#pixel art test run

[sweeneydino]

Here, have a pixel 1987 Raphael before I whump you tomorrow (　＾∀＾)ノ💕

Happy Holidays!

[odetoscavengers]

screenshot studies from thief, wanted to test out some color + material stuff and thought thief would be a fun subject heavily referenced from my own screenshots

second part here

[puppetgearing]

lovestruck gaze....

[xraytheredx]

Feels like it's been a while since I've done any sprites, and I've been wanting to draw up @reanimationstation's Sammy for a long while now ^u^ He's so handsome, silly and fun, love his hair! >u< 💖

[pepprs]

STILL wide awake! i did not put down my phone! and now im hungry. so i will not be sleeping tonight ♥️

[dontpunchdogs]

did a lot of tiny tiny animation work and have no idea how to post it. so. quick video ft my cursor

also secret tiny tiny moon that wasnt in the video to see how it posts

[bixels]

Portal 2 is still the perfect game to me. I hyperfixated on it like crazy in middle school. Would sing Want You Gone out loud cuz I had ADHD and no social awareness. Would make fan animations and pixel art. Would explain the ending spoilers and fan theories to anyone who'd listen. Would keep up with DeviantArt posts of the cores as humans. Would find and play community-made maps (Gelocity is insanely fun).

I still can't believe this game came out 12 years ago and it looks like THIS.

Like Mirror's Edge, the timeless art style and economic yet atmospheric lighting means this game will never age. The decision not to include any visible humans (ideas of Doug Rattmann showing up or a human co-op partner were cut) is doing so much legroom too. And the idea to use geometric tileset-like level designs is so smart! I sincerely believe that, by design, no game with a "realistic art style" has looked better than Portal 2.

Do you guys remember when Nvidia released Portal with RTX at it looked like dogshit? Just the most airbrushed crap I've ever seen; completely erased the cold, dry, clinical feel of Aperture.

So many breathtakingly pit-in-your-stomach moments I still think about too. And it's such a unique feeling; I'd describe at as... architectural existentialism? Experiencing the sublime under the shadow of manmade structures (Look up Giovanni Battista Piranesi's art if you're curious)? That scene where you're running from GLaDOS with Wheatley on a catwalk over a bottomless pit and––out of rage and desperation––GLaDOS silently begins tearing her facility apart and Wheatley cries 'She's bringing the whole place down!' and ENORMOUS apartment building-sized blocks begin groaning towards you on suspended rails and cement pillars crumble and sparks fly and the metal catwalk strains and bends and snaps under your feet. And when you finally make it to the safety of a work lift, you look back and watch the facility close its jaws behind you as it screams.

Or the horror of knowing you're already miles underground, and then Wheatley smashes you down an elevator shaft and you realize it goes deeper. That there's a hell under hell, and it's much, much older.

Or how about the moment when you finally claw your way out of Old Aperture, reaching the peak of this underground mountain, only to look up and discover an endless stone ceiling built above you. There's a service door connected to some stairs ahead, but surrounding you is this array of giant, building-sized springs that hold the entire facility up. They stretch on into the fog. You keep climbing.

I love that the facility itself is treated like an android zooid too, a colony of nano-machines and service cores and sentient panel arms and security cameras and more. And now, after thousands of years of neglect, the facility is festering with decomposition and microbes; deer, raccoons, birds. There are ghosts too. You're never alone, even when it's quiet. I wonder what you'd hear if you put your ear up against a test chamber's walls and listened. (I say that all contemplatively, but that's literally an easter egg in the game. You hear a voice.)

Also, a reminder that GLaDOS and Chell are not related and their relationship is meant to be psychosexual. There was a cut bit where GLaDOS would role-play as Chell's jealous housewife and accuse her of seeing other cores in between chambers. And their shared struggle for freedom and control? GLaDOS realizing, after remembering her past life, that she's become the abuser and deciding that she has the power to stop? That even if she can't be free, she can let Chell go because she hates her. And she loves her. Most people interpret GLaDOS "deleting Caroline in her brain" as an ominous sign, that she's forgetting her human roots and becoming "fully robot." But to me, it's a sign of hope for GLaDOS. She's relieving herself of the baggage that has defined her very existence, she's letting Caroline finally rest, and she's allowing herself to grow beyond what Cave and Aperture and the scientists defined her to be. The fact that GLaDOS still lets you go after deleting Caroline proves this. She doesn't double-back or change her mind like Wheatley did, she sticks to her word because she knows who she is. No one and nothing can influence her because she's in control. GLaDOS proves she's capable of empathy and mercy and change, human or not.

