With that said, Summer has indeed started and we're all trying to hit the ground running this year with We Need to Go Deeper development, which I'm happy to report is inching ever closer to being something we're feeling comfortable letting people get their hands on again since we started rebuilding in Unity! All the disparate pieces are starting to come together, and within the first week of full time development we've already managed to nail down some of the core things we've needed for some time, especially in regards to networking. Which, generally speaking, starts during the Summer. So as we've banged on about several times before, our fall and spring seasons tend to be overflowing with college studies and commission work, and so we all die down online and go quiet until things start to open up for us. Hopefully we'll be able to show some new stuff here again soon! ![]() Holiday break has finally started for us, so we're ready to buckle down and get crackin at some full-time crunch again. So check it out and let us know what ya think! I'm not the best web designer in the world, but hopefully this will make visits from people who want to learn more about our game more easy on the eyes. ![]() It also features a PRESSKIT page, which is designed to be a handy source for those who want to talk about our game, with video links, official logo and image downloads, background, basic info on the game etc. But seriously, if I do say so myself I think it's pretty rad and certainly way better looking than our previous one. Speaking of official websites, we have a new one now! is hip and jive and LIVE! Come one come all and witness Nick's college HTML coding experience at work. We're all still trying to sort out the official blog so it's admittedly pretty bare at the moment but pop by here and there and hopefully you can start having a handy place to keep track of all these taco-worthy indie games. This is a pretty awesome opportunity for us, as hopefully it will help get We Need to Go Deeper out in front of the eyes of yet more people! The link to the official site is here:, so be sure to go and check us out there as well as some of the other winners! I've talked with quite a few of em already, and they're a great bunch of devs all making extremely awesome games. Not the least of which deserves a little announcement of its own - that being that We Need to Go Deeper was selected as one of 20 winners of the Taco Bell Indie Game Garage! Woo hoo! So what does this mean? Well, aside from Taco Bell supplying the Deli Interactive team with $500 in Taco Bell food fuel, we're also getting access to a cool secret indie society forum full of other Taco-worthy devs along with Jessica Chobot of IGN, members from the comedy group Rooster Teeth, and Twitch streaming heroes Swiftor and Jericho! We'll also be able to start posting blog posts directly to the Indie Game Garage blog. ![]() So despite our college-ing pretty hard recently, some cool stuff has been happening recently with the Deli Interactive team. Although in the interest of transparency, all of this has been tested so far with only one player while networking is being worked on, so time will tell how difficult or easy caves will be with a full team of four players but it's something we plan on testing soon. Difficulty in this case is mostly something we can alter with the population multiplier, by increasing the number of enemies that spawns in relation to how many spawn zones are in the map. This is more or less the way the Ratchet and Clank games managed their difficulty, and it seemed like it could be a good fit for our game to make caves enemy encounters feel more organic and natural yet still be able to alter difficulty for players. By populating your caves early instead of on the fly does that ever create too easy of areas? Good question! It does indeed mean that we can't (or perhaps shouldn't to be consistent) just toss more enemies at the players when things are looking too easy but instead we make up for it by ensuring the next cave they visit will be more challenging.
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On the ground floor, a green velvet dress with butterflies at the collar and cuff is among the labeled garments hanging on padded hangers. Archival boxes containing issues of “The China Daily News” and “The China Press” – Chinese language newspapers published in the US – are neatly stacked on shelves upstairs. Many of the artifacts have already been carefully cataloged and stored. Launched during the Cold War, Chinatown's pageants were about much more than beauty It’s where the critical work of restoring and rehousing artifacts is taking place. The two-story, 4,000-square-foot building down the block from the museum now serves as a research and collections center. “We were able then to not only save our current collection, but expand it.”Īs MOCA’s collection continues to grow, Yao said she hopes to illuminate the nuances around the Chinese experience in the US – and tell a richer, more complex story about the nation.Īfter being salvaged from the fire in January 2020, the museum’s collections were freeze-dried and eventually brought to the MOCA Workshop. “This incredible tragedy with a five-alarm fire actually put us on the map,” she told CNN. Yao likens MOCA’s recent wins to a phoenix rising from the ashes. The influx of funding has also helped the museum move closer to its longtime goal of securing a permanent home – a new facility designed by the architect Maya Lin is set to open in 2025. 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Rateliff recently commenced his virtually sold-out solo tour that will run through August, accompanied by members of the Night Sweats serving as his backing group. ![]() It was very cathartic to even be in Richard's studio, and to be writing songs that were about him or about him not being here anymore.” “It's kind of taking me a long time to admit to myself, “ he says, “but writing is a part of my process in dealing with things and moving forward. With the new album out into the world after what he had been through in the last few years-especially coping with Swift's death and the end of his marriage-Rateliff does feel a sense of burden lifted. His family left it open for people to go back and use, which I think is fantastic.” “We tried to approach it thinking, ‘Well, what would he do on this?’ We actually started a record at his studio in Cottage Grove, Oregon last March. “This was going to be a record I had planned to do with Richard, which Pat probably would have been a part of as well,” says Rateliff. Working with Rateliff on the album included co-producers James Barone and Night Sweats drummer Patrick Meese, all of whom had worked with Swift and learned a lot from him. All of that in one got me here and helped me write this record, too.” I feel like I've grown as a musician and a performer, and as a writer and singer. “I just kind of feel like I've taken everything I've learned from the Night Sweats and the shows we play and our time on the road. “There's a lot of similarities in there for sure,” he says. Fans of Rateliff’s earlier work might notice the sound of the new record is a throwback to his pre-Night Sweats albums In Memory of Loss (2010) and Falling Faster Than You Can Run (2013). The moments of melancholy and introspection that surround the record is buoyed by hope and resilience in overcoming personal difficulties. I wanted to be able to talk about that in a song so that it creates a conversation for the listener, and for other people to be able to be vulnerable that thing and talk about it-and then also try to find hope in there and not to feel so devastated and so lost.” ![]() And so I let all of it come out, all the things that I wanted to be able to say, to let him know that even though he was gone that I recognized and shared that same unexplainable brokenness. I immediately felt like I was trying to say something to Richard. “I think I had the phrase ‘rush on’ in my head. “I don't really know where it came from,” the singer says. The other song inspired by Swift is the album’s emotional and stark ballad “Rush On,” which is further elevated by Ratefliff's very powerfully moving vocal performance. |