wanted it to look pretty. The quality of The Curse of Monkey Island’s animation was our dream, but with just me doing the artwork, we knew before we started that wasn’t happening. Then Sword and Sworcery came around and I thought, I can probably do that. Like you, I severely underestimated the amount of time pixel art takes. How did you deal with that realization? **GÜNTHER** Well, my first try at Valor’s walk had only two frames. Obviously, this looked horribly stiff, so a few weeks later I tried again, this time with slimmer limbs and more pixels moving overall. Step by step I revisited every character, enemy and moving object in the game, gradually adding more detail, more motion. As my animations slowly improved, so did Richi’s programming skills, which allowed us to push the art even further. What felt impressive to us in year one seemed amateurish twelve months later. So we continued to rework things, over and over.  Unfortunately, such a process is a dead end: you’ll never be satisfied when you are continually improving by increments, everything can always get a little bit better. So after three years, we decided Resolutiion would ship at the end of year four, regardless. This meant we stopped trying to further improve the visual quality and instead shifted our focus to quantity. Anyways, at that point you joined the team and started to push the envelope all over again. **CHRIS** I think our individual approaches to game art was almost at the opposite ends of a spectrum when I started with you guys. With my own projects, my friend and I would push for final quality at the first pass, so we were pretty good at getting nice looking things quickly. Our problem was we could never contain the story, and our games always got so big we just couldn’t finish them at the quality we had set and aspired to. You and Richi felt a lot more kinda punk — like just smash it in, and we’ll fix it later. I think with Resolutiion’s maps you tried to push me into a “just add one more level of detail for now” mentality, it took me a while, but I think that’s started to stick. But in my defense, I think I was right when it came to the animations. I remember when we started you wanted six-frame walking loops and I had to really push for eight. My feeling, at least, is that pixel art is so precise it’s almost harder to not aim for the final product right away, certainly with the animations. **GÜNTHER** Haha, that is true. You pushed Resolutiion’s visual quality substantially. Not just that, but your work made mine improve much faster, just watching you. I’m very grateful for that. For the first two years, we didn’t have any expectations or ambitions for Resolutiion. When we reached the point of “too big to stop”, we knew the story we wanted to tell, but not how. Everything had to be better, and there were too many blanks to be filled in for a single designer. So we started to look around for someone with a pixel-style that could connect to our amateurish endeavors, yet felt professional enough to be in a quality game. Of the five we reached out to, one never replied, another was overbooked, two were too expensive and —lucky us— you asked for a quick and straightforward video call. **CHRIS** Always good to hear you were hired by default. The first thing I remember saying to you, based purely on screenshots, was that the game looked promising, and it reminded me of Sword & Sworcery and Hyper Light Drifter. It was a compliment, but even then I could tell you were tired of the comparison to HLD. And as we approach launch, we’re hearing it made quite frequently, but you’re taking it more positively now... How fair do you think the comparison is? Was HLD a big inspiration, or do you think this is just what any modern Zelda-like game is going to look like based on the current technology? Do you think we could have done more to distance ourselves from HLD, and if we could have, should we have? **GÜNTHER** Well, Hyper Light Drifter has been this double-edged sword for a while. The comparison comes up frequently, positive and negative alike. Sure, people on the internet try to judge Resolutiion’s whole experience based only on a few screenshots: both games share the same perspective, sci-fi setting, and a very vibrant color pallet. Gamers are passionate; I don’t blame anybody for such a comparison — the contrary is actually true: comparing one of the best looking pixel games of the decade, produced by an insanely talented team of seven, and a budget of $350.000, to our first, part-time, low-budget endeavor is just mind-boggling. I can not be more proud of that.  But as we said earlier, the general style of Resolutiion emerged by trial and error, our initial lack of experience, and plenty of inspiration from other games, including, but not limited to HLD. **CHRIS** Lots of AAA games have very similar visuals to one another, and no one cares. On the flip-side, if an indie-game even vaguely resembles another, people are very quick to call rip-off. I wonder it’s maybe because they usually feel more like personal endeavors, so it’s probably natural that fans are more protective. When I started on Resolutiion, the levels were quite sparse, but I think your vision was noticeably present. Although the maps lacked detail, they somehow still had a defined ambiance. The flat purples and blues in Cloud City had a kind of industrial feel before any details appeared. The flat oranges of the desert had the dry, barren look of sand. You’d already established these two-tone color schemes for the maps which somehow gave them a lot of character without all the extra details. You certainly had the cyan and magenta established in the health and stamina indicators. Was there any reason for the dualistic color thing that runs throughout each element of the game?  **GÜNTHER** The first mockups of Cloud City had muted hues: white floors, orange clouds, beige enemies, etc. But from past work, I knew that limits —even forced ones— are the key to creative work. So without hesitating, I simply decided to build each level with two core colors and plenty of nuances. With all possibilities on the table, you want to set yourself some healthy restraints to avoid option-death. That’s not just true for color-themes, but also everything else in the game. Saying that, technically balancing a set of fully saturated colors is hard work — that’s a beginner's mistake, but I think it worked out. **CHRIS** Visually, this really worked for me in the desert most of all. There’s something about that area where I think everything comes together kind of perfectly. The combat, the stone giants, it all just works. It’s maybe not unique to Resolutiion, but when you walk through the giant’s mouth and pass through the ribs down into darkness like you’ve been swallowed ... it really sets the tone of the game. **GÜNTHER** The desert certainly carries plenty of character due to the giants and vibrant orange tones. I love it, but thinking about it, my favorite area would be the Divided Sea.  Plenty of scene changes, ravenous zombies, and bible fans. The reds and greens are also strong. But what strikes me most is that this level above all carries Resolutiion’s subliminal theme of “ambivalence”: beauty and decay; good and bad, chaos and order — neither exist on its own, they’re always together. But the theme of duality is all over the place: as we said, each level is prominently colored in two hues, but whatever you do or whoever you talk to — you will soon encounter its opposite. Talking about it now, I remember this all came up when we discussed the logo sometime in early 2019 — left, right, and transcendence from the duality, three points shaped into a triangle. You especially pushed this visual metaphor quite a bit, and also did the first take on the branding, right? **CHRIS** I remember my first iterations of the logo were based more around organic and inorganic. Veins becoming electrical circuits, and that sort of thing. It eventually skewed to being more like folk art vs. circuitry, tradition vs. modernism. The circuitry side was cyan, to show that’s the realm of Alibii and the Infinite Empire, while the folky side was magenta, and that was supposed to represent the more human, rebellion side.  