#remap

[defunct-notfun]

furcadia port 4 rainbow cemetery 2023

haha holy shit i leveled up in pixel art please do Not reuse this art, its for rainy n i worked very hard on it for her.  its 95x95 pixels and parts of it remap when she changes her colors in furcadia (character colors) while parts dont (the graaaaveyard moonscape) i am really proud of it!!! i did it in procreate, but rainy did the final adjustments herself clockwork is my furcadia username, hence /gestures/

[reachblog1]

remap for suzuki

Maruti Suzuki India Limited (MSIL) is the largest automobile manufacturer in South Asia. Earlier known as Maruti Udyog Limited (till 2007), the company was responsible for the automobile revolution in India. Maruti started production in India in 1983 with its first car- the Maruti 800. The company spread its wings throughout the country and is one of the few publicly listed automotive companies in our country

[dry-gold]

Wow what. The newest episode of Remap Radio has animorphs spoilers timestamped???

[indigozeal]

A snapshot of view counts for the various Giant Bomb splinters during the 2023 Summer Game Fest.  (Gerstmann had 2.3K at this time.)

[smbhax]

Forza Horizon 4 (PC / Steam)

[yasudai]

#ダムタイプ #dumtype #2022:remap #2022 #remap #アーティゾン美術館 #artizonmuseum https://www.instagram.com/p/CpRmVG2yHWY/?igshid=NGJjMDIxMWI=

[sexhaver]

definitely the most baffling design decision ive noticed so far from STALKER 2 has been the bold choice to, in 2024, use F for Interact and have E delegated to an item hotbar. i keep trying to open doors and accidentally opening a bottle of beer with a hunting knife and chugging it in seconds (just like real life)

[kbsd]

you're gonna dance with me before this night is through

[defunct-notfun]

glowup

after the success i had with rainy's port i was kind of looking forward to making something for myself. but more, i was interested in reclaiming all my /really/ old portrait art for my furcadia characters from my youth. the picture on the left? all that was left was an intentionally artifact filled .gif!!! so i can't USE that, not IN GAME. it was a good chance to redraw something i drew in my youth and see if i can fix some of the things that bothered me then, and see what bothers me now lmao.  so for the port on the right, i def think i did good with the hand, the hair, the fishnets. but something about the ears and the horn.... the original still has its charm. still :) the new port has all 3 of my cats hidden in it in very tiny tiny form... and both bits of art change colors when i do in game haha. now, if only i could find a tshirt with a :) vampire smileyface on it again,,,

[fatehbaz]

About the entanglement of "science" and Empire. About geographic imaginaries. About how Empire appeals to and encourages children to participate in these scripts.

Was checking out this recent thing, from scavengedluxury's beloved series of posts looking at the archive of the Budapest Municipal Photography Company.

The caption reads: "Toys and board games, 1940."

And I think the text on the game-box in the back says something like "the whole world is yours", maybe?

(The use of appeals to science/progress in imperial narratives probably already well-known to many, especially for those familiar with Victorian era, Edwardian era, Gilded Age, early twentieth century, etc., in US and Europe.)

And was struck, because I had also recently gone looking through nemfrog's posts about the often-strange imagery of children's material in late nineteenth- and early twentieth-century US/Europe. And was disturbed/intrigued by this thing:

Caption here reads: "Game Board. Walter Mittelholzer's flight over Africa. [...] 1931. Commemorative game board map of Africa for a promotional game published for the N*stle Company, for tracking the trip of Walter Mittelholzer across Africa, the first pilot to fly a north-south route."

Hmm.

"Africa is for your consumption and pleasure! A special game celebrating German achievement, brought to you by the N*stle Company!"

1930s-era German national aspirations in Africa. A company which, in the preceding decade, had shifted focus to expand its cacao production (which would be dependent on tropical plantations). Adventure, excitement, knowledge, science, engineering prowess, etc. For kids!

Another, from a couple decades earlier, this time British.

Caption reads: "The "World's globe circler." A game board based on Nellie Bly's travels. 1890." At center, a trumpet, and a proclamation: "ALL RECORDS BROKEN".