That's my retrospective, I love this game to bits. I wish I could experience it for the first time again.

[iamespecter]

facing my fears of pixel art using Carnival Pomni as a second test run (first one was a weird egg thing)

Carnival Pomni belongs to @sm-baby

[utopicwork]

Trans girl invents new lossless image format

Over the course of a couple of days I put together something pretty significant: a new image format and compression technique. I'm calling it ShrinkRay (the extension being .sr) and it is made for a more efficient representation of pixel art. With this image: https://www.tumblr.com/potionslushie/759045761554055168/ as a test it compresses ~17% better then png and when converted back to png it still has some (albeit smaller) compression gains. Additionally since part of the compression is indexing colors I was able to trivially implement palette swapping with palette files (so far .hex only which means a lot of Lospec palettes).

So what does this have to do with p2chat? Well the compression gains will make sending and receiving chat images significantly faster but also the recommended limitations of ShrinkRay: maximum 256x256 px (with a scaling factor), maximum 10 colors including black and white as presets, will form the basis for p2chat's prototype limitations.

Whats next: cleaning up the code, documenting it, running further tests and putting up a repository. Later on though I have further compression ideas regarding simple shape implementation and a layer/frames system that's highly optimized. Though I'll be doing more important PierMesh work before that.

All that said I'll leave you with one last detail: all the code for this comes in at just under 128 lines.

Addition: it now supports animation/layers

[b0tster]

cyberpunk bunlith meme breakdown thread incoming!!

i wanted to do a little peek behind the scenes for yall cuz i know a lot of u are interested in my process, so lets jump right in!

first off here is a look of the animation itself in blender, with the original meme as a comparison, which can be found here btw!

the background itself was made to each shot, so the actual zoom out is a mess of meshes re-arranging themselves to line up for the next shot (i have 2 bunliths with associated cams that switch between shots so i can move things to set up the next shot while the other cam is live)

the assets were all made from scratch! this project was essentially a 'dry run' for my next game, which will be made using this style (the same could be said about bunlith herself: testing out the pipeline for expressive, easy to read ps1 style visuals)

i the space background painted a few years ago as concept art for said future game (this game has been a concept since before bloodborne psx started development!). heres a full res, non pixelated version of the art if you are interested!

and here is how it looks in unreal engine! note the pink distance fog which was something i really wanted to experiment with for a very long time as changing the ps1 fog color is the quickest way to change the vibe and i was curious if i could pull off a color as bold as pink

and that's basically everything! thanks for checking it all out 😃

once again, very fun project to work on on the side while i plug away at finishing bloodborne kart!

[qwertyprophecy]

Mortholme Post-Mortem

The Dark Queen of Mortholme has been out for two weeks, and I've just been given an excellent excuse to write some more about its creation by a lenghty anonymous ask.

Under the cut, hindsight on the year spent making Mortholme and answers to questions about game dev, grouped under the following topics:

Time spent on development Programming Obstacles Godot Animation Pixel art Environment assets Writing Completion Release

Regarding time spent on development

Nope, I’ve got no idea anymore how long I spent on Mortholme. It took a year but during that time I worked on like two other games and whatever else. And although I started with the art, I worked on all parts simultaneously to avoid getting bored. This is what I can say:

Art took a ridiculous amount of time, but that was by choice (or compulsion, one might say). I get very excitable and particular about it. At most I was making about one or two Hero animations in a day (for a total of 8 + upgraded versions), but anything involving the Queen took multiple times longer. When I made the excecutive decision that her final form was going to have a bazillion tentacles I gave up on scheduling altogether.

Coding went quickly at the start when I was knocking out a feature after another, until it became the ultimate slow-burn hurdle at the end. Testing, bugfixing, and playing Jenga with increasingly unwieldy code kept oozing from one week to the next. For months, probably? My memory’s shot but I have a mark on my calendar on the 18th of August that says “Mortholme done”. Must’ve been some optimistic deadline before the ooze.