I wanted to develop that color symbolism more, really push it as a big part of the game, but we never did. Was it a creative choice on your part to be more ambiguous with the dual-color motif? **GÜNTHER** Yeah, I remember. We tried to incorporate the cyan/magenta idea in a few areas of the game, like the menu, and some illustrations. But eventually, it just started to work against the brutally saturated color palette — this was when we went monochromatic for anything that was just “information”, eventually creating a clean distinction: color for anything diegetic, black and white for everything else. That’s probably what I enjoyed most about us collaborating over the last two years: you going for the fancy detail, me just keeping it as simple as possible. Eventually, we’d find the right balance in every single area. There’s not one element in Resolutiion’s overall experience without at least a little bit of both of us — backgrounds, animations, key art, logo, etc. Looking back over all those individual parts, would you have done anything differently? **CHRIS** I definitely tend to want everything tied together in a really narrow thematic framework. You and Richi are much less uptight about that kind of thing, and tended towards stuff that felt right, looked cool, or was just interesting in its own right: you’ve got giant coffee equipment scattered around the maps, and your only explanation was that you liked it — I’d love to have that confidence. So yeah, there’s definitely things I would have done differently along the way, but having seen the final thing come together, I don’t know if there’s anything I’d change now. How about you? Is there anything you wish you had the time to change? **GÜNTHER** Well, keeping in mind that when I started I was having to learn all these techniques, how to create game assets, I am crazy happy about how far we’ve come. I’d certainly go with a different workflow —more planning, documentation and smaller spaces to iterate on— that might result in a much faster asset pipeline, leaving more time for exploration, concepts, and variety. To elaborate a bit more on this: extreme polishing was something Richi and I decided against very early on in the development. On one hand, we didn’t have the skills to compete with some of those amazing artists out there; on the other, we enjoy indie-games the most if they are rough around the edges and let the developer’s identity shine through. Polishing means that you are narrowing a game’s features closer to the average player’s expectations. Too often this results in politically correct characters, clichés or stereotypes — and I’m certainly not buying an indie-game to get bored with those. **CHRIS** I generally tend to keep away from indie-games that lack visual polish because I think if the developers haven’t polished the art, the game will be low quality too. But the indie-games I do play are usually a bit uninspired… I’ve started looking at titles like Baba is You and hearing how good the game design is, so you might be right. But I got into games first to tell interesting stories, and second to draw nice pictures, so I find it hard to look past the value of these things. **GÜNTHER** I’m with you on the “cool story and nice art” side of video games, but I’d add “amazing soundtrack” to the list. Luckily, Richi came in from the other side of human perception — fast action and fun mechanics. Honestly, his complementary approach made Resolutiion a full game, instead of a pretty but boring art showcase. But since this is an art book, let’s not get too deep into anything other than the visuals. One of the last things I polished was the gore elements in the Fallen City using an epic sprite sheet you provided, filled with little details of pure disgust. How did you approach that kind of task — the growth in the Forest of Self, the rust inside Hallow Valdez (sunken ship), or the veins and bloodstains for said guts?  **CHRIS** In the early days, the levels looked a bit like they’d been put together with tile-sets. It was all about creating a space to test the mechanics. Platform edges were uniform, the ground was endless paths of single, solid colors. The few details present were almost like notes to your future self: put flowers here. I saw my job at being to disguise the patterns and make each space look hand-crafted. You always had a first iteration on the details in the form of giant sprite sheets you’d made for the asset library. My initial step was always throwing these details all over the place and adding in a few additional entries of my own. But I guess the trick was to then add broad strokes of unique details around the scores of reused ones. Where I’d clustered a bunch of mushrooms I might add some slime that was specific to that spot, dripping down the wall, giving the fungi some context. With the gore, I’d add spindly veins across the floor, I’d snake it around columns, or off the edge of a platform or up some stairs. It was all about trying to sell an illusion that these weren’t just the same assets repeated ad nauseam, floating on a color, but that they were in that space, interacting with the things around them. **GÜNTHER** And you did one fantastic job there. Almost all amazing looking set-pieces in the game have your handwriting all over them. I remember that we split work into two categories: “boring work”, which was all about repetition, patterns and additional layers of detail. And then there was the “fun work”, which was unique elements or little vignettes, that we scattered across the pixel landscapes to draw players through the game. We wanted there to always be something new and shiny to look out for. Quickly shifting between the boring parts and the fun parts is certainly something that creates Resolutiion’s unique charm. But as designers, this meant we had to constantly change our mindset all the time, which is not easy. For the longest time, I had so many rough parts to polish to a decent level that I barely freed up the time to work on a unique, fresh set-piece. How did you deal with this challenge over those 24 months of collaboration? **CHRIS** It was tough in the beginning because back then it was almost exclusively the boring stuff I was working on: adding cracks and rock details. But it got easier as we progressed. Eventually, working on areas started to feel more like expanding massive illustrations rather than a copy-paste collage of assets.  The Hallow Valdez, in particular, had quite an illustrative quality. The maps were big enough that we could have different types of details close together, yet small enough that the flow appeared to have a narrative. **GÜNTHER** That’s true: the levels more and more changed from stitched together snippets of platforms, paths, furniture, and props, to fleshed out illustrations with variation and details at every corner. Another clear tale of how we learned to create a technical system, and slowly fleshed it out into a living and breathing world. Hopefully, this artbook gets exactly this point across: be open to new challenges, apply what you have learned, and then just stick to it. |
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"title": "Resolutiion: An Artist Dialog",
