dungeons presents hellpak – Vol. 2: An Exercise in Questionable Taste (gameplay & music preview)
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5 ماه پیش
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Six levels that will appear
Six levels that will appear in hellpak Vol. 2 & five songs that may appear on its soundtrack. Discord: Discord: discord. Music: https://1drv.ms/u/s!AuD0MykSsmaRpl4Xw... (And no, I haven’t abandoned Tempus Irae Redux or Eternal 1.3 preview 6 – they’ll be out soon.)
0:00 Sega Genesis featuring Peter Gabriel / Aaron Freed – 7:6:5:4
This level’s Lua script scrolls almost every texture in the level and moves players, monsters, and items with them. I expected this to cause massive lag, but it doesn’t noticeably slow this level, which has 1,446 polygons, on my ancient Windows box, so there was no way I wouldn’t abuse the hell out of this. The level itself is basically a Möbius strip; the circular staircase crosses itself on its way back down.
This is probably something like my tenth reference to either Peter Gabriel or Genesis (the band, not the console) in a level title. No regrets.
“7:6:5:4” is named for its polyrhythms. I intended merely to experiment with 5:4 polyrhythms, but the bass melody I wrote worked much better as 7/8 than as 4/4. The Oblique Strategies suggested embracing accidents, so I wrote the song around a 7:5 polyrhythm instead. 6 and 4 naturally worked their way in after that.
Like several other songs I’ve written, this has three movements. Movement one, “Pythagorean Blues”, uses a blues progression because I felt it was best to introduce such complex rhythms over a familiar harmony; I also worked in brief references to Nobuo Uematsu’s “Those Who Fight Further” and Alex Seropian’s “Fat Man”, as I felt I was aping both. Movement two, “Euclidean Prog”, is loosely based on Alex Seropian’s “Chomber”, but goes off in its own direction quickly. Movement three, “Newtonian Counterpoint”, again demonstrates my fascination with counterpoint. I’m incredibly pleased with this entire track.
5:26 Spinning Wheel / Aaron Freed – 7:6:5:4 (continued)
The previous level with the height differences effectively negated, which makes it substantially harder since you can’t use the stairs to block tracking shots. If you aren’t moving on this level, you’re probably dead.
I titled this after a Blood, Sweat & Tears song that aptly describes the level.
9:52 StairWAVE to Aaron / Matrix_XV – Oblivious Challenge MIX
A remix of Vol. 1’s “Stairway to Aaron” with a twist. The staircase increases in speed every 10 seconds, capping at 20 times its original speed, then resets. Each time it changes speed, the screen flashes and you get a small amount of health (a bit less than a compiler bolt on Normal or above).
“Stairway to Aaron” inspired not one, not two, but five levels in vol. 2, only three of which I made myself. I’m low-key kind of proud of that.
12:22 Gateway to Aaron / tbcr – Tick-Tock, Human
A level made entirely out of landscape textures, with invisible compilers all around you that start outside the playable space. It felt like an inevitable iteration of two of my Vol. 1 levels, “Stairway to Aaron” (wherein you use the assault rifle against compilers) and “Bungie, did you get that thing I sent you? It came from me. It cam” (whose enemies start outside the playable space).
I’ll acknowledge that having enemies start out of bounds is especially cruel because the game crashes if you leave the bounds of a polygon. But this is hellpak.
14:25 GateWAVE to Aaron / tbcr – Tick-Tock, Human (continued)
The previous level, except now it moves. I didn’t use standard Marathon platforms to accomplish this; I did it all with Lua (which also retextures polygon sides when needed). The height changes are based on a light that oscillates smoothly, so they don’t have a consistent speed. They also cause some oddities with player motion that I may or may not fix.
Each time you kill a compiler on this level, you regain 7 (yes Hamish) health. This isn’t much on its own, but there are 48 compilers on this level, so you’ll regain 336 health total. This applies even if you’re at the starting health of 450 (i.e., 3x health); the Lua script deals -7 energy drain damage to the player, which adds 7 to their health total.
16:52 Chime Target (played by future_you5) / Cory King Tucker – Black Wallpaper
23:20 Chime Target (continued) / NEFX – Nocturnal Sights of the Forbidden Crystal Rooms
Level, scripting, and gameplay by future_you5. This level is clearly somewhat inspired by the level “Mime Target” from Double Aught Software’s classic net map pack Coriolis Loop, complete with small spaces and rocket launchers being the only weapon on the level. Both names are a pun on Prime Target, one of 3.1 games (alongside ZPC and Damage Incorporated) for which Bungie licensed the Marathon 2 engine to third parties. (I count Wheels! 0.1 times because it’s not long enough to count as a full game, and it’s not clear if Bungie licensed the engine for it.)
