#swagman game

[found-in-retro-game-mags]

Swagman

"Sweet Dreams." (Ultra Game Players #97, May 1997)

#swagman #eidos #ps1 #sega saturn #video game ads #retro gaming

[brickbattleryaoi]

i love the fact that swags sword actually is reactive based on his moods . is it organic . is it just a freakish growth.

what if iyanked on it as hard as icould

#brickbattler #swagman #sorry for the multitude of posts i love this game #roblox #my favourite transmasc bisexual sorrryyyyy….

[boxonarock]

To be fair, you have to have a very high IQ to understand hyper light drifter. The story is extremely subtle, and without a solid grasp of metaphors most of the depth will go over a typical gamer's head. There's also drifter's illness, which is deftly woven into his characterizat

#hey have you guys heard of a game called hyper light dri- #hld #hyper light drifter #fanart #my art #swagman

[vivi266]

peaches, sweetheart for the ask game!

peaches - do you have a skincare routine?

no

sweetheart - favorite mug/cup?

i was gonna ask if nalgene bottles count but i remembered the swagman cup existed and i'm saying that because it's funny

[pastrnaks-sainz]

who are we rooting for on monday bc pasta is my day 1 so go czechia but also swagman 

look all i want out of this game is for pasta to score on sway

[maryfairgrieve]

#acrylicpainting #abstractart I did this a few years ago, time passes quickly, inspired by listening to the amazing music of the video game Swagman (at Fife, Scotland) https://www.instagram.com/p/CkvMas8tFF1/?igshid=NGJjMDIxMWI=

#acrylicpainting #abstractart

[mysterylime]

I finally get a taste of what its like to be an alpha Chad... for a second.  https://youtu.be/KpxowL6WrfU

#swagman #swagman game #swagman ps1 #playstation 1 #ps1 #retro games #retro gaming #weird games #obscure games #trans gamer girl #trans girl gamer #transgamer #gamer girl #trans girl #trans youtuber #youtuber #let's play #queer gamer #mystery lime #lime time #lime's terror time #terror time #girl gamer #egirl #gaymer #gaymer girl #fake gamer girl #fake geek girl

[retrogamelovers]

Sweet Dreams

#swagman #ps1 #playstation #sega saturn #sega #eidos #retro gamer #retro gaming #retrogamelovers #retro advertising

[psxdatacenter]

“PSX DATACENTER UPDATE 09-NOVEMBER-2019″

[PS1] [USA][PAL] [JAPAN] [2019]

9-November-2019

9-Noviembre-2019

I have added today the following game entries to the PSX Datacenter:

Añadidas las siguientes entradas a la PSX Datacenter:

NTSC-J: Koguma-Chan no Daibouken [SLPM-80195] (J)

UPDATES: Max Surfing 2000 [SLPS-02398] (J) Super Robot Wars IV Scramble [SLPS-00196] (J) Super Robot Taisen IV - Scramble [Playstation the Best] [SLPS-91014] (J) Superbike Masters [SLES-04154] (E) Supercross 2000 [SLUS-01005] (E) Supercross 2000 [SLES-02373] (E)(F)(G)(I)(S)(Du)(Sw) Supercross Circuit [SCUS-94453] (E) SuperLite 1500 Series - Keeper [SLPM-87161] (J) SuperLite 1500 Series - Suudoku 3 [SLPM-86536] (J) Surf Riders [SLUS-01190] (E) Surf Riders [SLES-02838] (E) Suzuki Bakahatsu [SLPM-86513] (J) Sven-Göran Eriksson World Manager [SLES-03826] (E) Swagman [SLUS-00151] (E) Swagman [SLES-00025] (E)(F)(G) Added new descriptions, hires covers & screenshots.

MANUALS: Riot Stars (J) [SLPS-00828] Manual scans cleaned & compiled into cbr by gladiator.