"body": "*This conversation is an excerpt from **Polychromatic — The Art of Resolutiion**. [Chris](http://www.chrisrafferty.co.uk/) and Günther debate the philosophy’s behind [Resolutiion’s](https://resolutiion.monolithofminds.com/) aesthetic and how they learned to put one pixel next to another.\nThe artbook is a [free DLC on Steam](https://store.steampowered.com/app/1314130/Resolutiion_Artbook_Polychromatic/) and comes with every purchase of the main game.\nEnjoy the read.*\n\n---\n\n**Resolutiion was always about venturing into the unknown, creating something larger than ourselves, and sharing as much as possible in the process. In compiling this book we noticed that while the images and anecdotes revealed a glimpse into the evolution of the artwork, the philosophy behind it remained unclear. How and why did things go in one direction and not another? The following conversation between the art team, Günther and Chris, seeks to explain some of their creative choices and reveal a little more about how Resolutiion became the game it is today.**\n\n\n\n**CHRIS** I remember, in an earlier conversation, you said that Resolutiion is pixel art not so much out of design, but out of luck or necessity. Was this game always going to be pixels?\n\n**GÜNTHER** I grew up in the 80s, so for me, video games and pixel art are synonymous. Those tiny lights stand for well-balanced mechanics, interesting stories, action, and interaction. There’s this ambivalence between clarity and interpretation in pixels that handpainted or 3D rendered games don’t have.\n\nWhen we started Resolutiion, I expected pixel art to be quick and easy to create. But early on, my first test-renderings told me better: when working in low resolution, every piece of information counts. In pixel art, there was no room for errors, and this became especially apparent in my animations.\n\nYou, on the other hand, are clearly capable of finer arts. What made you first pick up that 1px pen?\n\n**CHRIS** Ten years ago, my friend and I started to make a point and click adventure game. Due to our focus on story and puzzles, we weren’t really that bothered about the art style, whatever it was going to be, we just wanted it to look pretty. The quality of The Curse of Monkey Island’s animation was our dream, but with just me doing the artwork, we knew before we started that wasn’t happening. Then Sword and Sworcery came around and I thought, I can probably do that.\n\nLike you, I severely underestimated the amount of time pixel art takes. How did you deal with that realization?\n\n**GÜNTHER** Well, my first try at Valor’s walk had only two frames. Obviously, this looked horribly stiff, so a few weeks later I tried again, this time with slimmer limbs and more pixels moving overall. Step by step I revisited every character, enemy and moving object in the game, gradually adding more detail, more motion. As my animations slowly improved, so did Richi’s programming skills, which allowed us to push the art even further. What felt impressive to us in year one seemed amateurish twelve months later. So we continued to rework things, over and over. \n\n\n\nUnfortunately, such a process is a dead end: you’ll never be satisfied when you are continually improving by increments, everything can always get a little bit better. So after three years, we decided Resolutiion would ship at the end of year four, regardless. This meant we stopped trying to further improve the visual quality and instead shifted our focus to quantity.\n\nAnyways, at that point you joined the team and started to push the envelope all over again.\n\n**CHRIS** I think our individual approaches to game art was almost at the opposite ends of a spectrum when I started with you guys. With my own projects, my friend and I would push for final quality at the first pass, so we were pretty good at getting nice looking things quickly. Our problem was we could never contain the story, and our games always got so big we just couldn’t finish them at the quality we had set and aspired to. \n\nYou and Richi felt a lot more kinda punk — like just smash it in, and we’ll fix it later. I think with Resolutiion’s maps you tried to push me into a “just add one more level of detail for now” mentality, it took me a while, but I think that’s started to stick.\n\nBut in my defense, I think I was right when it came to the animations. I remember when we started you wanted six-frame walking loops and I had to really push for eight. My feeling, at least, is that pixel art is so precise it’s almost harder to not aim for the final product right away, certainly with the animations.\n\n**GÜNTHER** Haha, that is true. You pushed Resolutiion’s visual quality substantially. Not just that, but your work made mine improve much faster, just watching you. I’m very grateful for that. \n\nFor the first two years, we didn’t have any expectations or ambitions for Resolutiion. When we reached the point of “too big to stop”, we knew the story we wanted to tell, but not how. Everything had to be better, and there were too many blanks to be filled in for a single designer. So we started to look around for someone with a pixel-style that could connect to our amateurish endeavors, yet felt professional enough to be in a quality game.\n\nOf the five we reached out to, one never replied, another was overbooked, two were too expensive and —lucky us— you asked for a quick and straightforward video call.\n\n**CHRIS** Always good to hear you were hired by default.\n\nThe first thing I remember saying to you, based purely on screenshots, was that the game looked promising, and it reminded me of Sword & Sworcery and Hyper Light Drifter. It was a compliment, but even then I could tell you were tired of the comparison to HLD. And as we approach launch, we’re hearing it made quite frequently, but you’re taking it more positively now... How fair do you think the comparison is? Was HLD a big inspiration, or do you think this is just what any modern Zelda-like game is going to look like based on the current technology? Do you think we could have done more to distance ourselves from HLD, and if we could have, should we have?\n\n**GÜNTHER** Well, Hyper Light Drifter has been this double-edged sword for a while. The comparison comes up frequently, positive and negative alike.\n\nSure, people on the internet try to judge Resolutiion’s whole experience based only on a few screenshots: both games share the same perspective, sci-fi setting, and a very vibrant color pallet. Gamers are passionate; I don’t blame anybody for such a comparison — the contrary is actually true: comparing one of the best looking pixel games of the decade, produced by an insanely talented team of seven, and a budget of $350.000, to our first, part-time, low-budget endeavor is just mind-boggling. I can not be more proud of that.\n\n\n\nBut as we said earlier, the general style of Resolutiion emerged by trial and error, our initial lack of experience, and plenty of inspiration from other games, including, but not limited to HLD.\n\n**CHRIS** Lots of AAA games have very similar visuals to one another, and no one cares. On the flip-side, if an indie-game even vaguely resembles another, people are very quick to call rip-off. I wonder it’s maybe because they usually feel more like personal endeavors, so it’s probably natural that fans are more protective.\n\nWhen I started on Resolutiion, the levels were quite sparse, but I think your vision was noticeably present. Although the maps lacked detail, they somehow still had a defined ambiance. The flat purples and blues in Cloud City had a kind of industrial feel before any details appeared. The flat oranges of the desert had the dry, barren look of sand. \n\nYou’d already established these two-tone color schemes for the maps which somehow gave them a lot of character without all the extra details. You certainly had the cyan and magenta established in the health and stamina indicators. Was there any reason for the dualistic color thing that runs throughout each element of the game?