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BlackGamesElite has two main goals, no matter the project: have fun, or get black people into developing games. This public locale is an meetup place for members and anyone else interested, where they can learn about various projects or partake in developments. Remember to join the newsletter.
  1. What's new in this club
  2. Prototype for a weaponcombatleague game from Dualmask/ Jonathan Price https://www.deviantart.com/dualmask/art/WCL-GridBattle-998197144
  3. The complete Jet Dancer game playthrough Get the game https://store.steampowered.com/app/2084470/Jet_Dancer/
  4. I played the game, here are some shots. I enjoyed the trailer. Couldn't embed, so you have to use the link below. Official site https://www.blacklionandcubs.com/ Video game http://valleyofthekings.blacklionandcubs.com/ On the blackeducationstation https://www.blackeducationstation.com/black-lion-and-cubs-cartoon Season 2 trailer https://www.blackeducationstation.com/black-lion-and-cubs-cartoon/videos/blc-season-2-intro more information info@blacklionandcubs.com
  5. @Troy can you add the two companion books to the game to aalbc's list Book1 https://www.am*zon.com/dp/B005LIMMWK Book2 https://www.am*zon.com/dp/B00HRZCGO4
  6. When the secrets of the military combat suit known as WEAPON are exposed to the public, before long they flood the streets and it seems every civilian is using a power suit for crime, chaos or their own selfish ends. To avert the possibility of civil war, General Patricia James, amid dissent from both superiors and subordinates, sponsors a tournament to encourage the "WEAPON-wielders" to compete for fame and fortune, and to inspire the populace. But just as the world begins to embrace the WEAPON as the wave of the future, a dark secret about the origin of the technology emerges, threatening to destroy everything Patricia sought to build. WEAPON Combat League; an action-packed tale in a world of fantastic technology, with stories of action and conflict, of drama and heartbreak, of love and loss, of rivalry, of haves against have-nots, of the balance of power, of the ripple effects of past sins thought buried. Weapons Combat League Book1 https://www.am*zon.com/dp/B005LIMMWK Book2 https://www.am*zon.com/dp/B00HRZCGO4 This project is a prototype ‘battle’ game based on my WEAPON Combat League concept, initially planned as a multimedia project with comics and prose novels. (If you are interested in reading the stories of WEAPON Combat League, you can find links to them here: https://jonathanpriceart.net/products/ ) I do not consider it a ‘fighting’ game because it’s not strictly about martial arts or weapon-based duels (despite the name). This project was meant to mimic the versus modes in classic games such as X-Kaliber 2097, Guardian Heroes and Streets of Rage 2; allowing the core game’s playable characters to duke it out in a versus mode for fun. It’s not a game designed to be in the same genre as a Street Fighter or Mortal Kombat, as that was never my intent. The original design philosophy of the project is "King of Fighters meets Mega Man". More on the Mega Man side. Characters control in platformer style, rather than fighting game style. Some characters have melee attacks, others use projectiles. It has two functioning modes: Team Versus and Team Edit Versus. Both function similarly, but the difference is one focuses on the story’s default team lineups while the other lets players choose their own team members. There is also a database of information about the game and the characters within. However, the versus mode got the lion’s share of my development efforts as I became obsessed with making all the characters ‘feel’ the way I envisioned them. Time passed and I realized that the project’s large number of characters and underdeveloped single player concept made it far too ambitious for me to complete. I realized that I was never going to finish the game under the circumstances, and thus halted development. I’m uploading it here as-is for no required charge, to allow anyone who’s interested to play what I made. Some important notes: There are likely to be glitches as I haven’t balanced or bug-tested all that thoroughly. Much of the art assets are placeholders (such as the arena background and HUD). The game can ONLY be played in two player versus mode. There is no AI single player mode at all. The first player can control with either keyboard or gamepad. Player 2 can only use a second gamepad. However, if one player just wants to mess around, Player 2’s team or characters can be chosen and selected with the Numpad on the keyboard. Inputs can’t be changed, but the controls should be simple enough to understand. The middle segments on the Team Edit screen were for planned characters that were never finished. There is no way to unlock them. Same characters cannot be chosen by either the same player or the opponent. I intend to resurrect WEAPON Combat League with a different approach in the future as I learn new tools for game development. However, this project as it stands is at an end. That said, feedback is fine and welcome, as I'm always eager to learn how to improve my craft. Thanks! url https://dualmask.itch.io/weapon-combat-league-demo
