"games r 4 fags lmao" ok grandpa video games are all 99% of the younger generation care about. People want to shoot niggers in Doom. People want games that aren't kiked jew shit.
With the help of AI I learned python. It's better than having it write python for me and it's better than GML I learned as a kid. I'm making something. You should too. Yes, you, the man reading this.
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el_hoovy on scored.co
3 days ago6 points(+0/-0/+6Score on mirror)2 children
i've been making one since February. started with an angel investor and 2 others, we recently hired a generalist to speed development
i fear a scenario like ours is very rare, though. we are all in low cost of living areas living down to the bone so our investor can even afford us, himself being just an AAA programmer who thinks we're too talented not to make games.
if you live in America where rent starts at $2000 it is nearly hopeless. games make negative money until they release (i have spent more than a salary on source libraries for sound design, for example) and any game worth anything is going to take a year at least of hard work, more than 8 hours a day. you can make bullshit like Megabonk in 2 months and hope to get lucky but you may as well play the casino and waste less time.
3 days ago4 points(+0/-0/+4Score on mirror)1 child
>i have spent more than a salary on source libraries for sound design, for example
This is another thing we need: open source libraries and tools
The problem with the current iteration of open source projecrs is that they're full of faggots. We need a parallel pipeline (taking their useable code where appropriate) that is resilient to Jewry; no committees, no policies, no compromise. The author does what he likes and if you have a problem, fork it.
sorry, i meant libraries of sound, as in recordings. paying 179 dollars for 20gb+ of real explosions in an actual abandoned soviet city recorded with 10 mics each (each itself upwards of 500 dollars) for example is really good value, i wouldn't wish those to be free because there'd be way less of them out there.
i think you don't understand the time, objects, areas, microphones, and processing required to get high-quality sound. if you are happy with 1995 RPG samples that's your prerogative, and you can argue against the idea all you want and pretend more fidelity somehow means less artistic value (it doesn't), but if you want to reach people today you actually have to put in the work to match the popular stuff.
nobody will play a quirky RPG maker game about being an SS officer that uses old 1920s hollywood samples like they play one of the new CODs where it took 200 total manhours to make the animations and sounds for one single gun's reload. frankly though that's not even why i do high-fidelity sound design, i just do it because i like it.
i fear a scenario like ours is very rare, though. we are all in low cost of living areas living down to the bone so our investor can even afford us, himself being just an AAA programmer who thinks we're too talented not to make games.
if you live in America where rent starts at $2000 it is nearly hopeless. games make negative money until they release (i have spent more than a salary on source libraries for sound design, for example) and any game worth anything is going to take a year at least of hard work, more than 8 hours a day. you can make bullshit like Megabonk in 2 months and hope to get lucky but you may as well play the casino and waste less time.
This is another thing we need: open source libraries and tools
The problem with the current iteration of open source projecrs is that they're full of faggots. We need a parallel pipeline (taking their useable code where appropriate) that is resilient to Jewry; no committees, no policies, no compromise. The author does what he likes and if you have a problem, fork it.
Back in my day we bought a $1.99 microphone from radio shack and banged our own sound effects in the garage.
Anyway, next time you're going to throw money in the toilet, hit me up I can waste it cheaper.
nobody will play a quirky RPG maker game about being an SS officer that uses old 1920s hollywood samples like they play one of the new CODs where it took 200 total manhours to make the animations and sounds for one single gun's reload. frankly though that's not even why i do high-fidelity sound design, i just do it because i like it.