#big skwots boys

[sydsliftingface]

Damn Syd how much weight was that?????? 😱

125kg / 275.5 lbs!

[acaipsychelife]

Signs as Funny Words

Why not have a goofy post once in a while!

Aries: Kerfuffle [ker-fuhf-uhl] Kerfuffle is pretty popular. It is a British word meaning a fuss; commotion. “The gas price hike caused quite a kerfuffle.” Why does this sound like a word they’d use in Minnesota or North Dakota? Think: the movie Fargo. “Yah, Margie. Big kerfuffle today, for sure.”

Taurus: Canoodle [kuh-nood-l] Dictionary.com defines canoodle as “to caress, fondle, or pet amorously.” The earliest known references are British. Britain still has a stranglehold on this word, as it is regularly spotted on Daily Mail.com, usually in connection with a Kardashian. It was probably used a lot on “Sex and the City” but we have no data to support this. 

Gemini: Bumfuzzle [buhm-fuhz-uhl] Bumfuzzle means to confuse or fluster, from the southern US. This would make a good name for a puppy. “Bumfuzzle! Come here, boy!” Not to be confused with San Francisco Giants pitcher Madison Bumgarner.

also Snollygoster [snol-ee-gos-ter] Not generally used in contemporary culture, but we have a definition so we’re going with it. A snollygoster is a “clever, unscrupulous person.” Since the word dates back to the late 1840s, you can kind of imagine Mark Twain using it in one of his tall tales. Not to be confused with a snallygaster, a mythical dragon-like creature that lurks around Washington D.C.

Cancer: Diddly-squat The word diddly-squat is a direct linguistic cousin to doodly-squat. The term is used in a negative context to denote something that is minimal and inconsequential. Example: “That doesn’t mean diddly-squat.”

Leo: Shivoo [shi-voo] Shivoo is a recent Word of the Day. It’s Australian in origination and stands for a “boisterous party or celebration.” You can totally imagine this happening Down Under, mate. [did-lee-skwot]

Virgo: Doohickey [doo-hik-ee] A doohickey is a “gadget; a dingus; a thingumbob.” One of those little things that sits in the kitchen junk drawer, used by hapless husbands who habitually misplace things and need their wives to bail them out. Example, in this case referencing a garage door opener: “Honey, have you seen the garage doohickey?” Using the term makes husbands feel a bit inadequate. 

Libra: The term mugwump comes from 1830s Massachusetts, and stands for “a Republican who refused to support the party nominee, James G. Blaine, in the presidential campaign of 1884.” The word also means “a person who is unable to make up his or her mind on an issue, especially in politics; a person who is neutral on a controversial issue.” You might have your own meaning for the word—say for example, your parents told you a story when you were growing up about the mugwumps who live in the woods behind your house, gathering berries at night and sleeping by day—under your bed.

Scorpio: Diphthong [dif-thawng, -thong, dip-] This is a funny word that is very hard to spell. The website Atlantic.com called diphthong “the best word ever” and while that may or may not be true, the combination of “dip” which can refer to a clueless individual, and “thong,” which is a style of underwear, just sounds funny. Most people don’t know what a diphthong is, either. You can look it up on Dictionary.com—but maybe it’s just best not to know, and that way you can use it however you’d like. We won’t judge. Noun 1. a vowel sound, occupying a single syllable, during the articulation of which the tongue moves from one position to another, causing a continual change in vowel quality, as in the pronunciation of a in English late, during which the tongue moves from the position of (e) towards ( ɪ)         2.a digraph or ligature representing a composite vowel such as this, as ae in Caesar                

Sagittarius: Fartlek [fahrt-lek] The word fartlek stands for a training technique associated with runners. Swedish in origin from the early 1950s, this word is funny for two reasons. First, it equates to a bodily function, which appeals to many of us on some addled Beavis and Butthead high school level. Second, many words can be made to sound funny just by adding “-lek” to the end. Heh-heh.

Capricorn: Dongle [dong-guhl, dawng‐] Oh, the dongle. It’s a little piece of computer equipment. The exact origination of the term is unknown. Slate.com took a deep dive on this word. It picked up a sexual connotation in tech circles, and caused a rather pronounced kerfuffle (see below). When we solicited opinions on the word internally, one response was “it makes me uncomfortable.” What about you? Does the term make you uncomfortable? Should it be banished and replaced with something new and, well, less provocative? (If that’s how you view it).

Aquarius: Cattywampus [kat-ee-wom-puhs, kat-uh-] This word sounds like the kind of folksy thing President Lincoln might have used, and it’s from his era, the 1830s. Our definition also includes the spelling catawampus. If the word is used as an adjective, it means “askew or awry; positioned diagonally; cater-cornered.” As an adverb, it means “diagonally or obliquely.”

Pisces: Gobbledegook [gob-uhl-dee-gook] Gobbledegook is “language characterized by circumlocution and jargon; it's usually hard to understand. The gobbledegook of government is hard to understand.” For proof, turn on C-SPAN.