Check them here: http://www.psxdatacenter.com/ or http://psxdatacenter.com/

Have fun and if you can help us with the missing information (covers, descriptions, cheats, etc.) please do it.

If you want to contribute to the site running costs (domain, server, updates, etc.) please consider becoming our patreon or making a donation on our ko-fi.

http://patreon.com/psxdatacenter

https://ko-fi.com/C1C8LCDH

#epsxe for android #ePSXe #playstation #Ps1 Games #PS1 #video games #videogames #retrogaming #retrogames #supercross 2000 #supercross circuit #suzuki bakuhatsu #super robot wars #swagman #sony playstation #riot stars

[retroraiderofficial]

Swagman - PlayStation (PS1) REVIEW - Retro Raider 

The Swagman, a baddie from The Terrortories, has imprisoned the Dreamflight fairies so no one can wake up from their nightmares. It's the Swagman's plan to unleash his horde of minions and take over the world, unless two eight year-olds, Zack and Hannah, can stay awake long enough to stop him.

#SWAGMAN #ps1 #playstation #sony #retro gaming #Retro Raider

[satanfemme]

I would go to school if this were the teacher:

[ID: a skag from the borderlands video games. it’s a spiked alien creature on four legs. End ID]

this were the uniform:

[ID: the swagman from borderlands. he looks like an astronaut wearing a brown hat over his helmet. End ID]

this were the school bus:

[ID: a boulder kraggon from borderlands. it’s an alien who looks similar to a triceratops with fire elements. End ID]

and this were the lunch:

[ID: a nullhound from borderlands. it’s a robotic dog. End ID]

[virtual-lara]

Tomb Raiders Traveler’s Guide - Interview With Richard Morton - Tomb Raider: The Last Revelation

Interview was conducted by Brian Chew, Luis Cunha, Snark^ and Theresa Jenne.

Have you ever wondered what it takes to be a level designer in a high-profile game? Richard Morton should know, as he is the lead level designer for the upcoming fourth installment of Lara's adventures, Tomb Raider: The Last Revelation (TLR). He has been involved with the Tomb Raider games since the beginning, and has designed some of the most memorable levels in the series.

If you have read over the footnotes at the bottom of many of our walkthrough pages, you will know that Rich has kindly been answering questions we've sent him over the past year about Tomb Raider 3. This time, we had the opportunity to conduct a full interview with Rich, and ask him some questions about his background, his perspective on level design, and his thoughts on the Tomb Raider (TR) series.

Special thanks go to Luis Cunha of the Croft Times, snark^, keeper of the alt.games.tombraider FAQ, and Theresa Jenne of Tomb Raider(s).com for their participation in this interview and contribution of additional questions.

TRTG:

What's your personal background? How did you end up at Core and working on Tomb Raider?

Richard:

I left school at 16 and joined a local training scheme. My first placement was at a very small company called Wise Owl. They mainly did conversions of big titles for the Commodore-64 and Spectrum. It was here that I learned the basic skills of computer art. I was there for about two years.

Next, I went to Hi-Tech Software - they had licenses for the Looney Tunes and Hanna-Barbera characters. I did tons of games here (each project only lasted for around 3 to 6 months). They were all budget titles but got good reviews. I left after about two years and joined Core.

My first job at Core was to convert all the Chuck II graphics onto Amiga format. I then went on to do the Asterix titles, ThunderHawk 2, Blam, Swagman and then the TR series.

TRTG:

What was your role in the first three games of the Tomb Raider series? What levels did you design?

Richard:

TR1 - I sat in on most of the level design meetings to give input. I was designing maps for other games at the time.

TR2 - The Temple of Xian - this was a nasty trap-filled monster.

TR3 - I did Coastal Village, Crash Site, Madubu Gorge, Temple of Puna, Nevada Desert, Area 51 and also had to give Lara's house a new look.

To read more, please visit the original site here.

All rights belong to Tomb Raiders Traveler's Guide. I only intend to introduce people to old articles and preserve them before they are lost.