\n\n\n\n**GÜNTHER** The first mockups of Cloud City had muted hues: white floors, orange clouds, beige enemies, etc. But from past work, I knew that limits —even forced ones— are the key to creative work. So without hesitating, I simply decided to build each level with two core colors and plenty of nuances. With all possibilities on the table, you want to set yourself some healthy restraints to avoid option-death. That’s not just true for color-themes, but also everything else in the game. Saying that, technically balancing a set of fully saturated colors is hard work — that’s a beginner's mistake, but I think it worked out.\n\n**CHRIS** Visually, this really worked for me in the desert most of all. There’s something about that area where I think everything comes together kind of perfectly. The combat, the stone giants, it all just works. It’s maybe not unique to Resolutiion, but when you walk through the giant’s mouth and pass through the ribs down into darkness like you’ve been swallowed ... it really sets the tone of the game.\n\n**GÜNTHER** The desert certainly carries plenty of character due to the giants and vibrant orange tones. I love it, but thinking about it, my favorite area would be the Divided Sea.\n\n\n\nPlenty of scene changes, ravenous zombies, and bible fans. The reds and greens are also strong. But what strikes me most is that this level above all carries Resolutiion’s subliminal theme of “ambivalence”: beauty and decay; good and bad, chaos and order — neither exist on its own, they’re always together.\n\nBut the theme of duality is all over the place: as we said, each level is prominently colored in two hues, but whatever you do or whoever you talk to — you will soon encounter its opposite. \n\nTalking about it now, I remember this all came up when we discussed the logo sometime in early 2019 — left, right, and transcendence from the duality, three points shaped into a triangle. You especially pushed this visual metaphor quite a bit, and also did the first take on the branding, right?\n\n**CHRIS** I remember my first iterations of the logo were based more around organic and inorganic. Veins becoming electrical circuits, and that sort of thing. It eventually skewed to being more like folk art vs. circuitry, tradition vs. modernism. The circuitry side was cyan, to show that’s the realm of Alibii and the Infinite Empire, while the folky side was magenta, and that was supposed to represent the more human, rebellion side.\n\n\n\nI wanted to develop that color symbolism more, really push it as a big part of the game, but we never did. Was it a creative choice on your part to be more ambiguous with the dual-color motif?\n\n**GÜNTHER** Yeah, I remember. We tried to incorporate the cyan/magenta idea in a few areas of the game, like the menu, and some illustrations. But eventually, it just started to work against the brutally saturated color palette — this was when we went monochromatic for anything that was just “information”, eventually creating a clean distinction: color for anything diegetic, black and white for everything else.\n\nThat’s probably what I enjoyed most about us collaborating over the last two years: you going for the fancy detail, me just keeping it as simple as possible. Eventually, we’d find the right balance in every single area. There’s not one element in Resolutiion’s overall experience without at least a little bit of both of us — backgrounds, animations, key art, logo, etc.\n\nLooking back over all those individual parts, would you have done anything differently?\n\n**CHRIS** I definitely tend to want everything tied together in a really narrow thematic framework. You and Richi are much less uptight about that kind of thing, and tended towards stuff that felt right, looked cool, or was just interesting in its own right: you’ve got giant coffee equipment scattered around the maps, and your only explanation was that you liked it — I’d love to have that confidence.\n\nSo yeah, there’s definitely things I would have done differently along the way, but having seen the final thing come together, I don’t know if there’s anything I’d change now. \n\nHow about you? Is there anything you wish you had the time to change?\n\n**GÜNTHER** Well, keeping in mind that when I started I was having to learn all these techniques, how to create game assets, I am crazy happy about how far we’ve come. I’d certainly go with a different workflow —more planning, documentation and smaller spaces to iterate on— that might result in a much faster asset pipeline, leaving more time for exploration, concepts, and variety.\n\nTo elaborate a bit more on this: extreme polishing was something Richi and I decided against very early on in the development. On one hand, we didn’t have the skills to compete with some of those amazing artists out there; on the other, we enjoy indie-games the most if they are rough around the edges and let the developer’s identity shine through. Polishing means that you are narrowing a game’s features closer to the average player’s expectations. Too often this results in politically correct characters, clichés or stereotypes — and I’m certainly not buying an indie-game to get bored with those.\n\n**CHRIS** I generally tend to keep away from indie-games that lack visual polish because I think if the developers haven’t polished the art, the game will be low quality too. But the indie-games I do play are usually a bit uninspired… I’ve started looking at titles like Baba is You and hearing how good the game design is, so you might be right. But I got into games first to tell interesting stories, and second to draw nice pictures, so I find it hard to look past the value of these things.\n\n**GÜNTHER** I’m with you on the “cool story and nice art” side of video games, but I’d add “amazing soundtrack” to the list. Luckily, Richi came in from the other side of human perception — fast action and fun mechanics. Honestly, his complementary approach made Resolutiion a full game, instead of a pretty but boring art showcase.\n\nBut since this is an art book, let’s not get too deep into anything other than the visuals. One of the last things I polished was the gore elements in the Fallen City using an epic sprite sheet you provided, filled with little details of pure disgust. How did you approach that kind of task — the growth in the Forest of Self, the rust inside Hallow Valdez (sunken ship), or the veins and bloodstains for said guts?\n\n\n\n**CHRIS** In the early days, the levels looked a bit like they’d been put together with tile-sets. It was all about creating a space to test the mechanics. Platform edges were uniform, the ground was endless paths of single, solid colors. The few details present were almost like notes to your future self: put flowers here. I saw my job at being to disguise the patterns and make each space look hand-crafted. \n\nYou always had a first iteration on the details in the form of giant sprite sheets you’d made for the asset library. My initial step was always throwing these details all over the place and adding in a few additional entries of my own. But I guess the trick was to then add broad strokes of unique details around the scores of reused ones. Where I’d clustered a bunch of mushrooms I might add some slime that was specific to that spot, dripping down the wall, giving the fungi some context.