mc776: A rifleman from Hideous Destructor pointing their weapon on Map10 of Freedoom Phase 2. (hideous destructor)
[EDIT 2021-02-03: I was reminded shortly after the last edit that HD's code is derivative of the GZDoom source and has to be GPL anyway. The only things I'd be able to get away with putting under a licence like what I've got here is story and art that (1) isn't likely to be stolen by chuds anyway; (2) where it would be is public-domain source stuff that they've already taken and I'm trying to reclaim; or (3) I'd be much better off taking more energy to write and design in such a way that better gets the underlying values across.]

[EDIT (same day as OP): This is going to interact poorly with the Freedoom stuff. Staying BSD for now, though this was an interesting thought experiment.]


Now that I'm reviewing the HD distribution licence anyway, and given how easily this sort of project can be used for nefarious purposes, I'm thinking of moving away from a proper FLOSS licence in favour of something less inherently chaotic.

So here's an attempt, felt legalistic might delete later:Read more... )
Not at all sure about this, really - in all likelihood it'll just stay in this blog post as a thought experiment.
mc776: A rifleman from Hideous Destructor pointing their weapon on Map10 of Freedoom Phase 2. (hideous destructor)
https://codeberg.org/mc776/hideousdestructor

And yes, this was caused by the bogus "DMCA" notice the RIAA shat on GitHub about youtube-dl, but it's not so much a last straw as I've been looking for another Git host for a while now and hadn't even heard of Codeberg until all this.
mc776: A round squishy lobster in the murky green water. (cock lobster)
In which someone plays Hideous Destructor without having read the manual.


In which two of the new generation play Doom for the first time.
mc776: A jagged, splattery blue anarchy symbol over a similarly styled red chaos symbol on a golden field. (anarchy and chaos)
[2016-01-06 Before reading this it might be better to read Jack Monahan's "refrigerator box" essay which is much more informative.]

From the sighting and aiming discussion here a few things occur to me:


Iconic representation

Icons and all the talk about making present, etc. never made any sense to me until I saw some comment about someone watching a "cradle" Orthodox believer pray to one, and the whole exchange(!) looked like they were having a conversation with a person standing before them. At once it all clicked: the skewed perspectives of various objects, far from being a matter of failing at mere "representation", were required for the full presentation to the viewer to address specific requirements for interacting with what was portrayed on the 2-dimensional space. Things are deliberately moved aside or extended or not foreshortened, or viewed from a different angle than something right next to it, to reveal that which if you were physically there you'd be able to see with no more than a very simple, unconscious movement - the top of a book being opened, the objects on the surface of a table, the hand of a person holding a heavy object. The entire image - and each portion thereof - is made not to reproduce the mechanical light-impression of the physical presence, but as an interface.

It also explains why I've always preferred Doom and Quake's centered guns over the angled views of later FPSes: while more "realistic" in the sense that the side of the gun would be a closer approximation to what you'd see from either eye while the weapon was pressed to your shoulder but before you started looking down the sights, it permanently blocks your view of whatever is below you to your right - something you would be able to see in meatspace with minimal effort by as little as a slight turn of the head, an action that probably should not deserve its own keybind.

As applied to my so-called "realism" Doom mod, unlike most shooters with such aspirations I keep the crosshair rather than sights - which crosshairs, as crude approximations of sight pictures, only (but always and automatically) appear wherever looking down the sights would be an option in another game. The weapon sprite itself is kept as out of the way as would remain faithful to the original aesthetic. No more than movement of the eyes, or at most a slight turn of your avatar's direction to move either sprite or crosshair out of the way, is required to look around. The ultimate result is a double view of your weapon with a large gap in between that you would never see in real life, but which allows the viewer to extract information with no more effort or artifice than if the object had been physically present in the viewer's own equivalent space.


The "drone effect"

Which takes us to the next great hazard in "realistic" first-person shooting. You have a mouse and keyboard. This gets rambly fast. )
mc776: A round squishy lobster in the murky green water. (cock lobster)
My work explores the relationship between first person shooters and the historiography of sado-masochistic religious homoerotica.

With influences as diverse as Robert Howard and Robert Halford, new paradigms are evolved through both noblesavage-pastoral and technocratic dystopias.

Ever since I was a little girl I have been fascinated by the transcendent hallucination of erotopathy. What starts out as sacrilege soon becomes fragmented into a sepulchritude of acedic lyser-jism, leaving only a sense of wounded schadenfreude and the remnants of a new culture of blasphemy.

As fractal spaces become synthesized through metallic and tellurinfernal practice, the viewer is left with a seedy aftertaste of the central lizard-brain impulses of our aspirations.


Meanwhile, [personal profile] furikku links to The World Peace Game, which is basically the polar opposite of the above link.

I know this

If life is illusion, then I am no less an illusion, and being thus, the illusion is real to me. I live, I burn with life, I love, I slay, and am content.

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