#Tomb Raider: The Last Revelation #TR4 Interviews #All Interviews #VL Posts

[boxonarock]

i had to make a bunch of storyboards for a gamedev class and i sorta like these tbh

#idk why i tried so hard tho #like i drew all these dynamic angles and shit and it doesn't even matter bc we're making the game in minecraft #storyboarding #my art #this isn't even all of them #don't come @ me for gamedev stuff i'm not even majoring in game design #swagman

[jjnonken]

Borderlands: Rewards-Only Challenge

This is a personal challenge I made up. I’m calling it the Rewards-Only Challenge, though you could call it other things. Problem is that while it’s not actually complicated, it takes more than a few words to explain. Also keep in mind that these are not The Rules, there are no The Rules. Alter them to taste if you want more of a challenge! Or to make it easier.

So it goes like this: You play through a Borderlands game (anything in the franchise except Tales of the Borderlands, which doesn’t count*) using only weapons or other items given to you in one of these ways. I’m going to say just “Stuff” for brevity; assume it’s a shortcut meaning “weapons, class mods, artifacts, Oz kits, shields, etcetera”, OK?

 - Any starting Stuff. If you own the correct combination of games and/or DLC you might even get Loyalty Stuff on initial spawn; but often the game gives you a starting weapon or an early mission award (e.g. BL2 “My First Gun”). Either way, you’re good! If not -- if you spawn empty-handed, don’t get an early mission weapon and have to pick some random weapon up to get started -- that’s OK. Use what you find until you get something that qualifies.  - You may use Stuff you are given by NPCs. That includes, specifically, Stuff from Michael Mamaril. But anything an NPC hands you is good.  - You may use Stuff awarded for completing missions. So if you turn the bullymong fur in to Sir Hammerlock (BL2 ”Bad Hair Day”), you get a legit Jacobs sniper rifle.  - You may use Stuff dropped in a boss fight. That includes Stuff dropped by the boss or one of his minions, if he has any. It includes farming Stuff from any repeatable bosses. Fight Terramorphous as many times as you like; everything he drops is fair game. Or farm Doc Mercy to get that Infinity Pistol. - [added 8 Apr 2021] I’ve been on the fence about this one, but there are some random NPCs you can farm Stuff from that aren’t bosses or mini-bosses per se. I’m talking about Savage Lee in BL2 and The Swagman in BL:PS; if there are others, I don’t remember them, but they’d count too. The former can drop an Unkempt Harold and the latter a Wet Week, though they also usually drop some ordinary Stuff. I’m inclined to consider them the equivalent of mini-bosses.  - Anything from a Golden Chest.  - Any mission Stuff. It makes sense to use it for the mission, since it’s the only way to complete said mission. This rule makes sense even for other types of challenge that would otherwise exclude the weapon (white-only, brand loyalty).  - Any of the above that an ally gives you. Not any Stuff, but any qualifying Stuff. If you finish a mission together and he hands you his award, you’re good. If he starts the game with some loyalty weapons and gives you one, you’re good.  - If you have to buy or pick something up to complete a mission, that counts (such as the pistol in “My First Gun”, the shotgun at the end of “Blindsided” and the shield in “Shielded Favors”).

Otherwise you can pick up or buy any loot you want; you just can’t use it. Sell it or pass it along or stash it or whatever, you can have it but you can’t use it in this challenge. 

So that’s it! Give it a try and let me know how you like it.

* By which I mean it doesn’t fit into this paradigm. I wasn’t trying to disparage Tales -- it’s a perfectly good game if you like the style of gameplay, and it’s considered canon. Also, it’s available again! If you missed a chance to buy it before Telltale went belly-up, you can do it now.

