FLOMM.US web­site ver­sion 1.82

STEVE MEHAL­LO, au­thor, de­sign­er, artist
AMAN­DA BURN­HAM, de­sign­er, programmer
with
KAY­LAH HAM­MER, pho­tog­ra­ph­er; KEVIN HAR­BAUGH, VFX artist; SUZANNE LEIB­RICK, ed­i­tor; RIK­KI MORE­HOUSE, mod­el; and DAVID POW­ERS, co-illustrator
und
ASH­LEY CHAM­BER­LIN, EMI­LY BUONAU­RO, BWARGH VON MOD­NAR, cod­i­fi­cación médici

Type­faces used at FLOMM.US are cat­a­logued on our pági­na de FONTS – Web­fonts sourced vía ADOBE TYPE et SORKIN TYPE CO.
 
 
 
 
 

FLOMM! THE BAT­TLE For MOD­eRN 1923 game ap­pli­ca­tion ver­sion 1.33

STEVE MEHAL­LO, de­vel­op­er, de­sign­er, artist
CHELSEA DAVIS, musician
DAR­CY ‘MOKI’ NEL­SON and NOAM WEISS, programmers

FLOMM was pro­grammed in UNI­TY ver­sion 4.2.1f4

ELIZ­A­BETH AGUILAR, AN­GEL COLE­MAN, JOSE CON­CHA, AN­NIE HOANG, JEANNE MEHAL­LO, CAR­LOS MENDEZ, CHAR­LOTTE MIL­HOAN, SARAH PAOLONI, AL­LEY SCHEF­F­KI, AUBREY STRAUB, SVEN, TOM WALTHER, BRAN­NON WARD­WELL and DELVE WIRTHING­TON, testers

FLOMM as­sets were cre­at­ed us­ing tra­di­tion­al paint­ing, pho­tog­ra­phy, col­lage and record­ing tech­niques – and were adapt­ed for the screen us­ing ADOBE CRE­ATIVE SUITE 4, FONT­LAB STU­DIO 5.0.4, and GARAGE­BAND 5.1

Ad­di­tion­al SOUND FX were adapt­ed from FREESOUND – these in­clude: AU­DIO-EX­TRACT 02 by MBAZZY; BI­PLANE START­UP, F18 FLY­BY by SON­IC; BOBKESSLER-BREAK GLASS by AL­COVE AU­DIO; BOOM RE­VERB by DIG­I­TAL SYS­TEM; BTN402 by JUNG­GLE; CANON2, SWOSH by MAN; CAR ON HIGH­WAY IN­SIDE FIAT PUN­TO by AU­REA; CIN­E­MAT­IC DEEP BASS RUM­BLE by ERH; CREEPY3 by SERITHI; DI­NOSAUR LOUD ROAR, FIGHT­ING WITH SHOV­ELS by CG­EF­FEX; ECHOEY GRIND­ING by IN­CR­NA­DINE; 808 BASS DROP D by LANG­DON­R­RY; ELEC­TRIC CEL­LO DEMO by BOP­PING; ELEC­TRIC DIS­CHARGES by EDGAR; ELEC­TRIC SHOCK by LG; EL­E­VA­TOR MO­TOR, OLD­EL­ROLL­SHUT­TER­STUCK by CUME­SOFT­WARE; ESTLACK_LIFTB by ES­T­LACK­SEN­SO­RY; EX­PLO­SION SOURDE by SCHNF­FON; EXPLOSION1DBL by NKENEZ; F1 BR 07 2P MSBRAKING1TURN by RFHACHE; FLY­BY by KRIL­LION; 40 CAL by DJ CHRONOS; 45RPM NEE­DLE DROP by FRE­Q­MAN; GLASS SHAT­TER by DATA­SOUND­SAM­PLER; GRENADE by LJUD­MAN; HVY­ELEC by IN­FER­NO; IN­COM­ING RIC­O­CHETS by RAKU­RA; IN­FI­NITE STORM by DIGI­FISH­MU­SIC; JET OVER ROSE­MONT HORI­ZON PARK­ING LOT by TER­WELP; KEY JIN­GLING by BM­CK­EN; LARGE ANVIL & STEEL HAM­MER by BEN­BON­CAN; MAB-NIKE-LAUNCH­ER by MAB; MOD­ERN DAY WAR by OMAR AL­VARA­DO; MON­STER by AU­DIORICHTER; MON­STER ROAR by QU­BODUP, Copy­right © 2013 Iwan Gabovitch, CC-BY3 li­cense; MO­TOR­CY­CLE SPRINT by AN­TON; MY PATCH NO 2 by CHARLES LUND­BERG; RBH ROPE SWISH x 8 by RHUMPHRIES;RLHVYX by IN­FER­NO; RO2 by CSEN­GERI; ROCK­ET RE­PORT AND SCREAM by COG­NI­TO PER­CEP­TU; ROCK­ET­ING NOISE LOOP by JUKHAU; 78 RPM by WAL­TER ODING­TOR; SHAVER by THEREEL­FRY­BOY; SMALL ROCK­ET FLY­BYS by BEL­LOQ; SWOOSH 7 by BEN­BON­CAN; SWORD by HELLO_FLOWERS; TER­ROR MA­CHINE, VI­O­LET SEA by JES­GES; TIGER ROAR by VIDEOG; TOOLS SON­DORNO­VA MIX­ING by RCA; VI­O­LENT NEIGH­BOR by STOMP; WHIRLIGIG4 by PUNI­HO; WOOSH04 by FRE­Q­MAN; and WW2 AIR­PLANE FLY­OVER by DAVEINCAMAS