Writing happened in extremely productive week-long bursts followed by nothing but nitpicky editing while I focused on other stuff. Winner in the “changed most often” category, for sure.

Sound was straightforward, after finishing a new set of animations I spent a day or two to record and edit SFX for them. Music I originally scheduled two weeks for, but hubris and desire for more variants bumped it to like a month.

Regarding programming

The Hero AI is certainly the part that I spent most of my coding time on. The basic way the guaranteed dodging works is that all the Queen’s attacks send a signal to the Hero, who calculates a “danger zone” based on the type of attack and the Queen’s location. Then, if the Hero is able to dodge that particular attack (a probability based on how much it's been used & story progression), they run a function to dodge it.

Each attack has its own algorithm that produces the best safe target position to go to based on the Hero’s current position (and other necessary actions like jumping). Those algorithms needed a whole lot of testing to code counters for all the scenarios that might trip the Hero up.

The easiest or at least most fun parts for me to code are the extra bells and whistles that aren’t critical but add flair. Like in the Hero’s case, the little touches that make them seem more human: a reaction speed delay that increases over time, random motions and overcompensation that decrease as they gain focus, late-game Hero taking prioritising aggressive positiniong, a “wait for last second” function that lets the Hero calculate how long it’ll take them to move to safety and use the information to squeeze an extra attack in…

The hardest attack was the magic circle, as it introduced a problem in my code so far. The second flare can overlap with other attacks, meaning the Hero had to keep track of two danger zones at once. For a brief time I wanted to create a whole new system that would constantly update a map of all current danger zones—that would allow for any number of overlapping attacks, which would be really cool! Unfortunately it didn’t gel with my existing code, and I couldn’t figure out its multitudes of problems since, well…

Regarding obstacles

Thing is, I’m hot garbage as a programmer. My game dev’s all self-taught nonsense. So after a week of failing to get this cool system to work, I scrapped it and instead made a spaghetti code monstrosity that made magic circle run on a separate danger zone, and decided I’d make no more overlapping attacks. That’s easy; I just had to buffer the timing of the animation locks so that the Hero would always have time to move away. (I still wanted to keep the magic circle, since it’s fun for the player to try and trick the Hero with it.)

There’s my least pretty yet practical solo dev advice: if you get stuck because you can’t do something, you can certainly try to learn how to do it, but occasionally the only way to finish a project within a decade to work around those parts and let them be a bit crap.

I’m happy to use design trickery, writing and art to cover for my coding skills. Like, despite the anonymous asker’s description, the Hero’s dodging is actually far from perfect. I knew there was no way it was ever going to be, which is why I wrote special dialogue to account for a player finding an exploit that breaks the intended gameplay. (And indeed, when the game was launched, someone immediately found it!)

Regarding Godot

It’s lovely! I switched from Unity years ago and it’s so much simpler and more considerate of 2D games. The way its node system emphasises modularity has improved my coding a lot.

New users should be aware that a lot of tutorials and advice you find online may be for Godot 3. If something doesn’t work, search for what the Godot 4 equivalent is.

Regarding animation

I’m a professional animator, so my list of tips and techniques is a tad long… I’ll just give a few resource recommendations: read up on the classic 12 principles of animation (or the The Illusion of Life, if you’d like the whole book) and test each out for yourself. Not every animation needs all of these principles, but basically every time you’ll be looking at an animation and wondering how to make it better, the answer will be in paying attention to one or more of them.

Game animation is its own beast, and different genres have their own needs. I’d recommend studying animations that do what you’d like to do, frame by frame. If you’re unsure of how exactly to analyse animation for its techniques, youtube channel New Frame Plus shows an excellent example.

Oh, and film yourself some references! The Queen demanded so much pretend mace swinging that it broke my hoover.

Regarding pixel art

The pixel art style was picked for two reasons: 1. to evoke a retro game feel to emphasise the meta nature of the narrative, and 2. because it’s faster and more forgiving to animate in than any of my other options.