#borderlands #borderlands 2 #borderlands 3 #personal challenge #borderlands the pre sequel

[gstdaisuki]

A Talk with Nathan McCree

(this is a followup to my video on Nathan’s work, which you should watch(!), and a mirror of the Patreon post)

Nathan McCree is well-known for his work on Tomb Raider. If you go digging, you’ll find he’s been interviewed about the series several times. However, he’s done quite a lot more. I’d like to fill in some of the gaps. Below are snippets from my chat with Nathan about music on the Megadrive, what it’s like to work within limitations, and music in the future. 

---

GST: Skeleton Krew's music is an oddity on the Megadrive. there's nothing else quite like it. I saw you mention that the soundscape was inspired by the graphics, which makes sense --they compliment each other beautifully. I want to ask what other influences you had in mind, if any. How much of the soundtrack was just created by just pushing strange sounds out of your tools? 

NM: It's very difficult to say exactly where inspiration comes from. Mostly I am inspired by the kit I am using and the sounds they make, so in this case it was the sounds I was creating on the Yamaha chip inside the Megadrive. But musically at the time I was listening to a lot of psychedelic electronic bands like Ozric Tentacles, The Orb and lots of dance/trance/house music of the era.  

GST: Now that you mention Ozric Tentacles, the arp sequences in Clockdrops have a similar feel to some of the tracks in Skeleton Krew. It's kind of striking, though I think the direction you went in is actually better realized because you seem to work so well within the FM on the Megadrive. (Hopefully the musical comparison isn't too offensive!) 

NM: No I'm not offended by the comparison at all. I did learn a lot about synth patterns and textures from Ozric Tentacles, but again, without copying, I took what I learned and went in my own direction with it. It's important to always have a picture or an emotion of the project you are working on as this helps construct the music in a way which fits the mood of the product and as a result should gel the visuals and the animations together. The music in effect, acts as a kind of glue for the project which holds it all together.

GST: On the opposite end of the oddity spectrum, Astérix and the Power of the Gods for the Megadrive features nothing but classical songs. I'm curious if this was a decision from the game designers, or an exercise for you, or something else. 

NM: It was a decision made by the game designer and programmer, Stefan Walker. Stef asked me if it were possible to convert 15 or so of the most famous classical pieces in history that were out of copyright protection (older than 90 years). Of course I said yes, and we set about listening and searching for pieces which fit that criteria and which would be suitable for the game. The conversion process from a full-orchestra down to a 6 note-polyphonic FM synthesizer was a challenge but a very enjoyable one, and the result earned the accolade "Best Megadrive Music Ever". I was rather chuffed with that.

GST: The soundtrack for BLAM! Machine Head is listed as released in 1995, which is before the game came out. Was this a promotional thing?

NM: Yes it was a promotional release of 300 vinyls. We sent a load to UK Clubs to try and get some club play time to promote the game. We succeeded a little but game soundtracks weren't really the thing back then so it gained little traction.

GST: That’s pretty amazing! That was late 1995, right on the precipice of game music leaking into the mainstream. (For reference, "Sega Tunes" came out in August 1996, "Club Saturn" in 1996, and Tommy Tallarico released his arrangement albums in mid-94 and mid-96) Did you get any feedback / reviews from the clubs?

NM: Yes we did. A few were kind enough to give us some feedback. One club I remember said about Nano-Seed, "a floor-filler!". That was good.

GST: Relatedly, what is your experience with club music? Some of the tracks on BLAM! sound perfect for the era. I wouldn't expect them to be written by someone who was previously unfamiliar with club music. Do you remember any particular songs or artists that you drew inspiration from?

NM: I was clubbing a lot in the 90s. I was going to Hot To Trot in Mansfield once a month, Renaissance in Derby in between and a few other local dance venues in Derby. In the end I was clubbing every weekend. Apart from the psychedelic bands I mentioned earlier I can't really pin-point a particular dance music artist. I was listening to so much and none of it was being repeated. I was constantly listening to new tracks. It was a very inspirational time musically and on top of all this I was writing my own dance music in my spare time outside of working at Core Design. So yeah, there was a whole lot of influence that went into the BLAM! Machinehead soundtrack. Having said that, with my writing, I always try to write something which I haven't heard before so I hope there is something unique and new about the music in BLAM! Machinehead.