In­stru­men­tal and jazz arrange­ments of FIRE are used un­der li­cense from CHELSEA DAVIS

Type­faces used in FLOMM! THE BAT­TLE For MOD­eRN 1923 are cat­a­logued on our pági­na de FONTS
 

FLOMM! THE BAT­TLE For MOD­eRN 1923 is

+ easy to learn, easy to play
+ clas­sic video game interface
+ 3 skill set­tings [be­gin­ner to difficult]
+ sim­ple tap-to-fire controls
+ side-shoot­er combat
 

FLOMM! THE BAT­TLE For MOD­eRN 1923 has

+ all orig­i­nal FLOM­MIST art­work cre­at­ed just for the game
+ metic­u­lous­ly-re­searched his­tor­i­cal details
+ ref­er­ences to Fu­tur­ism, Cu­bism, the Bauhaus, DADA, Ex­pres­sion­ist cin­e­ma, the Russ­ian Avant Garde, mod­ern lit­er­a­ture, et al
+ a sup­port­ing web­site with bib­li­og­ra­phy, blogs and more: https://flomm.us

+ up to 10 hero ship options
+ font-based weaponry
+ culi­nary power-ups
+ raz­zle-daz­zle shields

+ over 20 dif­fer­ent villains
+ dozens of ad­di­tion­al BUMF, Ro­COC­CO and CLAS­SI­CAL enemies
+ un­lock­ing achievements
+ abil­i­ty to de­feat The Boss, win the game

+ around 70 dif­fer­ent back­ground experiences
+ pause but­ton and auto “saved game” features

+ ex­clu­sive FIRE in­stru­men­tal score
+ ana­log-based stereo sound fx
+ frame-an­i­mat­ed vi­su­al fx

+ un­lim­it­ed game levels
+ “mir­rored” game play setting
+ per­son­al leaderboard
 

FLOMM! THE BAT­TLE For MOD­eRN 1923 is rat­ed 12+ for the following

+ infrequent/mild mature/suggestive themes
+ infrequent/mild sex­u­al con­tent and nudity
+ infrequent/mild car­toon or fan­ta­sy violence
+ infrequent/mild al­co­hol, to­bac­co, or drug use or references
 

Com­pat­i­bil­i­ty: Re­quires iOS 7.0 or lat­er. Com­pat­i­ble with iPhone, iPad, and iPod touch. This app is op­ti­mized for iPhone 5, iPhone 6, and iPhone 6 Plus.
 

GET FLOMM! here
 
 

The trail­er for FLOMM! THE BAT­TLE For MOD­eRN 1923 (above) was de­signed by STEVE MEHAL­LO with élé­ments mu­si­caux by CHELSEA DAVIS et kom­po­si­tion, ed­its et con­ti­nu­ity by KEVIN HARBAUGH
 

FLOMM! and its orig­i­nal con­tent, fea­tures and func­tion­al­i­ty are pro­tect­ed by in­ter­na­tion­al copy­right, trade­mark and/ or patent, trade se­cret and oth­er in­tel­lec­tu­al prop­er­ty or pro­pri­etary rights laws
 

FLOMM en PRI­VA­CY

FLOMM is a re­sult of many years of playing.

Ex­treme­ly se­ri­ous play­ing, learn­ing about graph­ic de­sign, learn­ing about his­to­ry, study­ing the con­nec­tion be­tween in­no­va­tion in the arts and the oft push back from The Oth­er Side.

‘YOU DON’T UN­DER­STAND, THAT’S THE WAY THINGS ARE’
is a com­mon remark –
oft re­peat­ed in one sit­u­a­tion and another –
that sent me on this his­tor­i­cal, FLOM­MUS path.

