shel

The Transsexual Chofetz Chaim

Mutant, librarian, poet, union rabble rouser, dog, Ashkenazi Jewish. Neuroweird, bodyweird, mostly sleepy.


I write about transformative justice, community, love, Judaism, Neurodivergence, mental health, Disability, geography, rivers, labor, and libraries; through poetry, opinionated essays, and short fiction.


I review Schoolhouse Rock! songs at @PropagandaRock


Website (RSS + Newsletter)
shelraphen.com/

trashbang
@trashbang

me: What you have to understand is that games fundamentally lack touch. They lack the ability to feel the ground underfoot, the wind on your face, every little sensation that makes you feel grounded in reality. But what you can do is accentuate the sounds of things that the player should be able to feel—footsteps, ambient wind, the things you press and poke—to trick their mind into bringing them to the foreground. They don't sound loud because they are loud, but because they are an occluded, imperfect view of a more multifaceted, tactile sensory experience. To me, that's why the Dark engine games hit different.

the chaser sitting across the table from me: I've made a terrible mistake


mossball
@mossball
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in reply to @trashbang's post:

In that case...yeah, I can believe it. I remember the first time I shot a gun at a turret in Sys Shock 2, and I could feel both like, how much kickback force the darn thing had, and also how dang sturdy the turret was from the noise it made+how many shots it took to bring down.