\n\nWith the gore, I’d add spindly veins across the floor, I’d snake it around columns, or off the edge of a platform or up some stairs. It was all about trying to sell an illusion that these weren’t just the same assets repeated ad nauseam, floating on a color, but that they were in that space, interacting with the things around them.\n\n**GÜNTHER** And you did one fantastic job there. Almost all amazing looking set-pieces in the game have your handwriting all over them.\n\nI remember that we split work into two categories: “boring work”, which was all about repetition, patterns and additional layers of detail. And then there was the “fun work”, which was unique elements or little vignettes, that we scattered across the pixel landscapes to draw players through the game. We wanted there to always be something new and shiny to look out for.\n\nQuickly shifting between the boring parts and the fun parts is certainly something that creates Resolutiion’s unique charm. But as designers, this meant we had to constantly change our mindset all the time, which is not easy. For the longest time, I had so many rough parts to polish to a decent level that I barely freed up the time to work on a unique, fresh set-piece. How did you deal with this challenge over those 24 months of collaboration?\n\n**CHRIS** It was tough in the beginning because back then it was almost exclusively the boring stuff I was working on: adding cracks and rock details. But it got easier as we progressed. Eventually, working on areas started to feel more like expanding massive illustrations rather than a copy-paste collage of assets. \n\n\n\nThe Hallow Valdez, in particular, had quite an illustrative quality. The maps were big enough that we could have different types of details close together, yet small enough that the flow appeared to have a narrative.\n\n**GÜNTHER** That’s true: the levels more and more changed from stitched together snippets of platforms, paths, furniture, and props, to fleshed out illustrations with variation and details at every corner. Another clear tale of how we learned to create a technical system, and slowly fleshed it out into a living and breathing world.\n\nHopefully, this artbook gets exactly this point across: be open to new challenges, apply what you have learned, and then just stick to it.",
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}cloudifreceived 0.013 SBD, 0.078 SP author reward for @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/06/01 15:24:03
cloudifreceived 0.013 SBD, 0.078 SP author reward for @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/06/01 15:24:03
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| steem payout | 0.000 STEEM |
| vesting payout | 126.760257 VESTS |
| Transaction Info | Block #43877142/Virtual Operation #4 |
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}cloudifcustom json: notify2020/05/29 11:25:39
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2020/05/29 11:25:39
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}filipinoupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/05/25 16:33:21
filipinoupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/05/25 16:33:21
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}yeheyupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/05/25 16:03:36
yeheyupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/05/25 16:03:36
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}techkenupvoted (1.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/05/25 15:43:06
techkenupvoted (1.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/05/25 15:43:06
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}teamupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/05/25 15:43:00
teamupvoted (10.00%) @cloudif / the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/05/25 15:43:00
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}exnihilo.witnesssent 0.001 STEEM to @cloudif- "By casting your witness vote on @exnihilo.witness you will passively earn and be rewarded just for voting. More information : https://steemit.com/@exnihilo.witness"2020/05/25 15:25:18
exnihilo.witnesssent 0.001 STEEM to @cloudif- "By casting your witness vote on @exnihilo.witness you will passively earn and be rewarded just for voting. More information : https://steemit.com/@exnihilo.witness"
2020/05/25 15:25:18
| from | exnihilo.witness |
| to | cloudif |
| amount | 0.001 STEEM |
| memo | By casting your witness vote on @exnihilo.witness you will passively earn and be rewarded just for voting. More information : https://steemit.com/@exnihilo.witness |
| Transaction Info | Block #43679217/Trx fe6414a8ce24c98608c8235b4bb56b6a1a0ad34c |
View Raw JSON Data
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}cloudifpublished a new post: the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy2020/05/25 15:24:03
cloudifpublished a new post: the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy
2020/05/25 15:24:03
| parent author | |
| parent permlink | toy |
| author | cloudif |
| permlink | the-legend-of-mr-p-how-a-mini-boss-turned-adult-toy |
| title | The Legend of Mr. P: How a Mini-Boss turned Adult Toy |
| body | # The Legend of Mr. P: How a Mini-Boss turned Adult Toy In the dimming light, we set down our tools, swept the worktable clean of crumbs and chips, rubbed our hands together, and like Geppetto, looked down in the cardboard box. Full of adoration at our finished creation. We know. This is probably the peak of our career. Before even releasing [Resolutiion](https://resolutiion.monolithofminds.com/), our first game, one of the characters was made into an adult toy. Meet Mr P.: the naughty mini-boss who grew up to be a big dildo.  It began like so many good things in life: being drunk in Frankfurt. A posse of publishers, interns, game testers and devs discussing the madness of character design. Absurd ideas escalating with quality craftbeer, and after 32 minutes of penis jokes we decided to do what many game-designers wanted to, but few dared do. # Action Three years ago, Resolutiion was coming along nicely: we had a decent amount of biomes and combat was fast paced and felt good. Apart from some bosses, though, the enemies were either humanoid or small flying critters — we wanted more variation, probably bigger, yet simple enough to animate.  Some sketches later, a character emerged with a long face and tiny arms. We placed him in a pile of rubble, spitting acid at everybody trying to pass by. Using Stardust —Resolutiion’s bomb— he could be unleashed from the rubble. Free to chase the player all over the place. But how does such a strangely shaped fella move?  A bouncy jog earned this new enemy the moniker “Mr. P”. Then on we couldn’t go a week without the usual back-and-forth of design diatribes, and bug-fix fiascos, being bombarded by dildo jokes. Our publisher was turned on to our juvenile humor. Things escalated until, one fateful night, the intern Jojo took business into her tiny hands. **Jojo** *“Hello Dil Do It, we’d like to implement a figure from our video game. It’s already shaped quite phallic, with small knobs as feet, a face and two arms. We’re hoping that the face can either be printed or carved in. The arms should align flat to the body, similar to vein or protrude alike.”* [Dil Do It](dil-do-it.com), a German company claiming “when dealing with the most intimate things, nobody should be satisfied with products off the rack”, answered promptly: **DDI** *“How would you feel about a representation of the face as outward pointing relief; mouth and eyes as nipples? Those would be simpler to execute while particularly G-point stimulating.”* Who would say no to that … **DDI** *“We would recommend a standard width of 3,5 to 4cm, with any length you enjoy.”* # Erection Following our foreplay a 3D model quickly emerged, to finalize Mr. P’s dirty details:  **DDI** *“Regarding the curvature and the feet: if we place them further to the front and flatten them, the whole piece would be able to stand upright.”* To which Jojo replied: **Jojo** *“That sounds great. Also, can we make the whole character a little shorter and thicker? We honestly don’t mind the 20cm length at all. Size doesn’t matter, right?”*  # Satisfaction Dil Do It turned out to be an experienced partner, with quick turnaround and practiced support. The whole project was affordable. Even pleasurable. Mr. P shipped six weeks later. Gotta say unpacking Mr P., felt like, well what you’d expect: fucking weird. <iframe width="560" height="315" src="https://www.youtube.com/embed/pUQKaom7jJI?start=20" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe> And there we were. Looking down in that box. Having our Geppetto moment. With our own Pinocchio. Meet Mr P.: the naughty mini-boss who grew up to be a big dildo. A real, big dildo.  Next up: the Bolshie-Anal-Beads, Mutant-King-Flesh-Light, and more. Stay tuned. |
