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boxbusiness · 2 days ago
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Nice bathrobe boys~
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morir-matando · 20 hours ago
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virtul · a day ago
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A proper send-off to a never-meant-to-be-finished project. Minecraft + texturepack + screenshot compositing.
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So… this might be a long one. There are a couple of unedited screenshots… but mostly – it’s just my ramblings. If you want to – press “keep reading” and continue.
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I’ve been working on this one on and off for the last 2 years. And due to the chaotic and sporadic nature of it all this build has next to no planning or level design. However, over the years I have accumulated some lore ideas here and there which I want to incorporate in my future projects. A sort of shared world, if you will. The city so far will be divided into assets, so I might use some things here and there.
I’m struggling to define it but my favorite aesthetic has always been 19-20th century old industrial ocean. It’s a bit broken, maybe not that well-kept, it’s cold, there’s so much metal, but the plants are finding their way around it, so it looks a bit abandoned but somehow alive - the light is shining through rusty, cloudy stained glass and so on. Tall buildings with intriguing architecture, contrasted with large, sprawling factories made out of bright-gray bricks.
The city. It’s elevated, it’s on the cliffs. It always has clouds over head, no heavy shadows.
It’s diselpunk mixed with industrial revolution but without any Victorian elements. Another way to describe it is “gothic industry”
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The two closest cities that spring to mind are the city of Revachol from Disco Elysium and whatever-it’s called city from Dishonored (but this one counts only if you haven’t played the games… it’s hard to explain but my first impressions of it were completely different from whatever the actual thing was)
Also some art I found 2 years ago (aka pre-pandemic)
So that’s where it all began.
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The architecture style was derived from 4 distinct sources: older, gothic, monumental structures, with European-like residential city center and a newer part - a mix of purpose-focused constructivism mixed with a richer (aka early New York) skyscrapers. I like to give this sort of thing an understandable reason: in this case it’s due to the nature of the world and the sudden turn to industrial revaluation and overpopulation worsened by a lack of space. The city lies in a pit, to put it simply. Think “made in abyss” but much, MUCH larger. The bottom is filled with water, hence the need to build on small pockets of land and man-made plateaus. The old city was constructed with flooding in mind. Everything is increasingly tall and lean, stretching to the sky, the first floors have no windows, the streets are very narrow and so on. The real day-to-day life was above ground, in the cozy and warm studies and libraries and on the roof tops. Some districts covered the spaces between buildings with bridges, leaving only darkness in the canals below.
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Then at a point the water began to leave. No idea how, didn’t come up with that.
And so with that the architecture shifted too - the platforms became lower and further out, the canals were repurposed into rail lines for trolleys, which traveled along the shores. And so the buildings became taller, with more compact, shorter floors. Hence the skyscrapers.
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And then there was a second shift. A shift towards a centralized industry. The massive concrete structure that cuts through the old buildings is the result of that - nobody cared about preserving the them. That one is a delivery system for massive metal crates that travel on a conveyor-like system. The structure stretches out far into the sea, connecting with the other islands. As well as that, at this point the need to accommodate more people became apparent: hence the large constructivist apartment complexes that destroy parts of gothic monuments to make more space for the population. I had an idea that one district could be completely leveled to the ground like a crater from an explosion. Naturally, that’s where you’d find the slums, the abandoned, the destroyed, now repurposed - stone mixed with louse wood and shady looking supports.
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had 2 over ideas. They were akin to lore-wise explanation for gameplay. (the map was supposed to be a CTM-style one at first)
The first one (and I want to represent it at least once, as it does feel unique and chaotic) was that the world itself was falling apart. And I don’t mean that in a metaphorical, post-apocalypse way - it’s as if all the dimensions and universes were leaking into each over. Underground cave systems suddenly appearing in the middle of the town, monoliths of stone, entrances to buildings leading into the inexplicable void of space with rings of distant planets visible in the distance and so on.
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And the second one were rituals. Instead of the world falling apart there would giants wrecking havoc. So a lovecraftian apocalypse going on in the background. The rituals would be a combination of key items one would need to collect in order to enter (teleport to) a different area. The items would be scattered around in excess in order to both prompt exploration in the open world, and not making it too tedious, while the actual areas (dungeons) would be linear with a twist on your powers and thus gameplay.
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For example, imagine seeing a giant blob of tentacles trying to climb out of cross-shaped pit in the middle of the cathedral with god rays shining onto it from the holes in the roof. Columns going as far into the distance, as the eye could see. The space inside would obviously be 5x bigger. And so on.
I always felt like people tend to make things feel so small. While there’s such beauty in belittlement by the tall and out-stretching blocks of stone and metal. Especially in games. And yet, it’s hard to come by those that exemplify this feeling, so I want to one day represent it.
Anyways, I have a few ideas for future stuff that I’m already working one. There’s some of my oc’s pixelart (it’s turning out… unique, I’d give it that), a voxel model (one thing of note… MagicaVoxels get’s it. It understands dynamic range! I’m so happy with it :D Unlike Blender or even <inecraft shaders you can literally render a blob and it will still look realistic, love it) and a few ideas for builds. But studying is taking a tall on my already slow-paced work style so… I cant’ promise a thing.
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The Black Cat, 1934
w/Boris Karloff, Bela Lugosi
facebook (Classic Monsters + Classic Horror, the silent era - 1966), diariosur.es, worldofentertainment.info, memorabletv.com
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geat-26 · 16 hours ago
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S2 ep1
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S2 epFinal
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Time to cry people!! 💃🥲
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rwbybutincorrect · 2 days ago
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Blake: PERSONALLY I think my obsession with night and the dark is COOL and FINE and nothing to do with my lifelong chronic insomnia. I am built DIFFERENT and WORSE.
Ren: It’s always “why did you not sleep” and “how many coffys did you have,” and never “was the night dark and endless and full of promise”
Blake: YOU GET ME.
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lake-luz-anne · 15 hours ago
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pretty sure you could show me this image decades from now on my death bed and i'd still cry
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mslittlerinran · 2 days ago
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Lumine is so cute! She's like an exemplary student. And Aether... well boy like what he see 🤧
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baker-miraak · a day ago
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hi why does this look like it's the final kissing scene in a shitty romance movie. mr ancano please do not look at me like that
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lost-kitsune-gaming · a day ago
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Redrew Verosika Mayday from Helluva Boss
Was bored at my mom’s work and had no internet, luckily I downloaded my favorite Helluva Boss episodes and remembered my redraw I did earlier this year and decided to make another! Here she is!
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And yes, this time I did draw the background since its simple looking.
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stan-of-many · 2 days ago
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Random screenshots of White Collar from clips on YouTube (and the reason why I took them).
This affectionate glance
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They’re just so...happy here
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No better couple on TV
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Sittin’ cross legged with Chinese takeout (such a normal, happy moment)
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Opposite sides coming together out of mutual concern for Neal
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Sitting like a six-year-old (because honestly, he really is)
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They just look so good working together
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Awkwardly about to ask permission from El and Sara (they look like adorably nervous children)
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Peter’s concern as Neal is hurting (it’s just so them)
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