At the very start I was into the idea of doing a painterly style—Hollow Knight was my first soulslike—but quickly realised that I’d either have to spend hundreds of hours animating the characters, or design them in a simplistic way that I deemed too cutesy for this particular game. (Hollow Knight style, one day I’d love to emulate you…)

I don’t use a dedicated program, just Photoshop for everything like a chump. Pixel art doesn’t need anything fancy, although I’m sure specialist programs will keep it nice and simple.

Pixel art’s funny; its limitations make it dependent on symbolism, shortcuts and viewer interpretation. You could search for some tutorials on basic principles (like avoiding “jaggies” or the importance of contrast), but ultimately you’ll simply want to get a start in it to find your own confidence in it. I began dabbling years ago by asking for character requests on Tumblr and doodling them in pixels in whatever way I could think of.

Regarding environment assets

The Queen’s throne room consists of two main sprites—one background and one separate bit of the door for the Hero disappear behind—and then about fifty more for the lighting setup. There’s six different candle animations, there’s lines on the floor that need to go on top of character reflections, all the candle circles and lit objects are separated so that the candles can be extinguished asynchronously; and then there’s purple phase 2 versions of all of the above.

This is all rather dumb. There’s simpler ways in Godot to do 2D lighting with shaders and a built-in system (I use those too), but I wanted control over the exact colours so I just drew everything in Photoshop the way I wanted it. Still, it highlights how mostly you only need a single background asset and separated foreground objects; except if you need animated objects or stuff that needs to change while the game’s running, you’ll get a whole bunch more.

I wholeheartedly applaud having a go at making your own game art, even if you don’t have any art background! The potential for cohesion in all aspects of design—art, game, narrative, sound—is at the heart of why video games are such an exciting medium!

Regarding writing

Finding the voices of the Queen and the Hero was the quick part of the process. They figured that out they are almost as soon as writing started. I’d been mulling this game over in my mind for so long, I had already a specific idea in mind of what the two of them stood for, conceptually and thematically. When they started bantering, I felt like all I really had to do was to guide it along the storyline, and then polish.

What ended up taking so long was that there was too much for them to say for how short the game needed to be to not feel overstretched. Since I’d decided to go with two dialogue options on my linear story, it at least gave me twice the amount of dialogue that I got to write, but it wasn’t enough!

The first large-scale rewrite was me going over the first draft and squeezing in more interesting things for the Queen and the Hero to discuss, more branching paths and booleans. There was this whole thing where the player’s their dialogue choices over multiple conversations would lead them to about four alternate interpretations of why the Queen is the way she is. This was around the time I happened to finally play Disco Elysium, so of course I also decided to also add a ton of microreactivity (ie. small changes in dialogue that acknowledge earlier player choices) to cram in even more alternate dialogue. I spent ages tinkering with the exact nuances till I was real proud of it.

Right until the playtesters of this convoluted contraption found the story to be unclear and confusing. For some reason. So for my final rewrite, I picked out my favourite bits and cut everything else. With the extra branching gone, there was more room to improve the pacing so the core of the story could breathe. The microreactivity got to stay, at least!

A sample of old dialogue from the overcomplicated version:

Regarding completion

The question was “what kept me going to actually finish the game, since that is a point many games never even get to meet?” and it’s a great one because I forgot that’s a thing. Difficulties finishing projects, that is—I used to think it was hard, but not for many years. Maybe I’ve completed so many small-scale games already that it hardly seems that unreasonable of an expectation? (Game jams. You should do game jams.)

I honestly never had any doubt I was going to finish Mortholme. When I started in late autumn last year, I was honestly expecting the concept to be too clunky to properly function; but I wished to indulge in silliness and make it exist anyways. That vision would’ve been easy to finish, a month or two of low stakes messing around, no biggie. (Like a game jam!)

Those months ran out quickly as I had too much fun making the art to stop. It must’ve been around the time I made this recording that it occurred to me that even if the game was going to be clunky, it could still genuinely work on the back of good enough storytelling technique—not just writing, but also the animation and the Hero’s evolving behaviour during the gameplay segments which I’d been worried about. The reaction to my early blogging was also heartening. Other people could also imagine how this narrative could be interesting!