Same year that the United States "closed the frontier" and conquered "the Wild West" (the massacre at Wounded Knee happened in December 1890). A couple years later, the US annexed Hawai'i; by decade's end, the US military was in both Cuba and the Philippines. The Scramble for Africa was taking place. At the time, Britain especially already had a culture of "travel writing" or "travel fiction" or whatever we want to call it, wherein domestic residents of the metropole back home could read about travel, tourism, expeditions, adventures, etc. on the peripheries of the Empire. Concurrent with the advent of popular novels, magazines, mass-market print media, etc. Intrepid explorers rescuing Indigenous peoples from their own backwardness. Many tales of exotic allure set in South Asia. Heroic white hunters taking down scary tigers. Elegant Englishwomen sipping tea in the shade of an umbrella, giggling at the elephants, the local customs, the strange sights. Orientalism, tropicality, othering.

I'd lately been looking at a lot of work on race/racism and imperative-of-empire in British scientific and pop-sci literature, especially involving South and Southeast Asia. (From scholars like Varun Sharma, Rohan Deb Roy, Ezra Rashkow, Jonathan Saha, Pratik Chakrabarti.) But I'd also lately been looking at Mashid Mayar's work, which I think closely suits this kinda thing with the board games. Some of her publications:

"From Tools to Toys: American Dissected Maps and Geographic Knowledge at the Turn of the Twentieth Century". In: Knowledge Landscapes North America, edited by Kloeckner et al., 2016.

"What on Earth! Slated Globes, School Geography and Imperial Pedagogy". European Journal of American Studies 16, number 3, Summer 2020.

Citizens and Rulers of the World: The American Child and the Cartographic Pedagogies of Empire, 2022.

Discussing her book, Mayar was interviewed by LA Review of Books in 2022. She says:

[Quote.] Growing up at the turn of the 20th century, for many American children, also meant learning to view the world through the lens of "home geography." [...] [T]hey inevitably responded to the transnational whims of an empire that had stretched its dominion across the globe [recent forays into Panama, Cuba, Hawai'i, the Philippines] [...]. [W]hite, well-to-do, literate American children [...] learned how to identify and imagine “homes” on the map of the world. [...] [T]he cognitive maps children developed, to which we have access through the scant archival records they left behind (i.e., geographical puzzles they designed and printed in juvenile periodicals) [...] mixed nativism and the logic of colonization with playful, appropriative scalar confusion, and an intimate, often unquestioned sense of belonging to the global expanse of an empire [...]. Dissected maps - that is, maps mounted on cardboard or wood and then cut into smaller pieces that children were to put back together - are a generative example of the ways imperial pedagogy [...] found its place outside formal education, in children's lives outside the classroom. [...] [W]ell before having been adopted as playthings in the United States, dissected maps had been designed to entertain and teach the children of King George III about the global spatial affairs of the British Empire. […] [J]uvenile periodicals of the time printed child-made geographical puzzles [...]. [I]t was their assumption that "(un)charted," non-American spaces (both inside and outside the national borders) sought legibility as potential homes, [...] and that, if they did not do so, they were bound to recede into ruin/"savagery," meaning that it would become the colonizers' responsibility/burden to "restore" them [...]. [E]mpires learn from and owe to childhood in their attempts at survival and growth over generations [...]. [These] "multigenerational power constellations" [...] survived, by making accessible pedagogical scripts that children of the white and wealthy could learn from and appropriate as times changed [...]. [End quote.] Source: Words of Mashid Mayar, as transcribed in an interviewed conducted and published by M. Buna. "Children's Maps of the American Empire: A Conversation with Mashid Mayar". LA Review of Books. 11 July 2022.