  7. I was unable to get all the links to various work. I searched the group and early posts to see as many as possible. If you are an owner of a pokemon and want a link , merely comment with the U.R.L. to your work and I will add it. The official post https://www.deviantart.com/charityguildmaster/art/Rainforest-Charity-Collab-115-CLOSED-979751392 I used https://www.image-map.net/ to construct the image map. Prior post concerning the rainforest collab
  8. How a Pricing Change Led to a Revolt by Unity’s Video Game Developers In an industry where customers are slow to trust and quick to criticize, a new fee from Unity infuriated studios that use its platform. Mike IsaacKellen Browning By Mike Isaac and Kellen Browning Reporting from San Francisco Oct. 2, 2023 John Riccitiello probably should have seen the outrage coming. A video game industry veteran, Mr. Riccitiello is the chief executive of Unity Technologies, a company that isn’t a household name but is a fixture for more than two million game developers who use its software to power their games. For most of the company’s 19-year history, Unity’s software business was relatively straightforward: Every developer who used Unity’s professional tools to build software paid a fixed, annual licensing fee. The software acts like an engine. It is the underlying technology that developers use to build and run their apps. In mid-September, Mr. Riccitiello proposed an abrupt change. Instead of an annual fee, he wanted to charge developers a fee every time someone installed a copy of their games, meaning they would pay more as their titles grew in popularity. The about-face would make a significant difference for Unity, which has never turned a profit. But in an industry where gamers and small game development studios are reluctant to trust big corporations and quick to take umbrage at perceived attempts to nickel-and-dime them, the proposed fee change has snowballed into a crisis. Developers around the world who use Unity — including those behind hit games like Among Us and Slay the Spire — have threatened to leave the platform, saying the new pricing model could effectively kill their businesses if their games grow too popular. There was talk of a class-action lawsuit. Someone even called in a threat that required Unity to inform federal law enforcement officials and evacuate its San Francisco headquarters and its office in Austin, Texas, a person familiar with the decision said. Developers said they felt betrayed. Many spent years learning and coding in a particular programming language used by Unity called C# — pronounced “C-sharp” — making it hard for them to switch to a competitor. Executives at Unity were using that leverage, the developers complained, to engage in digital rent-seeking behavior. “They completely abandoned the creative, punk software developer community that was a big part of their ongoing success,” said Tomas Sala, an independent developer in Amsterdam whose game, The Falconeer, was built in Unity. The episode highlights the precarious position that companies can find themselves in when trying to keep a community happy at the same time that executives want to find ways to make more money. Trip Hawkins, the founder of the video game giant Electronic Arts and an adviser to some game developers who use Unity, said he understood the outrage. He likened it to a hardware store’s selling a carpenter a hammer and nails and then suddenly charging a fee for every nail the carpenter has ever pounded into a wall. “It gets at what feels right versus what feels wrong in people’s gut,” said Mr. Hawkins, who left EA in 1994. Now, Mr. Riccitiello and his executive team are scrambling to contain the fallout. Unity has rolled back some of the changes in a series of concessions aimed at placating developers. Among other changes, it raised the revenue threshold for games that will be charged the per-install fee — so larger developers, primarily, will be charged — and allowed developers to pay either the fee or 2.5 percent of their company’s monthly revenue, whichever is lower. But the company still plans to go ahead with the new fee model. In an interview with The New York Times, Mr. Riccitiello said he was “truly humbled” by the response, and had spent the past two weeks talking with partners and indie developers. “It reminded me just how foundational Unity is to the developer community,” Mr. Riccitiello said. Unity’s engine is one of a handful of software development tool sets in the video game industry. Developers can use the tools to create 3-D character models that can run, jump and shoot enemies in games. They can also use the software to design rich landscapes and textured environments. Every time a game is booted up, the software engine from Unity or another company is running underneath. Most of these engines have charged companies using the software a fixed annual amount for every one of their developers. Unity’s new fees turned this predictability on its head. Many developers felt that they were being punished if their game turned out to be a hit, and that Unity had the potential to take a much larger cut of revenues. “The new business model just doesn’t work for the rest of us,” Mr. Sala, the game developer, said. “A lot of people feel like we just got played.” Unity was founded in 2004 in Copenhagen as a project of three developers who collaborated on an internet forum dedicated to coding. The premise