A few weeks after that I started planning out the narrative beats I wanted the dialogue to reach, and came to the conclusion that I really, really wanted it to work. Other people had to see this shit, I thought. There’s got to be freaks out there who’d love to experience this tragedy, and I’m eager to deliver.

That’s why I was fine with the project’s timeline stretching out. If attention to detail and artistry was going to make this weird little story actually come to life, then great, because that’s exactly the part of development I love doing most. Projects taking longer than expected can be frustrating, but accepting that as a common part of game dev is what allows confidence in eventual their completion regardless.

Regarding release

Dear anonymous’s questions didn’t involve post-release concerns, but it seems fitting to wrap up the post-mortem by talking about the two things about Mortholme's launch that were firsts for me, and thus I was unprepared for.

1. This was the first action game I've coded. Well, sort of—I consider Mortholme to be a story first and foremost, with gameplay so purposefully obnoxious it benefits from not being thought of as a “normal” game. Still, the action elements are there. For someone who usually sticks to making puzzle games since they’re easier to code, this was my most mechanically fragile game yet. So despite all my attempts at playtesting and failsafes, it had a whole bunch of bugs on release.

Game-breaking bugs, really obvious bugs, weird and confusing bugs. It took me over a week to fix all that was reported (and I’m only hoping they indeed are fully fixed). That feels slow; I should’ve expected it was going to break so I could’ve been faster to respond. Ah well, next time I know what I’ll be booking my post-release week for.

2. This was my first game that I let players give me money for. Sure, it’s pay-what-you-want, but for someone as allergic to business decisions as I am, it was a big step. I guess I was worried of being shown that nobody would consider my art worth financial compensation. Well, uh, that fear has gone out of the window now. I’m blown away by how kind and generous the players of Mortholme have been with their donations.

I can’t imagine it's likely to earn a living wage from pouring hundreds of hours into pay-what-you-want passion projects, but the support has me heartened to seek out a future where I could make these weird stories and a living both.

Those were the unexpected parts. The part I must admit I was expecting—but still infinitely grateful for—was that Mortholme did in fact reach them freaks who’d find it interesting. The responses, comments, analyses, fan works (there’s fic and art!! the dream!!), inspiration, and questions (like the ones prompting me to write this post-mortem) people have shared with me thanks to Mortholme… They’ve all truly been what I was hoping for back when I first gave myself emotions thinking about a mean megalomaniac and stubborn dipshit.

Thank you for reading, thank you for playing, and thank you for being around.

[fennelfool]

I've been working on this for about six months now and I'm so excited to share my idea!

FENNEL TAVERN is a single-player, community-driven, interactive YouTube series that combines real cooking footage in a homemade tavern set, pixel art, and RPG-style scenarios. Viewers can play along with each episode at home using dice. The game features the main character, Tav, who has decided to leave home and run a tavern—despite having no prior experience in the business. The aim of the game is to gain XP from buying, selling, and trading food items; interacting with NPCs who visit the tavern and letting your d20 determine if it’s a friendly or hostile encounter; and creating a sense of community and camaraderie in the YouTube comments section.

If you'd like to help please send me a message here on Tumblr! @fennelfool

[oviraptoridae]

steel towers grow like corals at the edge of the end of the world

detailed process breakdown under the cut:

this is a location from silversea, the (inhales) work-in-progress troika-compatible post-apocalyptic science-fantasy TTRPG slash worldbuilding project i'm developing + running for a few of my friends. i've posted a drawing of this landscape before! someone asked for me to go into my process for digital collage in gimp, so i made sure to document the creation of this piece.

usually i start by gathering a bunch of images from wikimedia commons and by searching on duckduckgo images & filtering for creative commons licensed images. i wanted to start with a surreal landscape that looked more wrong the longer you inspected it, so this time i started by generating a background with commoncanvas (the stable diffusion model trained entirely on creative commons images, more on that here)

this was the final result. i didn't tweak it too much because i wanted the geometry to look unrealistic and warped. through the upscaling process it lost some of the early cgi look, which was sad, so i'll have to work more on trying to retain that.

interesting tangent: at 20% desert and 80% coral reef, a smooth cone briefly turns into a pyramid.

