
Open source enthusiast (@ImpressCMS), #PHP/#JavaScript developer, occasional #gamedev, #anime lover! Passionate about world-changing #startups.
Vilnius, Lithuania
Joined July 2012
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Raimondas Rimkevičius (aka MekDrop) retweeted
Holy Moly!
Someone's only gone and made a @LEGO_Group version of WinRAR! 😊
Check it out here 👇:
ideas.lego.com/product-ideas…
Raimondas Rimkevičius (aka MekDrop) retweeted
In celebration of the 30th Anniversary of Red Alert, I'm happy to announce that Red Alert is coming to OpenCNC 3D!
Arriving with OpenCNC 3D, v0.9.0 Alpha - Available now!
@CNC3D_RTS
opencnc3d.com
discord.com/invite/HmwY4KVbp…
Raimondas Rimkevičius (aka MekDrop) retweeted
Replying to @georgebsocial
Made a fun little next fest browser: wisp.elsewhere.zone/
Raimondas Rimkevičius (aka MekDrop) retweeted
25 years ago, on October 22, 2001, Grand Theft Auto III was released.
This is the team that made it. (I'm second from the right)
Here's what I remember about making it.
For most of development, GTA3 was in a sorry state. It crashed frequently, the frame rate was terrible and the map was full of holes. Only in the last six months did everything come together.
For the longest time, it looked like the frame rate was going to be 20 fps. Only in the final months did we manage to hit 30.
In 1999, DMA Design, based in Dundee, Scotland, was going through some changes. The company had recently been bought by Take-Two Interactive, and a satellite office had opened in Edinburgh.
Space Station Silicon Valley for the N64 had been finished in 1998, but there was no new project lined up. Leslie Benzies and Aaron Garbut started working on GTA3. Unprompted.
Meanwhile, the original GTA1 and GTA2 team had started work on GTA2.5, set in Miami. It was called 2.5 because it used the 2.5D (isometric) perspective.
In March 2000, the Dundee office was closed and GTA2.5 was cancelled. Take-Two/Rockstar gave GTA3 the green light.
Everything was written from scratch. Only two people worked on both GTA2 and GTA3, and no code or art from GTA2 was reused.
The way we worked was organic. People would come up with ideas for missions and we'd just try them. If they were fun, they were in. The story was secondary. In fact, the opening plot involving Catalina trying to kill Claude was added well into development.
Leslie Benzies (the producer) plastered a wall in the boardroom with Post-it notes. They were yellow, green and pink, representing missions, contacts and locations.
Missions were moved around all the time, often handed from one contact to another. Only once the voice acting was recorded were these things set in stone.
You sometimes come across locations on the map that are more detailed than you'd expect. Chances are there used to be a mission contact there that got moved elsewhere.
Working on GTA3 was a lot of fun. Every day there was something new going in. A new mission, radio station, car, pedestrian, building or whatever. The game was growing at an incredible rate.
Other than the multiplayer mode we did some work on, I can’t remember a lot of wastage.
Although everybody worked hard, I don't remember many people doing crazy hours. On the rare occasions I was in over the weekend, there were usually only one or two others. Even during crunch time, most people left the office around 9 or 10 in the evening.
I always thought it was better to work eight focused hours than spend your life in the office.
Although we liked the game, it wasn't at all clear that it would be a hit.
GTA3 had a disappointing showing at E3 in May 2001. Most people weren't interested, and those who were thought it was too violent.
It had an OK launch, but sales never tapered off.
Our office was in Leith, Edinburgh. It was a fairly run-down neighbourhood at the time. Just a couple of years before we arrived, J.K. Rowling had been writing the first Harry Potter in that very same neighbourhood.
The thing I remember most is the camaraderie. In a small team, everybody relies on each other and everybody has a lot of input. Most of us were young and had only recently moved to Edinburgh. We went to the pub together.
It felt like a group of friends who happened to be working on a project together.
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For gta3, Vice and SA; Memory on the ps2 was tight. We had to limit the number of used vehicle models to 8.
My code would occasionally pick a car model to be phased out. Once there were none left on the map, this model would be removed and a new model could be loaded.