GST: About Swagman: This seems like the most involved orchestral soundtrack that you had created since Soulstar. I'd like to compare the two a bit. How closely were you working with the rest of the team at this time? Swagman isn't a rail shooter so you can't match the soundtrack with the action in the levels... How much better was your gear at this point? I'd say "it doesn't sound like you struggled with your gear this time" but you actually disguised that struggle quite well in Soulstar, haha. 

NM: As you say, Swagman wasn't a rail-shooter, so scripting the music to fit the game wasn't possible. Instead I used the location of each level as my main source of inspiration, and created atmospheres to fit those - The Nursery, In the Garden, Down the Well, The Crypt for example. I had some new kit by the time I started writing Swagman. Mainly the addition of the Roland JV1080 which I had expanded with the Orchestral Boards 1 & 2 and the World Expansion Board. I also had a Roland JV90 which is the keyboard version of the JV1080. That too was expanded. So I had plenty of voice-polyphony at that point and lots of very useful orchestral patches to play with. So you're right, it was less of a struggle with Swagman, but both projects were still very enjoyable to create. With Soulstar, I ended up using quite a few saw-tooth, synth-lead patches to create the brass ensembles. They actually sounded pretty good once they were buried in amongst the rest of the orchestral sounds!

GST: Battle Engine Aquila marks a soundtrack where you were freelance AND in the distant future of 2003. How much of your gear did you leave behind when you left Core Design to go freelance? And how much of it was digital instruments on your computer at this point? I ask the latter because, to my ears, this game sounds about as good as you can get without hiring a real orchestra. 

NM: So obviously leaving Core Design meant saying goodbye to all the kit I had built up over the 6 years that I worked there, but of course I needed something to work with as a freelancer. So I spent a large chunk of my Tomb Raider money on a new studio for myself. Apart from the obvious stuff like a mixing desk, studio monitors and a PC, the decision needed to be made as to what instruments/synths I should buy. I had been really impressed with the Roland JV1080 so I bought one of those (and expanded it as before) and the synth geek in me also decided to by one of Roland's latest creations, the JP8000 - a fully record-able and controllable raw synth machine! With this machine it was possible to record the movement of every pot and fader straight to Cubase. A very useful tool for dance music, and to this day I still haven't used it to it's full potential. I also bought an Akai S9000 sampler which I used mainly for drums, so once again my orchestral setup was synth-based, rather than sample-based. So I started out freelance with this kit in 1998. When I got the opportunity to work on Battle Engine Aquila I decided I needed a bigger orchestra so I bought another Roland JV1080 (expanded again) and an E-MU Virtuoso 2000 orchestral synth which I quickly binned when the main controller knob became faulty and I wasn't impressed with the architecture of the signal path. I continued to use the Akai S9000 sampler for a few more years for electronic music but as soon as computers became fast enough for sample based editing inside the sequencing software, it too became a dust collector on my studio shelf along with other outboard gear which were replaced by VST instruments and Plugins. To this day I still use the 2 Roland JV1080s and my Roland JP8000, and that's about it. I'm not one of these musicians who needs to hide behind a million synths or new pieces of kit every month to convince people I can write music. I'm one of these guys who can make music from anything. A fork, knife, bottle, my kid's mini toy guitar, or glockenspiel. If it makes a note, I can use it, which I frequently have in my compositions over the years. I remember when I was working on a prehistoric game called BC, I used a metal electric fire which I scraped with a nail and hit some bricks with drum sticks to create the percussion sounds for the music. I don't need to buy new kit to be creative.

GST: I'm curious about what the limits are when it comes to crafting something unique. If you go too "far out," you'll have a unique song, but it might not resemble "music". Where's the balance between copying the songs you heard in the club and becoming autechre? Same question for non-electronic music: It's possible to get unique compositions if you go to the edge of music theory, but that can also become inaccessible. (You did seem to use odd time for the end theme of Waterlollies (11/8 by my count) though, which is always a fun technique.) 