Source: dictionary.com

[kayawagner]

Squidlit Developers Talk About Creating An Authentic GameBoy Recreation

For those of you who miss the many shades of green, the chirpy sound effects, and the simplistic (yet challenging) gameplay of the Game Boy era, Squidlit is the answer to your prayers. A Game Boy-inspired platformer, Squidlit aims to create a nostalgic experience through simulating the limitations of the handheld with their title.

In their interview with IndieGames.com, Alex Barrett and Samantha Davenport talked about the challenges that came with designing a game for the classic system.

What drew you to create an authentic Game Boy experience 15 years after its discontinuation?

Samantha: We are, first and foremost, people who really enjoy playing video games. To that effect, we have a collection of a few hundred games that spans back to the late 1970's. When Alex came up with the idea of creating our own video game, it seemed to make sense that we start, essentially, at the beginning with a console we know well and love. The first console Alex played was the Nintendo DMG Game Boy, so it was a natural choice.

When we looked at other games that sought to capture the nostalgia of a previous console, we always noticed that while capturing the look of a console like the GameBoy, it's hard to find one that goes to the lengths to recreate all the console's limitations as well. We thought to ourselves that if you don't see something you think should be there, make it yourself!

What challenges came with recreating the visual and audio style of the Game Boy?

Alex: I think the most challenging aspect of making Squidlit came from things going on in the background of the game. It was important to me that the four sound channels of the Game Boy be accurately represented. I had to make a system where if a sound effect used one of the channels dedicated to the music, the music on that channel would stop playing for the duration of the effect (it's most noticeable when you talk to ooblugs). Also, almost all animations in Squidlit are synced to the beat of the music, so everything is that much cuter. This also took some finagling. Perhaps someone more experienced would have an easier time with stuff like this, but as my very first game it took months to figure out.

How did the limitations of the Game Boy technology affect the game's design?

Alex: One of the more limiting aspects of the Game Boy was it's inability to display more than 10 sprites in a horizontal line. Plip, for example, is made up of two 8 x 16 pixel sprites so the amount of obstacles we could throw in front of her was limited. I didn't want any flickering to happen in Squidlit, so we had to go through every possible location of simultaneous objects on the screen and make sure we didn't exceed this limit. The Game Boy also had an itty bitty 160 x 144 resolution screen, so you can't see very far ahead of you. We put a lot of thought into trying to make the enemies fair in relation to your view.

Were the play styles or visual themes dictated by the Game Boy limitations? How so?

Alex: I started doodling squidlits in high-school all over really serious things like math and economics. When I started making a game, I found they translated really well to the Game Boy's limited palette. Kirby's Dreamland was a big inspiration for Squidlit. Masahiro Sakurai, its director, once stated that the original concept for it used only one button. We took this to heart in trying to design a game around the Game Boy's limited methods of input, and we ended up whittling the mechanics down to jumping and attacking using the same button.

What challenges did you face in creating cute characters and vibrant worlds when limited by the Game Boy's visual style?

Samantha: When creating the world for Squidlit, we wouldn't think about the technology at first. We would first talk about what the characters are like, what their world should be like, and what they would do. Skwit Skwot, God Emperor, does indeed have a reason for why she is creating this possibly dangerous magic, while Plip truly believes she must stop Skwit Skwot. The biggest challenge in this method was taking these grand ideas and finding ways to implement them into a GameBoy recreation. I think we managed quite well, as we ended up not having to sacrifice any of our major ideas.

If there was anything specific I had to point out, however, it's the word limitation on how much each character could say before it felt overly tedious. It seems like some of the characters are saying a whole lot at certain points, but what they're saying is very carefully condensed lore on what's truly going on. That being said, Squidlit is a test run and prologue to our next title, Super Squidlit.

How do you make your game feel fresh to modern players when working with a purposely-limiting older visual/audio style?

Samantha: In making a Game Boy recreation game, one thing we noticed was that a lot of platformer titles for the console didn't really incorporate story too heavily. We decided that putting in an over-arching plot with hints as to motivations for both sides of the story would draw in more modern players with aspects of storytelling they are more familiar with. We also made sure to sprinkle in a hearty dose of Squidlit-y love and comedy in there to make things lighthearted and squishy!

Were there any rules of Game Boy development that you didn't follow? Would this fit on an actual Game Boy cartridge?

Alex: To my knowledge, Squidlit doesn't do anything that a Game Boy can't. On that note, if anyone finds it doing something it's not supposed to be able to, let us know and we'll put out a patch! One could probably squeeze Squidlit onto a Game Boy cart from later in the console's lifetime, and that was a deciding factor for the length of the game. We would probably have to pull some shenanigans to get some of the more fluid animations to play, much like Donkey Kong Land did. We capped the game at 30 FPS, even though the Game Boy can run at a full 60, to accommodate for some of the more complex things it does.

You can purchase Squidlit on Steam here. You can also check out the indieDB page and Twitter for more information!

