Suan 吳 ✴️ suvngoh.bsky🦋

AH we completely forgot to talk about our second devlog for Overhours on this platform But anyway devlog #2 is about our art so we talk about art inspo and 2d art and 3d art so if you like our art please check it out on Steam below <3 #indiedev store.steampowered.com/news/app/24395…

To my fellow 3D artists and animators who use Blender for your projects, Blender just pulled a big W by taking a financial risk. So, if possible, give them what you’re willing donate so that they can continue operations without having to rely on companies who prioritize AI.

Overhours is part of Steam TD Fest with a new demo update!!! Read more and wishlist 👇🏻 store.steampowered.com/news/app/24395… #towerdefense #indiegames

Overhours will be part of #SteamNextFest Feb 2026! As part of the festival, we've got a new demo update with some new stuff: 🗺️New level 😈First-look at a new miniboss 🏗️New tower + new-ish upgrades for other towers & traps Wishlist & play the demo: store.steampowered.com/app/2439500/Ov…

No more whispers!!!!! You can officially expect to play Overhours in 2026 ✨🎮

Did we ever talk about when Overhours is releasing?🤔 Yes? No? Maybe you heard whispers? Well, this is official: Overhours will be coming in 2026!😈 Thanks for the feature, KKP!

Artists have stopped sharing their works, writer's have stopped sharing their work, now engineering will stop sharing their work all thanks to generative artificial intelligence. Looks like a step backwards for humanity, what GenAI has done.

And giving back can be as simple as giving correct attribution, linking back to original sources of ideas, like the way research papers do it, with references to related work to keep the chain of attribution growing. GenAI just cuts that chain off.

🚨 TW : CSAM 📌 A lawyer has outlined legal options for Malaysian women to report Grok-generated AI images that remove clothing or headscarves without consent, after an X account repeatedly prompted the chatbot to target Malaysians, including minors, NST reports Steps advised for victims : • Report the content to X immediately using the platform’s reporting tools. • Document all evidence by saving screenshots, URLs, usernames, and timestamps, compiled into a single PDF. • Lodge a complaint with the MCMC, attaching the compiled evidence. • File a police report, ensuring the same evidence is included. nst.com.my/news/nation/20… 🧵1

Yassified my friend’s baby to maintain anonymity and then yassified myself because I felt busted next to him

End of 2025 recap!!! ALSO OUR FIRST TIKTOK VIDEO PLS FOLLOW US vt.tiktok.com/ZS5YnSheh/

#ArtistinAction today we witnessed our 2d artist dual wielding

Not AI slop, but 5 years of my life dedicated to photographing and raising awareness of the marine creatures in my city! 🤙🐠

Video games will never be taken seriously as an art form because neither the industry nor the audience treats them as art, and the audience is the larger part of the problem. Games are treated as products to be made fast, sold loud, consumed, discarded, and replaced. That is why Call of Duty and FIFA sell in the billions, not because they endure, but because they are disposable and familiar. This has nothing to do with graphical fidelity, art style, music, voice acting, or budget, even though players insist otherwise. For most people, “artistic merit” means how flashy, pretty, and expensive a game looks. Spectacle is mistaken for depth, and production value is confused with meaning. Games are not built to be evergreen because the audience does not want evergreen. The people who revisit old titles, engage deeply with systems, or approach games patiently are a minority. Most want the new release, the hype cycle, and the spectacle, then move on as soon as something shinier appears. This is the same reason Avatar makes a billion dollars per film yet leaves almost no cultural footprint. Audiences want stimulation for a few hours, then the exit. Art requires patience and trust, and games demand both. They ask players to learn systems, accept friction, and think. The audience rejects this. Anything slow, strange, or uncomfortable is dismissed as boring or pretentious, so risk is punished not just by publishers, but by players themselves. Because of this, metrics replace meaning. Engagement time, retention, and monetisation become the measure of success, because that is what the audience rewards. Art asks what something is saying. Products ask how long you stayed logged in. Games suffer most here because their greatest strength, player agency, is treated as an inconvenience rather than an opportunity. Legacy is impossible without permission to fail, and the audience does not allow failure. A bad novel does not kill literature. A bad film does not kill cinema. A bad game can kill a studio, because players demand perfection, constant novelty, and infinite support while rejecting experimentation. So the ceiling stays low by choice. Not because games cannot be art, but because an audience trained on disposability, spectacle, and instant gratification will not tolerate sincerity, patience, or risk. What survives is not what lasts, but what sells loudly and disappears quietly.

My Steam monthly playtime chart makes me so sad 🥲

Masato Kumazawa ( resident evil requiem produce) regarding Leon’s design: “We have many women on staff who are Leon fans, so we get a lot of… well, feedback.”

#wishlistwednesday A game about what “salvation” really means, through phone calls with souls who have 21 nano sec left. Wishlist via the link in my bio. 電話で人の心は救えるものなのかってことをずっと考えて作ってきました。 #SchrodingersCall #Visualnovel #indiedev #indiegame

Gestures to make you more elegant and feminine

Japan murdered over 10 million Chinese before and during WWII. Japanese soldiers held competitions to see who could behead more Chinese people. They had a special unit that conducted inhumane medical experiments on Chinese civilians. This is like calling games and movies that portray Nazis as evil "anti-German."