was to “democratize” game coding tools so that anyone — from high school hobbyists to professionals — could build games from scratch. “The key for me was the community and resources around it,” said Will Todd, a 28-year-old developer. “You can hop on a forum and quickly get an answer to any questions you might have.” He and his partner at the London indie studio Coal Supper, James Carbutt, used Unity to build their hit game, The Good Time Garden, in 2019. Under fire for poor financial results, Mr. Riccitiello left his job as chief executive at Electronic Arts in 2013. He joined Unity the next year, when the company was relatively small. He brought with him a reputation for squeezing cash out of games in ways that sometimes angered developers and players. Mr. Riccitiello led Unity to a successful initial public offering in 2020, and Unity’s shares hit a high of around $200 by the end of 2021. But they have since fallen to about $30. In its most recent quarterly financial results, Unity reported $533 million in revenue — up 80 percent from a year earlier — but $193 million in net losses. It also laid off about 8 percent of its employees in May. Unity has an advertising business that allows developers who use its platform to insert ads into their mobile games. It’s the part of the business responsible for about two-thirds of the company’s revenue. But it is under pressure from changes on Apple’s software for mobile devices that limit the data that Unity’s system can collect from the developers who use it to serve ads inside their mobile games. Mr. Riccitiello told The Times that Unity’s software pricing changes had “absolutely nothing to do with” challenges to its ads business, which he described as healthy. He said the new model was “designed to be a fair and appropriate exchange of value” between Unity and its customers. In other words, Unity thinks it can make a lot more money from its engine business than it does now. Behind the scenes, many employees were furious. Numerous Unity workers told management that it was a bad idea that would betray the small developers who used Unity’s tools, three current and former employees said. A handful of employees left or are in the process of leaving the company as a result, two people said. Mr. Riccitiello acknowledged in the interview that the new pricing model had been communicated poorly and needed some changes. And Marc Whitten, one of the company’s top executives, wrote an apologetic blog post. But the company is not rolling back the pricing change. It will be some time before Unity knows if there is permanent damage to its business. Mr. Sala, the developer of The Falconeer, said that his upcoming game was also built on Unity, and that he would still need to support it with software updates and expansions of more in-game content for at least two years. But after Unity made some concessions, Mr. Sala said they were welcome changes. He added that if he decided to switch to another engine, learning that software could take him months, if not years, to get to the comfort level he had with Unity. Mr. Carbutt, the Coal Supper studio developer, said sticking with Unity felt like “an operational risk.” “They broke trust with devs over all of this,” he said. “Irreparable damage has already been done.” A correction was made on Oct. 2, 2023: An earlier version of this article misstated how much Unity would charge video game developers. Unity will charge developers who qualify a percentage of their company’s monthly revenue, not annual revenue. When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know at nytnews@nytimes.com.Learn more Mike Isaac is a technology correspondent for The Times based in San Francisco. He regularly covers Facebook and Silicon Valley. More about Mike Isaac Kellen Browning writes about technology, the gig economy and the video game industry. He has been reporting for The Times since 2020. More about Kellen Browning A version of this article appears in print on Oct. 4, 2023, Section B, Page 1 of the New York edition with the headline: ‘We Just Got Played’. Order Reprints | Today’s Paper | Subscribe READ 29 COMMENTS Share full article URL https://www.nytimes.com/2023/10/02/technology/how-a-pricing-change-led-to-a-revolt-by-unitys-video-game-developers.html MY THOUGHTS The underlying problem here is engineering. Like many crafts, its most optimal form isn't financially fast. The reason firms need unity isn't because programmers can't develop all the tools they need on their own, it is because doing that will take longer than all the accountants or lawyers who own firms are willing to wait. Using tools to speed up business is a pillar of the usa led global fiscal capitalism and in engineering , that is the path to lower quality or financial management. Remember, building a program is like making a table.Artist can make the same table, but the process of making the table, makes each woodworker actually better. To the fiscal reality of unity, they are a firm that is usually unprofitable overall. It is that simple. This situation reflects Google/Facebook/NEtflix/Tesla motors/ and many others firms who spent years , sometimes over a decade not being able to cover their cost of existence, but stayed afloat by stocks and investments and various financial mechanism which in my view are all anti fiscal capitalistic.