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"body": "# The Legend of Mr. P: How a Mini-Boss turned Adult Toy\n\nIn the dimming light, we set down our tools, swept the worktable clean of crumbs and chips, rubbed our hands together, and like Geppetto, looked down in the cardboard box. Full of adoration at our finished creation.\n\nWe know. This is probably the peak of our career. Before even releasing [Resolutiion](https://resolutiion.monolithofminds.com/), our first game, one of the characters was made into an adult toy.\n\nMeet Mr P.: the naughty mini-boss who grew up to be a big dildo.\n\n\n\nIt began like so many good things in life: being drunk in Frankfurt.\n\nA posse of publishers, interns, game testers and devs discussing the madness of character design. Absurd ideas escalating with quality craftbeer, and after 32 minutes of penis jokes we decided to do what many game-designers wanted to, but few dared do.\n\n\n# Action\n\nThree years ago, Resolutiion was coming along nicely: we had a decent amount of biomes and combat was fast paced and felt good. \n\nApart from some bosses, though, the enemies were either humanoid or small flying critters — we wanted more variation, probably bigger, yet simple enough to animate.\n\n\n\nSome sketches later, a character emerged with a long face and tiny arms.\n\nWe placed him in a pile of rubble, spitting acid at everybody trying to pass by. Using Stardust —Resolutiion’s bomb— he could be unleashed from the rubble. Free to chase the player all over the place. \n\nBut how does such a strangely shaped fella move?\n\n\n\nA bouncy jog earned this new enemy the moniker “Mr. P”.\n\nThen on we couldn’t go a week without the usual back-and-forth of design diatribes, and bug-fix fiascos, being bombarded by dildo jokes.\n\nOur publisher was turned on to our juvenile humor. Things escalated until, one fateful night, the intern Jojo took business into her tiny hands.\n\n**Jojo** *“Hello Dil Do It, we’d like to implement a figure from our video game. It’s already shaped quite phallic, with small knobs as feet, a face and two arms. We’re hoping that the face can either be printed or carved in. The arms should align flat to the body, similar to vein or protrude alike.”*\n\n[Dil Do It](dil-do-it.com), a German company claiming “when dealing with the most intimate things, nobody should be satisfied with products off the rack”, answered promptly:\n\n**DDI** *“How would you feel about a representation of the face as outward pointing relief; mouth and eyes as nipples? Those would be simpler to execute while particularly G-point stimulating.”*\n\nWho would say no to that …\n\n**DDI** *“We would recommend a standard width of 3,5 to 4cm, with any length you enjoy.”*\n\n\n# Erection\n\nFollowing our foreplay a 3D model quickly emerged, to finalize Mr. P’s dirty details:\n\n\n\n**DDI** *“Regarding the curvature and the feet: if we place them further to the front and flatten them, the whole piece would be able to stand upright.”*\n\nTo which Jojo replied:\n\n**Jojo** *“That sounds great. Also, can we make the whole character a little shorter and thicker? We honestly don’t mind the 20cm length at all. Size doesn’t matter, right?”*\n\n\n\n\n# Satisfaction\n\nDil Do It turned out to be an experienced partner, with quick turnaround and practiced support. The whole project was affordable. Even pleasurable. \n\nMr. P shipped six weeks later. Gotta say unpacking Mr P., felt like, well what you’d expect: fucking weird.\n\n<iframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/pUQKaom7jJI?start=20\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen></iframe>\n\nAnd there we were. Looking down in that box. Having our Geppetto moment. With our own Pinocchio. \n\nMeet Mr P.: the naughty mini-boss who grew up to be a big dildo.\nA real, big dildo.\n\n\n\nNext up: the Bolshie-Anal-Beads, Mutant-King-Flesh-Light, and more. \nStay tuned.",
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}cloudifreceived 0.737 SBD, 4.890 SP author reward for @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog2020/05/20 10:24:00
cloudifreceived 0.737 SBD, 4.890 SP author reward for @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog
2020/05/20 10:24:00
| author | cloudif |
| permlink | godot-engine-how-to-prepare-your-game-for-steam-and-gog |
| sbd payout | 0.737 SBD |
| steem payout | 0.000 STEEM |
| vesting payout | 7953.995268 VESTS |
| Transaction Info | Block #43532056/Virtual Operation #352 |
View Raw JSON Data
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2020/05/13 13:24:15
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cloudifpublished a new post: godot-engine-how-to-prepare-your-game-for-steam-and-gog
2020/05/13 12:55:03
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}jaggedupvoted (6.20%) @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog2020/05/13 12:03:27
jaggedupvoted (6.20%) @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog
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}paullifefitupvoted (75.00%) @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog2020/05/13 11:59:00
paullifefitupvoted (75.00%) @cloudif / godot-engine-how-to-prepare-your-game-for-steam-and-gog
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}cloudifpublished a new post: godot-engine-how-to-prepare-your-game-for-steam-and-gog2020/05/13 11:53:57
cloudifpublished a new post: godot-engine-how-to-prepare-your-game-for-steam-and-gog
2020/05/13 11:53:57
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cloudifpublished a new post: godot-engine-how-to-prepare-your-game-for-steam-and-gog
2020/05/13 11:53:12
| parent author | |
| parent permlink | godot |
| author | cloudif |
| permlink | godot-engine-how-to-prepare-your-game-for-steam-and-gog |
| title | Godot engine: How to prepare your game for Steam and GOG |