The code would pick a model that was appropriate for the area (sports cars in business district, old cars in run-down areas etc).
Most of the time this worked fine.
A few things could throw a spanner in the works:
If the player had gone up the wanted levels, some of the 8 slots would be taken up by police cars, FIB and swat vans and the police heli.
Level designers would sometimes load specific car models for missions. Often these were not appropriate to be used for ambient traffic.
Ambulance and firetrucks could be needed if there was an accident.
If the player travelled to a different area of the map; some of the loaded cars would look out of place and could not be used. It would take a while for replacement models to be loaded.
The game would keep the last player driven car, as it would be jarring if the player went back and it wasn’t there.
At times there would only be 1 or 2 cars models available for ambient traffic. This lack of variation was particularly noticeable if the player was driving the one car that had to be used.
To alleviate the problem, garages remove cars inside of them once the door has closed. This way the model could be removed. When the player opened the door, the cars were re-created in the same spot.
Npc models were loaded/removed the same way. It just wasn’t as noticeable if variety was lacking.
For each game we picked a generic looking character model that looked appropriate in each area of the map. This model was never removed and always ready to fill in.
Screenshot from this vid: youtube.com/watch?v=KWhjv4J6…
I'm heartbroken by the state of the Steam Next Fest front page, grifters have made it impossible to sift through their lazy garbage to find anything human-made.
I'm going to create a thread below of games that have demos that I think look interesting 🧵
Raimondas Rimkevičius (aka MekDrop) retweeted
👇
Just another example of human nature to go "hey this thing is cool and pretty useful... let's DESTROY IT"
Raimondas Rimkevičius (aka MekDrop) retweeted
If a publisher is making more than the developer of a game. That is a predatory publisher. Full stop
This quoted post is unavailable.
Raimondas Rimkevičius (aka MekDrop) retweeted
I've seen comments like "the MS layoffs weren't so bad".
re: id software.
Reports are that 50% (95ish of 200) of the studio was laid off. Here are some quotes on other details:
“Tools, programming (except a couple), Quake Champions team, testing team. All gone.”
“Yeah seems like all they left was leadership and art/design. I think Xbox forgot quakecon is next month.”
It really does sound as if id is now a support team for Bethesda/others. Rip idTech, which was amazing. Maybe Machine Games will carry it on or maybe it will be dropped for future games?
But the read is that id is essentially dead. At least for the time being. Yes, the studio wasn't closed and half still have their jobs. That's great.
re: the studios set free by MS to be sold or mgmt returned. One view is this is great. For MS they get decent PR for being "good guys". But the truth is that in at least one case (and maybe others), retaining the IP in such a case was written into the original contract when MS purchased them. Second, these studios now are out of the MS lifeboat, on their own, and will have short time to find new deals or funding and they will make it or not. Never mind they sold to MS originally to avoid this grind and be 'safe'. Yes they have a second chance but more layoffs may simply be deferred and outside the current umbrella of today's layoff round, so MS doesn't really get the bad PR of simply shutting studios down. This means continual worry by the employees and stress for mgmt.
re: Arkane. Same as the above but timing and process is different due to French labor laws, etc.
The layoffs are still happening. A substantial portion of Obsidian was let go today (near 1/3). Worries that they now don't have the staff to complete current projects. Deep layoffs at Zenimax Online. Even Bethesda or Activision studios were hit (with a minor round and numbers that are small enough that it reads more like "everyone has to take a hit, even the star studios"). More details will emerge, but it's a lot of people.
So it's bad. Real bad. Good luck to all affected.
Raimondas Rimkevičius (aka MekDrop) retweeted
A YouTuber with 38 million subscribers just beat the entire Hollywood studio system at its own game, and he did it with 80,000 gallons of fake blood and a submarine made of painted wood.
Mark Fischbach played a $6 indie horror game on his channel in 2022. The game was Iron Lung, developed by one guy, David Szymanski, in his spare time. It had no windows, no enemies you could see, just a convict trapped in a submarine navigating an ocean of blood. The entire thing took about 75 minutes to beat.