Some other stuff I was recently looking at, specifically about European (especially German) geographic imaginaries of globe-as-playground:

The Play World: Toys, Texts, and the Transatlantic German Childhood (Patricia Anne Simpson, 2020) /// "19th-Century Board Game Offers a Tour of the German Colonies" (Sarah Zabrodski, 2016) /// Advertising Empire: Race and Visual Culture in Imperial Germany (David Ciarlo, 2011) /// Learning Empire: Globalization and the German Quest for World Status, 1875-1919 (Erik Grimmer-Solem, 2019) /// “Ruling Africa: Science as Sovereignty in the German Colonial Empire and Its Aftermath” (Andrew Zimmerman. In: German Colonialism in a Global Age, 2014) /// "Exotic Education: Writing Empire for German Boys and Girls, 1884-1914". (Jeffrey Bowersox. In: German Colonialism and National Identity, 2017) /// Raising Germans in the Age of Empire: Youth and Colonial Culture, 1871-1914 (Jeff Bowersox, 2013) /// "[Translation:] (Educating Modernism: A Trade-Specific Portrait of the German Toy Industry in the Developing Mass-Market Society)" (Heike Hoffmann, PhD dissertation, Tubingen, 2000) /// Home and Harem: Nature, Gender, Empire, and the Cultures of Travel (Inderpal Grewal, 1996) /// "'Le rix d'Indochine' at the French Table: Representation of Food, Race and the Vietnamese in a Colonial-Era Board Game" (Elizabeth Collins, 2021) /// "The Beast in a Box: Playing with Empire in Early Nineteenth-Century Britain" (Romita Ray, 2006) /// Playing Oppression: The Legacy of Conquest and Empire in Colonialist Board Games (Mary Flanagan and Mikael Jakobsson, 2023)

[blueskittlesart]

save button briefly remapped to dialog advancer in climactic scene of visual novel. 10 dead 30 injured

[robo-dino-puppy]

aloy, no!!! 😱

if this was a known thing, i hilariously never came across it! apparently if your jump and swan dive are mapped to the same button, aloy is forced to swan dive whenever you jump anywhere near water. or, apparently, lava.

and the game didn't think to warn me that those buttons were a conflict...?

[jpegsthatmove]

The more I stew on it, the more it seems that the shortcomings of veilguard are a failure of direction, both writing and art. I know people largely consider the game to be beautiful but what is all the design in service of? It’s not richly building the world to put everyone in pretty clothes and to gild every building.

On Remap Radio, Rob Zacny (a non dragon age girlie with a dragon age wife) described his experience of the world of veilguard like being on a movie set, like every character is a cosplayer, with lots of detail that is ultimately hollow and frequently nonsensical for the environment it was supposedly organically originated from- from architecture to costumes to the dialogue- (“these are supposed to be the mean streets of Minrathous, the slums, and it mostly seems… fine?”) and I find myself agreeing with that assessment.

And that kind of mishmash and muddying and over-filling of space that loses the good design and sharp plotting and smart characterizations? That comes from leadership that was unable to cut cruft and ideas that don’t work, an absolute inability to edit, or lack of interest.

[kaasiand]

For a future Splatoon instalment, I want Squid Surge entirely replaced with a charge dash that you can use on both walls AND the ground. It'd be able to do exactly what Squid Surge can, and more

I REALLY want Splatoon to get far more physics-y in the future—it's such a natural direction to take the series in, considering a lot of what sets Splatoon apart (or at least used to) from other shooters is its focus on momentum. And now Splatoon 3 literally even has a far more sophisticated physics engine than the past games but it DOESN'T EVEN REALLY UTILISE IT

Also as an example to prove my point even further, you can IMMEDIATELY see just how much better the original Scorch Gorge concepts would work in a more physics-heavy game with this type of movement. Everything just lines up

Basically what I really want is for Splatoon to be more like the Fancy Pants Adventure games

[danielenigmatool]

Swiftec Spring Promotion 💰 Discounted prices ✅ Full Pack = 7000 EUR netto ✅ Standard Pack = 5500 EUR netto 👌 Basic Pack = 4700 EUR netto 👍 #swiftec #swiftecsoftware #remap #ecuremap #ecu #tcu #dpf #egr #dpfoff #egroff #stage1 #tuning #chiptuning #tuner #tunercars #audi #vw #bmw #mercedes #psa #citroen #peugeot #toyota #lexus #mazda #fiat #volkswagen (en Autoelectrónica MD) https://www.instagram.com/p/CqC0E8YNdUP/?igshid=NGJjMDIxMWI=