NM: Finding something new isn't about moving further and further away from music, it's about persevering with textures, ensembles, sounds, patterns and harmony until you find or create something which you haven't heard before. You have to wade through a load of stuff you have already heard until you find new waters. Sometimes that can take hours, sometimes days. You have to keep going. Adding stuff, deleting stuff. Thinking outside the box. Sometimes forgetting what you have been taught. Turning things upside down, back to front. It also helps to enter altered states of the mind when creating. This can be done in a variety of ways. Working late into the night until you are close to falling asleep for example, puts your brain into an almost dream state which helps create new things which you wouldn't normally think of during the day. This is why many creatives, and not just musicians, do their best work in the early hours of the morning. Other things can help too, drinking alcohol, but this has a negative impact on your hearing, and then of course there's marijuana which I think most musicians that have ever lived swear by! Personally for me, it's about perseverance, working at the detail and striving for perfection. Music doesn't have to be complicated or removed from tonality and harmony to be different. There are billions of combinations, it's just about looking for the new ones.

GST: One more question about the early days: Does any of the original software or source code for your Megadrive music still exist? 

NM: There's a possibility that I have a copy of the programme somewhere on my hard drives but it needs a special custom built PCI card installed in your PC to work and that, I do not have anymore. You see in those days, getting access to certain elements of the games console just wasn't possible like it is today. Now you install some dev tools plugin and you have direct access to every feature of the console. Back in the early 90s we had to dismantle the machine with a screwdriver, rip out the circuit boards, making notes of the chip serial numbers and manufacturers, then calling the company and asking them for a full specification of the pin numbers and what each one did. After that, we would order the chips we wanted (or rip them out of the games console itself) and design our own circuit board which included the chips we wanted and have it all re-mounted onto a custom built PCI card which we would then install into a PC. After that, it was all about programming. We followed a similar process for the Megadrive sound chip. It was a Yamaha YM2612. So we ordered a couple of these directly from Yamaha and once we had the full spec it was pretty simple to work out how to wire it up on a circuit board. All we needed to do was to add left and right phono sockets to the output pins on the chip and send the 5v power supply to it and there you go, Megadrive synth on a PC! Of course there are the other pins (24 in total) which needed connecting up to the data bus, memory access pins, read/write request lines, interrupt request line, ground pins etc. but once we'd figured all this out it was simple enough to create a circuit diagram for the board. Once we had that we sent off the design and the 2 x Yamaha chips to a circuit board manufacturing plant in the UK. A week later our 2 x Megadrive synth PCI boards arrived. We plugged one into my PC and the other into Sean (programmer)'s PC, and we got to work coding up the sequencer. Sean took care of the machine-code level programming of the synth engine and I programmed the high-level language user interface. We had the whole sequencer up and running in 4 months. So I may have the source code and sequencer files but I don't have the hardware on which it runs. Of course I could have another circuit board made but it would take some time to get all that together again.

GST: What happened to Console Sounds / Industrial Ambiance? I can’t find it anywhere. 

NM: I took the album off-line. It was available as a library album for a while but the critiques viewed it as if it was an album release and began slating it for sounding like off-the-shelf music - which is exactly what it was. It was never an album release. It was just a bunch of tunes that had not been used for anything, and I was just trying to earn some money. But when the critiques got hold of it and slated it, I took it down.

GST: That's understandable, but unfortunate. Have you considered bringing the album (or any of the songs) back on a service like Bandcamp or Soundcloud? 

NM: Yes I do have ideas and avenues for a lot of my music. The first thing I want to do is to officially release all my game soundtracks. After that I'll see what's left and if there's any mileage releasing any of it. 

GST: Actually, how much of your music can you release on Bandcamp? I know that the rights can get tied up...