Fischbach saw something the game industry didn’t. The constraint was the feature. A single claustrophobic set. One man losing his mind. Sound design carrying all the horror that visuals couldn’t. This wasn’t a limitation to work around. This was a low-budget filmmaker’s dream.
So he did what studios would never greenlight. He wrote the script himself, directed it himself, acted in it himself, edited it himself, and paid for the whole thing out of pocket. No studio. No distribution deal. No marketing budget.
Then the gatekeepers showed up.
When he tried to get theaters, they told him the demand wasn’t there. So he posted about it. His fans called every independent theater chain in the country. Theaters started complaining to the distributor that they were getting too many calls.
Within weeks, AMC, Cinemark, and Regal announced they’d carry it. The film went from “maybe 60 theaters” to over 4,000 screens worldwide. Presales crossed $5 million before opening day.
$8.9 million on Friday. $17 million projected by Sunday. A self-distributed movie by a YouTuber, beating initial projections by 70%.
The studio model is built on the assumption that audiences need to be told what to watch. Fischbach proved that 38 million subscribers is its own distribution network. The audience was already waiting. He just had to make something worth waiting for.
“Iron Lung” pulled in an estimated $8.9 million on Friday for a first-place finish, an impressive result considering the film was self-distributed and funded by YouTube superstar Mark Fischbach, aka Markiplier. Domestic gross should climb to $17 million through Sunday, well past initial projections of $10 million. bit.ly/4a87Z78
Raimondas Rimkevičius (aka MekDrop) retweeted
Linux running in a PDF file via a RISC-V emulator compiled to JS
Raimondas Rimkevičius (aka MekDrop) retweeted
If playing video games is a waste of time so is watching tv. Literally any hobby is just a waste of time, people need to let other enjoy what they want
Raimondas Rimkevičius (aka MekDrop) retweeted
Ken Williams (Sierra On-Line) on success and failure. For young #gamedev ppl out there, just make stuff. Most will fail, but that's the path to a hit. Just make stuff and adjust as you go and learn. "Rejection is part of the process."
💬 “If you’re not willing to fail, you’ll never win.” – Ken Williams
One of the great minds behind Colossal Cave and Sierra On-Line reminds us:
✨ Success isn’t about avoiding failure—it’s about outlasting it.
Every rejection, every stumble, every ‘almost’ brings you one step closer to the real victory.
🎥 What’s a time you pushed through failure and found success? Share your story below!
#ColossalCave #KenWilliams #SierraOnline #LifeAdvice #FailureToSuccess #KeepGoing #AdventureGames #RetroGaming #CreativeJourney
Raimondas Rimkevičius (aka MekDrop) retweeted
Replying to @rubyrangerr
I think you are misunderstanding what this tech demo actually is, but I will engage with what I think your gripe is — AI tooling trivializing the skillsets of programmers, artists, and designers.
My first games involved hand assembling machine code and turning graph paper characters into hex digits. Software progress has made that work as irrelevant as chariot wheel maintenance.
Building power tools is central to all the progress in computers.
Game engines have radically expanded the range of people involved in game dev, even as they deemphasized the importance of much of my beloved system engineering.
AI tools will allow the best to reach even greater heights, while enabling smaller teams to accomplish more, and bring in some completely new creator demographics.
Yes, we will get to a world where you can get an interactive game (or novel, or movie) out of a prompt, but there will be far better exemplars of the medium still created by dedicated teams of passionate developers.
The world will be vastly wealthier in terms of the content available at any given cost.
Will there be more or less game developer jobs? That is an open question. It could go the way of farming, where labor saving technology allow a tiny fraction of the previous workforce to satisfy everyone, or it could be like social media, where creative entrepreneurship has flourished at many different scales. Regardless, “don’t use power tools because they take people’s jobs” is not a winning strategy.
Raimondas Rimkevičius (aka MekDrop) retweeted
Replying to @CultureCrave
What people consistently underestimate is time. You can’t compete with almost 20 years of iteration & infrastructure. You can’t build that quickly, even if you’re Goliath.