  9. Check out some art inspired by the game https://www.deviantart.com/rayseb/art/Neon-934411845 https://www.deviantart.com/roseberriidotart/art/Night-Owl-888026638 The following is a set of art based on the game https://www.deviantart.com/search/deviations?q=Cyberpunk2077
  10. What was it like re-releasing work that you did 20+ years ago? Was there anything surprising to you about returning to these classic games from an earlier part of your career? Honne: Although I am only supervising the Remaster version, to be honest I really want to remake the whole thing since the original version was released 20 years ago. But unfortunately, I don't think any gamers out there have the same thoughts as mine, haha. I feel relieved and happy to look back at how well the game was made, in terms of playability and length. Kojima: We are genuinely happy that more people will have the opportunity to experience Baten Kaitos. I would like to thank all the fans for their continued support and everyone involved in the Remaster's production. One thing that amazed me once again was the background art, which is still beautiful after 20 years, probably because it is 2D art. It is also surprising that Mr. Honne drew all these almost by himself at the time. Higurashi: It is a very strange feeling, and to tell the truth, it feels surreal. I have enjoyed playing the remastered titles of respected seniors in the industry, but I never had the thought of having the opportunity to be a part of a remaster project based on a title I was involved on. When creating the key art for the remastered version, I faced the illustrations I drew in the past. Looking at Kalas in the drawings, I could vividly recall what I was thinking in the past when creating, the feeling of the tools I used, and the faces of the people who supported me. It really made me want to talk about each of my memories during development in the past, recall how much fun I had and how fortunate I was to have the opportunity to work on such a good title. These games have stood the test of time and the fanbase enjoys various aspects of the games. What do you personally enjoy most about them? Honne: While I am very confident and proud of the background artwork since I take the worldview and the use of colors very seriously in the game, at the same time Baten Kaitos is a game where all development staff worked hard; hand-and-hand together like an orchestra, skillfully piling up their own rich and dignified notes. For my favorite, I personally would choose Mira, the City of Illusion that goes its own ways. Kojima: The charming character designs, the uplifting music, and everything apart of those are lovely, but if I had to pick only one thing, it would be the fact that the player can become a spirit and participate in the story. This wonderful world setting is what I love about Baten Kaitos. Higurashi: Hmm, will it sound like I am lying if I say I love all of them? I’m a big fan of Baten Kaitos so I can list out a lot of different elements, but if I need to choose just one, I will say I love the story of the characters the best. Every character has their own desires and emotions, and I feel like all characters and the universe of Baten Kaitos have their own souls. Do you have any special message to fans who are experiencing these games for the very first time? Honne: Although the original games were released 20 years ago, I hope you can enjoy going on a relaxing journey in the world of Baten Kaitos I and II. I am sure that wonderful memories will be made. Kojima: Baten Kaitos is a fantasy RPG in which you and your companion explore a wide variety of landscapes. It is such a classic RPG, yet it is filled with various innovations, including an innovative battle system. We hope you will enjoy this journey away from your daily lives. Higurashi: We are very happy to bring to you the remastered version for Baten Kaitos. Although the