| body | @@ -1,137 +1,4 @@ -!%5BGodot games on Steam and Good Old Games%5D(https://cdn.steemitimages.com/DQmX8ePiC51cvWtqbSoe7rWKUwbHe9uiYDzAF5zy32CRMF6/cover.png)%0A%0A Hey. @@ -1223,16 +1223,17 @@ # Steam%0A +%0A Steam%E2%80%99s @@ -1902,16 +1902,17 @@ %0A## GOG%0A +%0A To get t @@ -2235,32 +2235,44 @@ OS. -Hopefully there%E2%80%99s also a +We are eager to get our hands on the soo @@ -4189,26 +4189,24 @@ odule:%0A%0A%60%60%60%0A - godotsteam/s @@ -4217,18 +4217,16 @@ ublic/*%0A - godotste @@ -4254,18 +4254,16 @@ e_bin/*%0A - godotste @@ -4271,18 +4271,16 @@ m/SCsub%0A - godotste @@ -4288,26 +4288,24 @@ m/config.py%0A - godotsteam/g @@ -4314,26 +4314,24 @@ otsteam.cpp%0A - godotsteam/g @@ -4342,18 +4342,16 @@ steam.h%0A - godotste @@ -4368,26 +4368,24 @@ r_types.cpp%0A - godotsteam/r @@ -4452,18 +4452,16 @@ e:%0A%0A%60%60%60%0A - godotgog @@ -4482,18 +4482,16 @@ alaxy/*%0A - godotgog @@ -4507,18 +4507,16 @@ aries/*%0A - godotgog @@ -4526,18 +4526,16 @@ nfig.py%0A - godotgog @@ -4544,26 +4544,24 @@ odotgog.cpp%0A - godotgog/god @@ -4568,18 +4568,16 @@ otgog.h%0A - godotgog @@ -4596,18 +4596,16 @@ pes.cpp%0A - godotgog @@ -4622,18 +4622,16 @@ types.h%0A - godotgog @@ -5637,42 +5637,804 @@ ill -bring up our familiar Godot editor +unfortunately, return an error: *dynamic libraries (DLL/SO/DyLib) are missing*. We can fix that easily: %0A%0A1. Go to %60%60%60godotsteam/sdk/redistributable_bin%60%60%60 and copy %60%60%60steam_api64.dll%60%60%60 next to your Godot binary; .so on Linux and .dylib on macOS%0A1. Do the same from %60%60%60godotgog/sdk/Libraries%60%60%60 and copy the respective library to your Godot binary%0A1. As a final puzzle piece, to access the Steam API we also need to add a text file named %E2%80%9Csteam_appid.txt%E2%80%9D into the executables folder, which contains only your Steam app ID. If you don%E2%80%99t know your app%E2%80%99s ID, just visit your Steam dashboard %E2%80%94 the ID is the number right next to the name of your game. %0A%0ANow executing the binary will bring up our familiar Godot editor. You can add a cool new suffix like %22.Steam & GOG%22 in the %60%60%60version.py%60%60%60 file .%0A%0A! @@ -6566,18 +6566,391 @@ 4jS.png) + %0A%0A +If everything went well, you should have two new entries in your Global scope:%0A%0A* Steam%0A* GOG%0A%0A!%5BSteam scope%5D(https://cdn.steemitimages.com/DQmf5EcYHyVPQGHAXJXwP3efBumivohXFyhbVTcUGMbVRHE/godot.windows.tools.64_bX63RKYZEr.png)%0A%0A!%5BGOG scope%5D(https://cdn.steemitimages.com/DQmaJo4KgQFQnVRytbjWKTRpGyZ6fh4owpKh9NxFHpwrub9/godot.windows.tools.64_gsh4U8qXAa.png)%0A%0A## Templates%0A But wait @@ -7026,20 +7026,19 @@ l later -need +use to comp @@ -7070,16 +7070,167 @@ cutable. + However, since we obviously don't want the Steam functions in the GOG version and vice versa, we have to disable one of the modules for each template. %0A%0A1. Do @@ -7273,14 +7273,54 @@ ease -_debug + module_godotgog_enabled=no extra_suffix=steam %60%60%60 @@ -7330,21 +7330,23 @@ build a -debug +release -export @@ -7346,32 +7346,54 @@ export template +for the Steam version (change your OS @@ -7422,18 +7422,11 @@ %0A1. -Finally do +And %60%60%60 @@ -7466,87 +7466,162 @@ ease -%60%60%60 to build the release-export template (change your OS variable, accordingly) +_debug module_godotsteam_enabled=no extra_suffix=gog%60%60%60 for the GOG version.%0A1. Do the same with %60%60%60target=release%60%60%60 if you need debug templates as well. %0A%0Ama @@ -7964,30 +7964,8 @@ ).%0A%0A -## Dynamic Libraries%0A%0A From @@ -8085,820 +8085,246 @@ or. -Running them on your game development system will, unfortunately, return an error: *dynamic libraries (DLL/SO/DyLib) are missing*%0A%0AWe can fix that easily: %0A%0A1. Go to %60%60%60godotsteam/sdk/redistributable_bin%60%60%60 and copy %60%60%60steam_api64.dll%60%60%60 next to your Godot binary; .so on Linux and .dylib on macOS%0A1. Do the same from %60%60%60godotgog/sdk/Libraries%60%60%60 and copy the respective library to your Godot binary %0A%0AAs a final puzzle piece, to access the Steam API we also need to add a text file named %E2%80%9Csteam_appid.txt%E2%80%9D into the executables folder, which contains only your Steam app ID. If you don%E2%80%99t know your app%E2%80%99s ID, just visit your Steam dashboard %E2%80%94 the ID is the number right next to the name of your game. %0A%0AAll things in place, our folder with the editor and all the export templates should look something like this:%0A +All things in place, our folder with the editor and all the export templates should look something like this:%0A%0A**godot.windows.debug.64.gog.exe** *Windows GOG debug template*%0A**godot.windows.opt.64.gog.exe** *Windows GOG release template* %0A**g @@ -8341,24 +8341,30 @@ ws.debug.64. +steam. exe** *Windo @@ -8366,16 +8366,22 @@ Windows +Steam debug te @@ -8407,24 +8407,30 @@ dows.opt.64. +steam. exe** *Windo @@ -8432,16 +8432,22 @@ Windows +Steam release @@ -8531,24 +8531,28 @@ 11.debug.64. +gog. exe** *Linux @@ -8552,16 +8552,20 @@ *Linux +GOG debug te @@ -8587,24 +8587,28 @@ .x11.opt.64. +gog. exe** *Linux @@ -8608,16 +8608,20 @@ *Linux +GOG release @@ -8636,23 +8636,148 @@ *%0A** -osx_template.ap +godot.x11.debug.64.steam.exe** *Linux Steam debug template*%0A**godot.x11.opt.64.steam.exe** *Linux Steam release template*%0A**osx_templates.zi p** @@ -8985,414 +8985,8 @@ d*%0A%0A -Now, let%E2%80%99s try to run the Godot editor again. If everything went well, you should have two new entries in your Global scope:%0A%0A* Steam%0A* GOG%0A%0A%0A!%5BSteam scope%5D(https://cdn.steemitimages.com/DQmf5EcYHyVPQGHAXJXwP3efBumivohXFyhbVTcUGMbVRHE/godot.windows.tools.64_bX63RKYZEr.png)%0A%0A!%5BGOG scope%5D(https://cdn.steemitimages.com/DQmaJo4KgQFQnVRytbjWKTRpGyZ6fh4owpKh9NxFHpwrub9/godot.windows.tools.64_gsh4U8qXAa.png)%0A%0A This @@ -10783,19 +10783,18 @@ cript:%0A%0A -## +** integrat @@ -10799,17 +10799,18 @@ ation.gd -%0A +** %0A%60%60%60pyth @@ -12949,25 +12949,26 @@ onnect(%22auth -S +_s uccess%22, sel @@ -13068,17 +13068,17 @@ if GOG. -I +i nit(CLIE @@ -13155,13 +13155,14 @@ GOG. -SignI +sign_i n()%0A @@ -13182,17 +13182,18 @@ G, %22auth -S +_s uccess%22) @@ -13234,15 +13234,16 @@ GOG. -S +s igned -I +_i n()) @@ -13285,17 +13285,19 @@ GOG. -IsL +is_l ogged -O +_o n()) @@ -13348,16 +13348,17 @@ GOG. -P +p rocess -D +_d ata( @@ -13486,12 +13486,13 @@ GOG. -SetA +set_a chie @@ -14730,17 +14730,16 @@ Windows%0A -%0A * MyGame @@ -14816,17 +14816,16 @@ # Linux%0A -%0A * MyGame @@ -14902,17 +14902,16 @@ ## MacOS -%0A + %0AOpen or |
| json metadata | {"tags":["steam","gog","modules","integration","achievements","engine"],"image":["https://cdn.steemitimages.com/DQmUxo8ioprqoZgTEpd6WE4zdA6JQCJB8mtvk6gKA53LHRR/godot.windows.tools.64_tifHZIr4jS.png","https://cdn.steemitimages.com/DQmf5EcYHyVPQGHAXJXwP3efBumivohXFyhbVTcUGMbVRHE/godot.windows.tools.64_bX63RKYZEr.png","https://cdn.steemitimages.com/DQmaJo4KgQFQnVRytbjWKTRpGyZ6fh4owpKh9NxFHpwrub9/godot.windows.tools.64_gsh4U8qXAa.png","https://cdn.steemitimages.com/DQmXESUiYd56nP5bvVQ5yKGvnAs3atg8SY4q9PPYeWnKTEc/godot.windows.tools.64_fYnV2rShBW.png"],"links":["https://resolutiion.monolithofminds.com/","https://partner.steamgames.com","https://partner.steamgames.com/dashboard","http://www.gog.com/support/contact/business","https://devportal.gog.com/galaxy/components/sdk","https://github.com/godotengine/godot","https://github.com/Gramps/GodotSteam","https://github.com/pixelriot/GodotGoG","https://twitter.com/coaguco","https://github.com/pixelriot","http://docs.godotengine.org/en/stable/development/compiling/","https://www.scons.org/","http://steamcommunity.com/app/404790/discussions/0/364042703865087202/","http://docs.godotengine.org/en/latest/development/compiling/compiling_for_osx.html#compiling","https://docs.godotengine.org/","https://docs.godotengine.org/en/3.2/getting_started/workflow/export/feature_tags.html","https://docs.godotengine.org/en/3.2/getting_started/step_by_step/singletons_autoload.html","https://godotengine.org"],"app":"steemit/0.2","format":"markdown"} |
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"author": "cloudif",
"permlink": "godot-engine-how-to-prepare-your-game-for-steam-and-gog",
"title": "Godot engine: How to prepare your game for Steam and GOG",