25:13 Closing messages / NEFX – Nocturnal Sights of the Forbidden Crystal Rooms (continued)
0:00 Sega Genesis featuring Peter Gabriel / Aaron Freed – 7:6:5:4
This level’s Lua script scrolls almost every texture in the level and moves players, monsters, and items with them. I expected this to cause massive lag, but it doesn’t noticeably slow this level, which has 1,446 polygons, on my ancient Windows box, so there was no way I wouldn’t abuse the hell out of this. The level itself is basically a Möbius strip; the circular staircase crosses itself on its way back down.
This is probably something like my tenth reference to either Peter Gabriel or Genesis (the band, not the console) in a level title. No regrets.
“7:6:5:4” is named for its polyrhythms. I intended merely to experiment with 5:4 polyrhythms, but the bass melody I wrote worked much better as 7/8 than as 4/4. The Oblique Strategies suggested embracing accidents, so I wrote the song around a 7:5 polyrhythm instead. 6 and 4 naturally worked their way in after that.
Like several other songs I’ve written, this has three movements. Movement one, “Pythagorean Blues”, uses a blues progression because I felt it was best to introduce such complex rhythms over a familiar harmony; I also worked in brief references to Nobuo Uematsu’s “Those Who Fight Further” and Alex Seropian’s “Fat Man”, as I felt I was aping both. Movement two, “Euclidean Prog”, is loosely based on Alex Seropian’s “Chomber”, but goes off in its own direction quickly. Movement three, “Newtonian Counterpoint”, again demonstrates my fascination with counterpoint. I’m incredibly pleased with this entire track.
5:26 Spinning Wheel / Aaron Freed – 7:6:5:4 (continued)
The previous level with the height differences effectively negated, which makes it substantially harder since you can’t use the stairs to block tracking shots. If you aren’t moving on this level, you’re probably dead.
I titled this after a Blood, Sweat & Tears song that aptly describes the level.
9:52 StairWAVE to Aaron / Matrix_XV – Oblivious Challenge MIX
A remix of Vol. 1’s “Stairway to Aaron” with a twist. The staircase increases in speed every 10 seconds, capping at 20 times its original speed, then resets. Each time it changes speed, the screen flashes and you get a small amount of health (a bit less than a compiler bolt on Normal or above).
“Stairway to Aaron” inspired not one, not two, but five levels in vol. 2, only three of which I made myself. I’m low-key kind of proud of that.
12:22 Gateway to Aaron / tbcr – Tick-Tock, Human
A level made entirely out of landscape textures, with invisible compilers all around you that start outside the playable space. It felt like an inevitable iteration of two of my Vol. 1 levels, “Stairway to Aaron” (wherein you use the assault rifle against compilers) and “Bungie, did you get that thing I sent you? It came from me. It cam” (whose enemies start outside the playable space).
I’ll acknowledge that having enemies start out of bounds is especially cruel because the game crashes if you leave the bounds of a polygon. But this is hellpak.
14:25 GateWAVE to Aaron / tbcr – Tick-Tock, Human (continued)
The previous level, except now it moves. I didn’t use standard Marathon platforms to accomplish this; I did it all with Lua (which also retextures polygon sides when needed). The height changes are based on a light that oscillates smoothly, so they don’t have a consistent speed. They also cause some oddities with player motion that I may or may not fix.
Each time you kill a compiler on this level, you regain 7 (yes Hamish) health. This isn’t much on its own, but there are 48 compilers on this level, so you’ll regain 336 health total. This applies even if you’re at the starting health of 450 (i.e., 3x health); the Lua script deals -7 energy drain damage to the player, which adds 7 to their health total.
16:52 Chime Target (played by future_you5) / Cory King Tucker – Black Wallpaper
23:20 Chime Target (continued) / NEFX – Nocturnal Sights of the Forbidden Crystal Rooms
Level, scripting, and gameplay by future_you5. This level is clearly somewhat inspired by the level “Mime Target” from Double Aught Software’s classic net map pack Coriolis Loop, complete with small spaces and rocket launchers being the only weapon on the level. Both names are a pun on Prime Target, one of 3.1 games (alongside ZPC and Damage Incorporated) for which Bungie licensed the Marathon 2 engine to third parties. (I count Wheels! 0.1 times because it’s not long enough to count as a full game, and it’s not clear if Bungie licensed the engine for it.)
25:13 Closing messages / NEFX – Nocturnal Sights of the Forbidden Crystal Rooms (continued)
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