Squidlit Developers Talk About Creating An Authentic GameBoy Recreation published first on https://supergalaxyrom.tumblr.com

[kayawagner]

Squidlit Developers Talk About Creating An Authentic GameBoy Recreation

For those of you who miss the many shades of green, the chirpy sound effects, and the simplistic (yet challenging) gameplay of the Game Boy era, Squidlit is the answer to your prayers. A Game Boy-inspired platformer, Squidlit aims to create a nostalgic experience through simulating the limitations of the handheld with their title.

In their interview with IndieGames.com, Alex Barrett and Samantha Davenport talked about the challenges that came with designing a game for the classic system.

What drew you to create an authentic Game Boy experience 15 years after its discontinuation?

Samantha: We are, first and foremost, people who really enjoy playing video games. To that effect, we have a collection of a few hundred games that spans back to the late 1970's. When Alex came up with the idea of creating our own video game, it seemed to make sense that we start, essentially, at the beginning with a console we know well and love. The first console Alex played was the Nintendo DMG Game Boy, so it was a natural choice.

When we looked at other games that sought to capture the nostalgia of a previous console, we always noticed that while capturing the look of a console like the GameBoy, it's hard to find one that goes to the lengths to recreate all the console's limitations as well. We thought to ourselves that if you don't see something you think should be there, make it yourself!

What challenges came with recreating the visual and audio style of the Game Boy?

Alex: I think the most challenging aspect of making Squidlit came from things going on in the background of the game. It was important to me that the four sound channels of the Game Boy be accurately represented. I had to make a system where if a sound effect used one of the channels dedicated to the music, the music on that channel would stop playing for the duration of the effect (it's most noticeable when you talk to ooblugs). Also, almost all animations in Squidlit are synced to the beat of the music, so everything is that much cuter. This also took some finagling. Perhaps someone more experienced would have an easier time with stuff like this, but as my very first game it took months to figure out.

How did the limitations of the Game Boy technology affect the game's design?

Alex: One of the more limiting aspects of the Game Boy was it's inability to display more than 10 sprites in a horizontal line. Plip, for example, is made up of two 8 x 16 pixel sprites so the amount of obstacles we could throw in front of her was limited. I didn't want any flickering to happen in Squidlit, so we had to go through every possible location of simultaneous objects on the screen and make sure we didn't exceed this limit. The Game Boy also had an itty bitty 160 x 144 resolution screen, so you can't see very far ahead of you. We put a lot of thought into trying to make the enemies fair in relation to your view.

Were the play styles or visual themes dictated by the Game Boy limitations? How so?

Alex: I started doodling squidlits in high-school all over really serious things like math and economics. When I started making a game, I found they translated really well to the Game Boy's limited palette. Kirby's Dreamland was a big inspiration for Squidlit. Masahiro Sakurai, its director, once stated that the original concept for it used only one button. We took this to heart in trying to design a game around the Game Boy's limited methods of input, and we ended up whittling the mechanics down to jumping and attacking using the same button.

What challenges did you face in creating cute characters and vibrant worlds when limited by the Game Boy's visual style?

Samantha: When creating the world for Squidlit, we wouldn't think about the technology at first. We would first talk about what the characters are like, what their world should be like, and what they would do. Skwit Skwot, God Emperor, does indeed have a reason for why she is creating this possibly dangerous magic, while Plip truly believes she must stop Skwit Skwot. The biggest challenge in this method was taking these grand ideas and finding ways to implement them into a GameBoy recreation. I think we managed quite well, as we ended up not having to sacrifice any of our major ideas.

If there was anything specific I had to point out, however, it's the word limitation on how much each character could say before it felt overly tedious. It seems like some of the characters are saying a whole lot at certain points, but what they're saying is very carefully condensed lore on what's truly going on. That being said, Squidlit is a test run and prologue to our next title, Super Squidlit.

How do you make your game feel fresh to modern players when working with a purposely-limiting older visual/audio style?

Samantha: In making a Game Boy recreation game, one thing we noticed was that a lot of platformer titles for the console didn't really incorporate story too heavily. We decided that putting in an over-arching plot with hints as to motivations for both sides of the story would draw in more modern players with aspects of storytelling they are more familiar with. We also made sure to sprinkle in a hearty dose of Squidlit-y love and comedy in there to make things lighthearted and squishy!

Were there any rules of Game Boy development that you didn't follow? Would this fit on an actual Game Boy cartridge?

Alex: To my knowledge, Squidlit doesn't do anything that a Game Boy can't. On that note, if anyone finds it doing something it's not supposed to be able to, let us know and we'll put out a patch! One could probably squeeze Squidlit onto a Game Boy cart from later in the console's lifetime, and that was a deciding factor for the length of the game. We would probably have to pull some shenanigans to get some of the more fluid animations to play, much like Donkey Kong Land did. We capped the game at 30 FPS, even though the Game Boy can run at a full 60, to accommodate for some of the more complex things it does.

You can purchase Squidlit on Steam here. You can also check out the indieDB page and Twitter for more information!

Squidlit Developers Talk About Creating An Authentic GameBoy Recreation published first on https://supergalaxyrom.tumblr.com