original titles were released 20 years ago, they are still such masterpieces that even me as a creator is very eager to share from a fan's perspective! I am confident that those who are playing the games for the first time will enjoy this remaster. The Music of Baten Kaitos with Motoi Sakuraba What was it like revisiting your work on Baten Kaitos? Is there anything surprising about relistening to compositions you made in the past? Sakuraba: The orchestra pieces sounded beautiful. The arrangement is simple and the melody is easy to enjoy. I was surprised when listening to the rock pieces and other tracks with synthesizer because I remembered I had a lot of creative freedom when composing them. Is there a piece of music in the games that you are particularly proud of? Sakuraba: I’m proud of all the battle songs from Baten Kaitos I & II. I like them because they show my true side the most. The other one is "Le ali del principio" from Baten Kaitos II. My daughter, who was a small child at the time, sang it. She did her best to sing it in Italian until the end of the song. The Baten Kaitos soundtracks incorporate many different elements from grand symphonic orchestration to synthesizers/prog rock. Can you describe your creative process a little bit? Sakuraba: Many of the songs in the Baten Kaitos soundtrack were not created with a specific musical genre in mind but rather came naturally as a result of trying to bring out my feeling. So, I didn't have any idea of what elements I wanted to include in these songs. To create these songs, I needed to understand the emotions for the scene, and if possible, I referred to the visual. Then I tried to adjust or rethink the piece I made by discussing with the producers. What I tried to achieve with the Baten Kaitos I & II soundtrack, and this goes for other titles as well, is to make the music blend perfectly with the gameplay so people are fully immersed when playing the game. Did your creative approach change between the first and second game? Sakuraba: In Baten Kaitos I, battle songs usually emphasized hardness. In Baten Kaitos II, acoustic instruments such as piano and violin were also used, adding a light atmosphere to the songs. In addition, one thing that I incorporated into Baten Kaitos II that I couldn’t in Baten Kaitos I was putting actual vocal sounds into the main songs. Do you have a message for new players who will experience these games for the first time? Sakuraba: We hope you will enjoy this work with its unique atmosphere and music! It would be great if you would listen to the music because it is very easy to understand.
  11. Now relax and make your dream, click to interact https://faefarm.com/en-us/dream/ be at peace
  12. Here are my writing workshop with Betts post https://richardmurrayhumblr.tumblr.com/tagged/tumblr writing workshop with betts
  13. Here is the character list and after it is the image. Find your favorite CHARACTER LIST: (️=Claimed =Finished) ️1) Mario - Nicostud916 ️2) Donkey Kong - SunbeamStone ️3) Link - ShimoDuck ️4) Samus - Joker2735 ️4e) Dark Samus - SolarBiscuit96 ️5) Yoshi - Little-Papership ️6) Kirby - InnocentBunny101 ️7) Fox - VixDojoFox ️8) Pikachu - KoraNight ️9) Luigi - Waluigi-Wah ️10) Ness - Geekster1984 ️11) Captain Falcon - EmmaWolves2020 ️12) Jigglypuff - Raymanimations ️13) Peach - StellarFairy ️13e) Daisy - NowLookHere ️14) Bowser - sonicexeartist567 ️15) Ice Climbers - onjikun ️16) Sheik - Hakonechloa ️17) Zelda - PrincessSkyler ️18) Doctor Mario - fall2landers ️19) Pichu - DarkSunshine92 ️20) Falco - Mayelis ️21) Marth - GameArtist1993 ️21e) Lucina - Duckyy8 ️22) Young Link - psykuanta ️23) Ganondorf - FrancoisL-Artblog ️24) Mewtwo - cerealncookies ️25) Roy - CristalMomoStar ️25e) Chrom - HeavenBunny95 ️26) Mr. Game & Watch - MagmaMTMBFan ️27) Meta Knight - dancingfancycat ️28) Pit - Mumbles-Pear ️28e) Dark Pit - Corovusin ️29) Zero Suit Samus - Cyanymph ️30) Wario - Jradical2014 ️31) Snake - NeomiahPVart ️32) Ike - Kat-Naps ️33-35) Pokemon Trainer (Squirtle/Ivysaur/Charizard) - TunesLooney ️36) Diddy Kong - Shishinarts ️37) Lucas - Absbor-Phamtusin ️38) Sonic - RainbowReaderDrawzYT ️39) King Dedede - JustAGhosty ️40) Olimar - Arty-PURRchardy2002 ️41) Lucario - Erry ️42) R.O.B. - Zhoid ️43) Toon Link - Parastatic ️44) Wolf - NazoKG ️45) Villager - platinum-starz ️46) Mega Man - SirFrancis ️47) Wii Fit TRAINER - AlloyAHY ️48) Rosalina & Luma - PrismaticArts ️49) Little Mac - Ry-Spirit ️50) Greninja - phantomfox04 ️51-53) Mii Fighters (Brawler/Swordfighter/Gunner) - jazz-convoy ️54) Palutena - MisterNeedlem0use ️55) Pac-Man - goofymonk ️56) Robin - GoddessPrincessLulu ️57) Shulk - novamallow ️58) Bowser Jr - NateDog73 ️59) Duck Hunt - Lime-o-Bunny ️60) Ryu - DarkWolfKnight00 ️60e) Ken - burgar ️61) Cloud - ChrissRegularArtDA ️62) Corrin - Lushies-Art ️63) Bayonetta - HDdeviant ️64) Inkling - ARaccoonNamedPeacock ️65) Ridley - ankolosaurus ️66) Simon - CatBunny404 ️66e) Richter - KurdossArt ️67) King K.Rool - DingoPizza ️68) Isabelle - Frogat0 ️69) Incineroar - Sparky-94 ️70) Piranha Plant - JJSponge120 ️71) Joker - Mystery--Mist ️72) Hero - fuyubareluna ️73) Banjo Kazooie - wonderingwellow ️74) Terry - Retro7 ️75) Byleth - @MaxxieMousePJMasks ️76) Min Min - CatsumiCatsumadness ️77) Steve - KATEtheDeath1 ️78) Sephiroth - MrMcDeathCorporation ️79-80) Pyra/Mythra - ItzPinkiePlayz ️81) Kazuya - SweetGluttonyArt ️82) Sora - LadyYomi Image original, use as a map The complete image Finished collab image https://www.deviantart.com/ry-spirit/art/Super-Smash-Bros-Collab-981894855 Collab page https://www.deviantart.com/ry-spirit/journal/Big-Smash-Bros-Art-Collab-974447631 Pokemon Collab Bayonetta - my entry in the collab in full https://www.deviantart.com/hddeviant/art/Bayonetta-super-smash-collab-2023-Color-980504646 the coloring page https://www.deviantart.com/hddeviant/art/Bayonetta-super-smash-collab-2023-BW-980503498 Black Games Elite article https://aalbc.com/tc/blogs/entry/394-bayonetta-of-a-super-smash-bros-collab-is-done/
  14. Checking Errors https://www.theodinproject.com/lessons/foundations-understanding-errors
  15. Once I made a plushie form of a pokemon for a positive donation to make a wish. Here is the link to my work, can you find it in the image above? https://www.deviantart.com/hddeviant/art/Bedtime-with-Sudowoodo-plushie-944022157 Now, to make positive donations to the nature conservancy, I created another. When the collab image comes up I will post it, for now, you can see mine. https://www.deviantart.com/hddeviant/art/Sudowoodo-in-the-rainforest-Color-981132583 I also have Dedenne, and i already figured what I will do, but I will create next week. It is writing time:) Also, if you are feeling a strong pokemon vibe, i made a sudowoodo in random colors. https://www.deviantart.com/hddeviant/art/Sudowoodo-random-colors-color-981133324 Hopefully when I am done , per my planning, the last months of 2023 I can focus on black games elite doing something similar or involved likewise.
  16. When the entire collaboration is finished this image will be complete. Do you see where Bayonetta is? The Following Are Links To My Bayonetta but before a little poem Mistress Cherry, quite contrary How does your spellbook grow? With shapeshift ghouls and summon'd tools And so my spellbook grows Bayonetta super smash bros collab part https://www.deviantart.com/hddeviant/art/Bayonetta-super-smash-collab-2023-Color-980504646 Bayonetta coloring page https://www.deviantart.com/hddeviant/art/Bayonetta-super-smash-collab-2023-BW-980503498 invitation https://www.deviantart.com/ry-spirit/journal/Big-Smash-Bros-Art-Collab-974447631
  17. His voice is immortalized Art from Francoisl-artblog https://www.deviantart.com/francoisl-artblog/art/Super-Mario-Charles-Martinet-978503008
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