NM: Well after the Kickstarter campaign, I am now officially a record company and publisher so I can release any of my music whenever I like. I don't need a platform like Bandcamp or Soundcloud (where often the composer/performer ends up surrendering their rights for little compensation). I don't need to do that now. I can release my music myself and retain 100% of the rights, which is a better way to go. It's been a hell of a lot of work to get to the company to this point, but the infrastructure is there now, so I'm going to continue with that.

GST: Oh, that's exciting! Do you have any idea when we can expect to see some old soundtracks released? I'm also very interested in the dance music you wrote outside of Core Design. That would be a fun throwback thing. 

NM: I want to start rolling my old game soundtracks out over the next few years. I have earmarked about 10 albums which I think are worthy of release. They all require some work in terms of remastering and re-recording. Some would benefit from a live orchestral recording like Soulstar, Heimdall II, Swagman and Battle Engine Aquila to name a few, but those kinds of production are very expensive so we'll have to see how funding goes for that kind of thing. In the meantime though, I will be releasing new synthetic recordings of these soundtracks - all made using the original equipment which I wrote them on, so they will sound the same, only better! Yeah there's probably an album or two of dance type tracks kicking around which could be released. Other songs too which are still unfinished so i'll need to do a bit of work to finish those up into some releasable form. So plenty of work to keep me busy for the next 5 or so years I'd say.

GST: Where can we find news about these remastered albums? Where's a good place to find you? Is there anything else you'd like to plug? 

NM: The best places to keep informed as to what I'm doing career wise is on my official FB page: https://www.facebook.com/nathanmccreeofficial/ and also my Twitter page: https://twitter.com/nrpmccree  As far as plugs go, please just support my concerts. They cost a huge amount of money and time to organize and I can only keep doing them if we get a good attendance. It's really important, not just for The Tomb Raider Suite, but for games music in general, and if you do like the Tomb Raider Suite album which is free to play on Spotify, please consider buying a copy. This is how us musicians make a living and it really does help us to keep going and writing more stuff which hopefully you will enjoy. A big shout out to all the fans who have supported me so far and who continue to do so - you guys rock!

[sqbr]

Dreamwidth update: My Latest Silly Game Idea I am Not Making

Every now and then, when playing dating sims about historical figures, I think about an Australian version, but get bogged down in (a) the genocidal nature of most Australian history(*) (b) my intense ignorance about history in general. But today I realise I shouldn't be taking my inspiration from Hakuoki/Ikemen Sengoku etc. I should take it from Code Realise/Ikemen Revolution etc! OUT OF COPYRIGHT LITERARY FIGURES ARE FREE REAL ESTATE. I mean, I haven't actually read that much early Australian literature, and it's basically all also super duper racist, but I feel more comfortable glossing over the flaws of fictional characters than real people. I'm sticking to adults, and imagining characters being made human as necessary, though if you prefer the furry version I won't judge. After a little thought and googling I came up with: The Sentimental Bloke The Jolly Swagman One of McCubbin's sad people The Kangaroo from Dot and the Kangaroo The Man From Snowy River The Magic Pudding(**) Child!me had a proto-crush on all the girls from Snugglepot and Cuddlepie, but while they live as adults they look like semi-naked children and I just don't want to go there. The characters from Ginger Meggs, Blinky Bill, and the Seven Little Australians are are also squickily young, but could be fun as unromanceable side characters. Afaict Chesty Bond is too recent to be out of copyright, which is a tragedy. What other sexified, out of copyright Australian fictional characters would you enjoy in a dating sim or other romance story? Assuming the answer isn't "None, and you are very odd" :D (*)I mean it wasn't especially genocidal pre-1788, but I'm not the person to make that game. (**)Bill Barnacle etc would be easier to make sexy, but this is funnier and has Brand Recognition. Comment at dreamwidth

#dreamwidth crosspost #in the dreamwidth comments a friend suggested the redhead matches woman #who may also be too recent #but is otherwise hot romance material