Oh boy, Suspiria. A prime example of the “cheesy horror movies so
well crafted that they can be considered art films” genre. I can’t even
remember what first added it to my queue, but I do remember seeing references
to it in a crazy 2010
playthough of the SNES game Clock Tower
which led me to the following reasoning:
Clock Tower is an insanely weird, horrific, and beautiful game.
I’ve recently been working on an update to the
twodee library we use for Ludum Dare
games. One (of many) areas I’ll be focusing on is speeding up text rendering.
Text is currently very slow because we have to create and bind a new texture,
render glyphs to it, then draw geometry for each piece of text in a scene.
One simple optimization is to pack frequently-used text into a single texture
which will remove many (expensive) texture binds.
Packing a bunch of rectangles into a texture isn’t the easiest
thing to do well. There’s a whole class of algorithms dealing with this
“bin packing” problem, each with various tradeoffs. Luckily, I found
a very useful paper
covers many of these algorithms (thanks Jukka Jylänki!).
To get a feel for how well each of them perform, I decided to implement a few in
There’s a point early on in Andrei Tarkovsky’s Stalker where the Stalker, the Professor, and the Writer have snuck past a military blockade, dodged bullets and ridden a railway work car for a few silent minutes of screen time. The film switches from sepia to color - they have entered The Zone, a mysterious alien-touched segment of the world. “We are home” Stalker says. “It is so quiet out here, it is the quietest place in the world.”
A little while ago I read this great article on the cinematic influences of the game Kentucky Route Zero, which got me thinking that I should be expanding my exposure to and ability to talk about film, particularly with regard to influencing work on Moonshot or other creative projects. So I’m starting an informal Cinema Club (think Book Club) and hope to write a bit about the films I watch and what I took away from them.