"body": "@@ -1,137 +1,4 @@\n-!%5BGodot games on Steam and Good Old Games%5D(https://cdn.steemitimages.com/DQmX8ePiC51cvWtqbSoe7rWKUwbHe9uiYDzAF5zy32CRMF6/cover.png)%0A%0A\n Hey.\n@@ -1223,16 +1223,17 @@\n # Steam%0A\n+%0A\n Steam%E2%80%99s \n@@ -1902,16 +1902,17 @@\n %0A## GOG%0A\n+%0A\n To get t\n@@ -2235,32 +2235,44 @@\n OS. \n-Hopefully there%E2%80%99s also a\n+We are eager to get our hands on the\n soo\n@@ -4189,26 +4189,24 @@\n odule:%0A%0A%60%60%60%0A\n- \n godotsteam/s\n@@ -4217,18 +4217,16 @@\n ublic/*%0A\n- \n godotste\n@@ -4254,18 +4254,16 @@\n e_bin/*%0A\n- \n godotste\n@@ -4271,18 +4271,16 @@\n m/SCsub%0A\n- \n godotste\n@@ -4288,26 +4288,24 @@\n m/config.py%0A\n- \n godotsteam/g\n@@ -4314,26 +4314,24 @@\n otsteam.cpp%0A\n- \n godotsteam/g\n@@ -4342,18 +4342,16 @@\n steam.h%0A\n- \n godotste\n@@ -4368,26 +4368,24 @@\n r_types.cpp%0A\n- \n godotsteam/r\n@@ -4452,18 +4452,16 @@\n e:%0A%0A%60%60%60%0A\n- \n godotgog\n@@ -4482,18 +4482,16 @@\n alaxy/*%0A\n- \n godotgog\n@@ -4507,18 +4507,16 @@\n aries/*%0A\n- \n godotgog\n@@ -4526,18 +4526,16 @@\n nfig.py%0A\n- \n godotgog\n@@ -4544,26 +4544,24 @@\n odotgog.cpp%0A\n- \n godotgog/god\n@@ -4568,18 +4568,16 @@\n otgog.h%0A\n- \n godotgog\n@@ -4596,18 +4596,16 @@\n pes.cpp%0A\n- \n godotgog\n@@ -4622,18 +4622,16 @@\n types.h%0A\n- \n godotgog\n@@ -5637,42 +5637,804 @@\n ill \n-bring up our familiar Godot editor\n+unfortunately, return an error: *dynamic libraries (DLL/SO/DyLib) are missing*. We can fix that easily: %0A%0A1. Go to %60%60%60godotsteam/sdk/redistributable_bin%60%60%60 and copy %60%60%60steam_api64.dll%60%60%60 next to your Godot binary; .so on Linux and .dylib on macOS%0A1. Do the same from %60%60%60godotgog/sdk/Libraries%60%60%60 and copy the respective library to your Godot binary%0A1. As a final puzzle piece, to access the Steam API we also need to add a text file named %E2%80%9Csteam_appid.txt%E2%80%9D into the executables folder, which contains only your Steam app ID. If you don%E2%80%99t know your app%E2%80%99s ID, just visit your Steam dashboard %E2%80%94 the ID is the number right next to the name of your game. %0A%0ANow executing the binary will bring up our familiar Godot editor. You can add a cool new suffix like %22.Steam & GOG%22 in the %60%60%60version.py%60%60%60 file\n .%0A%0A!\n@@ -6566,18 +6566,391 @@\n 4jS.png)\n+ \n %0A%0A\n+If everything went well, you should have two new entries in your Global scope:%0A%0A* Steam%0A* GOG%0A%0A!%5BSteam scope%5D(https://cdn.steemitimages.com/DQmf5EcYHyVPQGHAXJXwP3efBumivohXFyhbVTcUGMbVRHE/godot.windows.tools.64_bX63RKYZEr.png)%0A%0A!%5BGOG scope%5D(https://cdn.steemitimages.com/DQmaJo4KgQFQnVRytbjWKTRpGyZ6fh4owpKh9NxFHpwrub9/godot.windows.tools.64_gsh4U8qXAa.png)%0A%0A## Templates%0A\n But wait\n@@ -7026,20 +7026,19 @@\n l later \n-need\n+use\n to comp\n@@ -7070,16 +7070,167 @@\n cutable.\n+ However, since we obviously don't want the Steam functions in the GOG version and vice versa, we have to disable one of the modules for each template.\n %0A%0A1. Do \n@@ -7273,14 +7273,54 @@\n ease\n-_debug\n+ module_godotgog_enabled=no extra_suffix=steam\n %60%60%60 \n@@ -7330,21 +7330,23 @@\n build a \n-debug\n+release\n -export \n@@ -7346,32 +7346,54 @@\n export template \n+for the Steam version \n (change your OS \n@@ -7422,18 +7422,11 @@\n %0A1. \n-Finally do\n+And\n %60%60%60\n@@ -7466,87 +7466,162 @@\n ease\n-%60%60%60 to build the release-export template (change your OS variable, accordingly)\n+_debug module_godotsteam_enabled=no extra_suffix=gog%60%60%60 for the GOG version.%0A1. Do the same with %60%60%60target=release%60%60%60 if you need debug templates as well.\n %0A%0Ama\n@@ -7964,30 +7964,8 @@\n ).%0A%0A\n-## Dynamic Libraries%0A%0A\n From\n@@ -8085,820 +8085,246 @@\n or. \n-Running them on your game development system will, unfortunately, return an error: *dynamic libraries (DLL/SO/DyLib) are missing*%0A%0AWe can fix that easily: %0A%0A1. Go to %60%60%60godotsteam/sdk/redistributable_bin%60%60%60 and copy %60%60%60steam_api64.dll%60%60%60 next to your Godot binary; .so on Linux and .dylib on macOS%0A1. Do the same from %60%60%60godotgog/sdk/Libraries%60%60%60 and copy the respective library to your Godot binary %0A%0AAs a final puzzle piece, to access the Steam API we also need to add a text file named %E2%80%9Csteam_appid.txt%E2%80%9D into the executables folder, which contains only your Steam app ID. If you don%E2%80%99t know your app%E2%80%99s ID, just visit your Steam dashboard %E2%80%94 the ID is the number right next to the name of your game. %0A%0AAll things in place, our folder with the editor and all the export templates should look something like this:%0A\n+All things in place, our folder with the editor and all the export templates should look something like this:%0A%0A**godot.windows.debug.64.gog.exe** *Windows GOG debug template*%0A**godot.windows.opt.64.gog.exe** *Windows GOG release template*\n %0A**g\n@@ -8341,24 +8341,30 @@\n ws.debug.64.\n+steam.\n exe** *Windo\n@@ -8366,16 +8366,22 @@\n Windows \n+Steam \n debug te\n@@ -8407,24 +8407,30 @@\n dows.opt.64.\n+steam.\n exe** *Windo\n@@ -8432,16 +8432,22 @@\n Windows \n+Steam \n release \n@@ -8531,24 +8531,28 @@\n 11.debug.64.\n+gog.\n exe** *Linux\n@@ -8552,16 +8552,20 @@\n *Linux \n+GOG \n debug te\n@@ -8587,24 +8587,28 @@\n .x11.opt.64.\n+gog.\n exe** *Linux\n@@ -8608,16 +8608,20 @@\n *Linux \n+GOG \n release \n@@ -8636,23 +8636,148 @@\n *%0A**\n-osx_template.ap\n+godot.x11.debug.64.steam.exe** *Linux Steam debug template*%0A**godot.x11.opt.64.steam.exe** *Linux Steam release template*%0A**osx_templates.zi\n p** \n@@ -8985,414 +8985,8 @@\n d*%0A%0A\n-Now, let%E2%80%99s try to run the Godot editor again. If everything went well, you should have two new entries in your Global scope:%0A%0A* Steam%0A* GOG%0A%0A%0A!%5BSteam scope%5D(https://cdn.steemitimages.com/DQmf5EcYHyVPQGHAXJXwP3efBumivohXFyhbVTcUGMbVRHE/godot.windows.tools.64_bX63RKYZEr.png)%0A%0A!%5BGOG scope%5D(https://cdn.steemitimages.com/DQmaJo4KgQFQnVRytbjWKTRpGyZ6fh4owpKh9NxFHpwrub9/godot.windows.tools.64_gsh4U8qXAa.png)%0A%0A\n This\n@@ -10783,19 +10783,18 @@\n cript:%0A%0A\n-## \n+**\n integrat\n@@ -10799,17 +10799,18 @@\n ation.gd\n-%0A\n+**\n %0A%60%60%60pyth\n@@ -12949,25 +12949,26 @@\n onnect(%22auth\n-S\n+_s\n uccess%22, sel\n@@ -13068,17 +13068,17 @@\n if GOG.\n-I\n+i\n nit(CLIE\n@@ -13155,13 +13155,14 @@\n GOG.\n-SignI\n+sign_i\n n()%0A\n@@ -13182,17 +13182,18 @@\n G, %22auth\n-S\n+_s\n uccess%22)\n@@ -13234,15 +13234,16 @@\n GOG.\n-S\n+s\n igned\n-I\n+_i\n n())\n@@ -13285,17 +13285,19 @@\n GOG.\n-IsL\n+is_l\n ogged\n-O\n+_o\n n())\n@@ -13348,16 +13348,17 @@\n GOG.\n-P\n+p\n rocess\n-D\n+_d\n ata(\n@@ -13486,12 +13486,13 @@\n GOG.\n-SetA\n+set_a\n chie\n@@ -14730,17 +14730,16 @@\n Windows%0A\n-%0A\n * MyGame\n@@ -14816,17 +14816,16 @@\n # Linux%0A\n-%0A\n * MyGame\n@@ -14902,17 +14902,16 @@\n ## MacOS\n-%0A\n+\n %0AOpen or\n",
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2020/05/13 11:33:21
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2020/05/13 11:33:18
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2020/05/13 11:33:18
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2020/05/13 11:28:18
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2020/05/13 11:28:18
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2020/05/13 11:28:18
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2020/05/13 11:28:18
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2020/05/13 11:28:18
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2020/05/13 11:25:18
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2020/05/13 11:24:48
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2020/05/13 11:24:48
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2020/05/13 11:24:18
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2020/05/13 11:23:39
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2020/05/13 11:23:21
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2020/05/13 11:23:21
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