anyway, i decided i wanted it to look like you were on the edge of this environment, not in the middle, so i made some terrain in blender:

this was just a plane that i subdivided a bunch, pulled some vertices around with proportional editing to make dune shapes, and then decimated the faces to get back to a low poly look. i prefer that method to staying low poly the whole time, i feel as though i have more control over the shape.

the texture is a free tiling sand texture i found online, recolored and scaled down to make it pixelated, and then blended with vertex colors to add a little variation. it's very simple and took me maybe 30 minutes of actual work (the rest of the time spent trying to remember how to use material nodes).

this is the point where i took it into gimp and flipped & scaled the terrain until i liked the composition. i'm not bothered about the shadows not matching up, it just adds to how out of place the surreal terrain looks.

next is color correction, but i forgot to take a screenshot of that before adding the next part. gimp has a little fractal generator hidden in the filters tab, and i used that to make a swirling pattern that i overlaid over the sky, masking it selectively so it looked like it was getting thicker with distance. going for an "annihilation" look to the whole thing.

at this point i'm happy with the image and i go on to post processing. this is the part where tumblr's image compression is not doing me any favors, but oh well. when i make glitch art, there are a bunch of filters that are my favorite, but i don't usually use all of them on an image.

first off, i scale the image to 50%, add dithering (3-4 colors per channel looks nicest to me), then scale back up to the original resolution with no interpolation.

then i add "wind" (under the "distorts" option). it makes a cool pixel-sorted effect. at high levels it looks super cool...

but i keep it pretty subtle for this one.

the "video degradation" effect makes the image either too bright or too dark. i like the lcd screen look though. so i use a mask to turn it into a vignette.

i also added bloom at some point during the process, but i don't remember when. i also took the original image before all the glitch effects and overlaid it with the "chroma" blending mode to bring back some of the color that had been lost.

this was a pretty simple collage, but i didn't want to make the post too long. most of my collages involve a lot of moving things around, testing different compositions and images before i decide on a final product.

this image took like 8 hours to make, for example. most of it was spent perfecting the grainy filter.

other gimp effects i didn't use here but i like include deinterlace (which you can use on a non-interlaced image to add deinterlacing artifacts), sample colorize (lets you use another image as a color source to gradient map onto an image), alien map (can't explain. just use it. move the sliders very slowly if you are sensitive to strobing lights), and value propagation (like a very small radius blur that you can tweak in interesting ways to soften an image without losing graininess or pixelated-ness)

i hope this was helpful/informative!

[femalechibiblogger]

More Underrated Indie Horror Games

1. Andy's Apple Farm

Andy's Apple Farm is a 2021 indie horror game developed by M36games. The game was first released on Itch.io and Game Jolt on August 22, 2021, and was later released on Steam on November 26, 2021.

The story revolves around the player Beta-testing an 80's retro game created by Thomas Eastwood called Andy's Apple Farm and discovering the hidden truth in the seemingly innocent game. You play as the titular protagonist, Andy the Apple, who in Chapter 1, had his keys stolen by his friends, and he must complete minigames and earn Bonus Stickers to get them back. As the player progresses the game, they uncover dark secrets about the creator's family and a strange dark Entity that stalked them.

2. Bonnie's Bakery

Bonnie's Bakery is a horror and cooking game created in 2022. It is being made by a group of 7 under the name Melty Clown Studio, under the publisher aislebsoupid on itch.io.

"A game where you serve customers delicious food as Bonnie! Yes, that's all it is! A game where you serve customers delicious food...

Nothing else."

3. Shipwrecked 64

Broadside Beach: SHIPWRECKED 64, known as SHIPWRECKED 64 in-universe, is the third of a three part mockumentary series dedicated to Broadside Animation, uploaded by Squeaks D'corgeh. Previously, the game had a legacy release before its official release on January 1st, 2024. 

Bucky and his gang are in danger and they need your help!!With this brand new 3D platformer, Bucky and his friends are going to be taken on a wild ride through an island they had crashed upon. Help out your pals and get the ship back up and running so you can go home once again!

4. The Bunny Graveyard

The Bunny Graveyard is an episodic horror adventure about a bunny who seeks to find the horrifying truth behind her existence. Immerse yourself in a world of pixel art inspired by GBA and NDS graphics, while unraveling an enthralling story that keeps you hooked!

Begin your journey as... a cursor? Your job is to find Skye, the bunny! But there seems to be some kind of strange entity inside the computer that doesn't want you to leave... can you complete your task and survive?

5. Happy's Humble Burger Farm

Happy's Humble Burger Farm is a restaurant simulation horror game series developed by Scythe Dev Team and published by TinyBuild.

As the series sets in the urban city, the player takes the job as the employee of the fast-food restaurant Happy's Humble Burger Farm where they must do their absolute best to satisfy the customers by serving their correct orders as swift as possible, while surviving from nightmare-fueled versions of the restaurant's beloved mascots.

Congrats, you're hired! Serve customers and maintain the Happy's Humble Burger Farm restaurant alone on the overnight. But be careful; things fall apart if you mess up! After work, head home and keep your eyes open for a way to escape the Barnyard Buds and their fast food fever-dream.

6. Garten of BanBan

Garten of Banban is a game made by the Euphoric Brothers. It is part of the controversial t mascot horror genre and is the Euphoric Brothers' 8th game. Upon release the game was met with a very ftff reception from gamers and critics alike, It received a lot of popularity on the internet as well as a lot of criticism and hate.

Enter Banban's Kindergarten, and you're sure to make some friends. Explore the mysterious establishment and don't lose your life and sanity. Uncover the horrifying truth behind the place, but be careful, as you are far from alone…

7. The Mortuary Assistant

The Mortuary Assistant is a 2022 horror game developed by DarkStone Digital and published by DreadXP. Set in 1998 in a small town in Connecticut, players control a newly hired assistant at a haunted mortuary.

Alone with the dead... Embalm corpses, banish demons, save your soul.

[lixenn]

Animal pixel art

So, some time ago dear @kyokosasagawa recommended the pixel brush to me and oh boy I took that brush and ran into the sunset with it.

I don't know how to draw people with that brush but for some reason animals just clicked. I've drawn a bunch of pixel art animals and I've decided to let them out of the discord cage, so here we go:

Pixel bunny

That one was a test run of the brush. The bunny that started it all... I have a easy method for drawing this kind of bunny and I was so happy with the result of the pixel bunny, I was a goner from that moment.

Offerings to my liege

@childe-of-saulot my steadfast supporter and enabler requested some animals and I was happy to oblige

The sandworm

The first requests were a worm and scorpion. I tried my hand at drawing the sandworm from dune (I relied on my memories on the movie I haven't looked up a reference lol) because drawing a normal worm just wasn't fitting enough for my eldritch bog creature.

Emerald scorpion

Part of the first request: VV's fursona. I looked up a reference for this one and the first scorpion was this shimmery green which I really resonated with (also I remembered that VV liked jade green which... *tilts head* I don't know if this even a jade shade but it's green >.<).

Secco

Secco is one of VV's rats. He wasn't requested, I just wanted to draw one of their rats because they are super adorable.

Centipede

I got hooked so bad on the pixel art, I asked for more requests and VV of course obliged me with asking for a centipede. Looked up another reference for this one and it was super fun to draw.

The five leech horsemen

Featuring more pets! Also fun to draw, simple but fun. VV named their leeches after the horsemen of the apocolypse, which is such a badass naming scheme like damn.... So cool.

Kitty time

A creature

After fulfilling my liege's requests, I dedicated my time to drawing cats. This is Jiji @nxmimochi's cat and he's so adorable, I'm a sucker for a black cat.

Cat loaf

Naturally I couldn't neglect my buddy's cat either. @myrmyrtheorca's boy is so round... so fluffy... I love him your honor TT

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I have more pixel art but since those ones are khr related (I drew box animals) I will make a seperate post with them. I'm considering opening prompts for pixel animals too... I will have a think about it and inform you if I do 🫡

Hope you liked my pixel art folks there will be more to come!

[inkblotfeathers]

Python Pygame Test 31.07.2024

i finally got this to work! an online colleague of mine helped me solve the issue i was having ( i forgot to put the pygame.display.update() in with the while run: ). now i can continue to follow the platformer tutorial, or do something with a pixel art piece in the style of the maze game or something like that!