CHANGE pro­duces resistance.
My fa­ther would say that with­out THE NEW, ‘we’d be watch­ing tele­vi­sion by can­dle­light.’ The whole FLOMM project is ded­i­cat­ed to him.

My wife JEANNE MEHAL­LO has seen the FLOMM con­cept take root and has watched as each el­e­ment came into be­ing, changed, was re­worked, bro­ken, re­built and re­born – and the sound of her flute and (our) pi­ano ap­pears through­out the game. JOHN KU­RAICA of ROCK­E­TEER GAMES is thanked for oo­dles of sup­port and (in­ad­ver­tent­ly) send­ing me on this crazy endeavor.

‘YOU ARE LOST THE MO­MENT YOU KNOW WHAT THE RE­SULT WILL BE’ 
a quote from
Cu­bist JUAN GRIS in­flu­enced this en­deav­or, sur­pris­es and accidents
were part of the process.

FLOMM’s pro­duc­tion team start­ed with CHELSEA,
and grew to in­clude MOKI (who once took apart JOSEF AL­BERS for a re­port and took apart the UNI­TY en­gine the same way), the Very British SUZANNE (who HAD to make sure the Villain’s BLA­SOUN was his­tor­i­cal­ly ac­cu­rate), then NOAM was brought on board. NOAM could write code and fix bugs at the speed of thought, great con­ver­sa­tions about LIFE were part of the whole process; AMAN­DA jumped into the web­site with two feet, fol­lowed by KAY­LAH, KEVIN, RIK­KI and DAVID.

Pre-beta game playing/testing (and break­ing) was com­plet­ed by LAU­RA BEN­SON, AN­GEL COLE­MAN, SAM COSTANIL­LA, CAR­LOS MENDEZ, ROSE MEN­DON­CA and a few oth­ers who hate us now. 

Ad­di­tion­al sup­port came from FLOM­MUS compatriots
HOL­LY AGUN­DES and BILL MEAD;
font de­sign­er STEVE MAT­TE­SON – FRED­ER­IC W. GOUDY ex­pert – who pro­vid­ed one cool trum­pet used for the cli­mat­ic BOSS ex­plo­sion. Plus, mu­sic af­fi­cian­do TAY­LOR RAE (who kept ask­ing ‘what is FLOMM?’ long be­fore the word ‘FLOMM’ be­came the ti­tle of the game); LUX NOVA wins for over­all cre­ativ­i­ty (and orig­i­nal­ly, two-toned hair); the oth­er mem­bers of THE START: AIMEE, JAMIE and LANCE – whose mu­sic kept me work­ing. AL­ICE WOODRUFF, RYAN GRUND­HOE­FER, MEGAN MIL­L­IRON, INNA MIRONYUK, CAR­LA IVER­SON, DE­VON CLOUTI­ER, and (lead vo­cal­ist for Once An Em­pire) MELIS­SA Mc­GRE­GOR checked in reg­u­lar­ly for up­dates on FLOMM progress. 

And VIC­TO­RIA IKER is our FLOM­MIST at large some­where in Europe.

TER­RI WAYNE, who once called me ‘The Sponge’ (for my ob­ses­sion with All Things De­sign) for un­wa­ver­ing sup­port of many of my crazy ven­tures; SARA RAF­FO for talk­ing BAUHAUS; ALEX CHAR­CHAR for also talk­ing BAUHAUS, TSCHI­CHOLD and The Cre­ative Process; JAMIE De­VRIEND, HAL HAM­MOND, KIM TACK­ETT, MAE BATISTA, JOY BERT­I­NU­SON, JE­RE­MY Mc­CAIN, MICHAEL MAR­T­IN­HO, JUSTIN PAN­SON (for be­ing the FIRST one to tell me that he en­joyed scrolling through the en­tire FLOMM: PRO­TO AVANT AL­TRO blog), and SU­SAN POIRI­ER for a long term book loan (and MER­CHANT MA­RINE dis­cus­sions); MAR­TINE TRÉLAÜN for re­act­ing ear­ly on to the FLOMM con­cept – and cheer­ing me on.

SOUND FX as­sis­tance and valu­able ad­vice came from
DY­LAN VAUGH­AN, DEN­NIS WILKIN­SON, DO­MINIC OR­NELAS, KAR­MEN KAS­TEN and LEON MILO. For­mer-stu­dent of a BAUHAUS stu­dent, font de­sign­er STEPHEN BOSS hit me be­tween the eyes one morn­ing with: ‘Oh my God the SOUND,’ when he first heard FLOMM.

RICHARD L. PRESS and his col­lec­tion of rare books (and MAN­I­FESTOS) is in­valu­able; as is on­go­ing con­ver­sa­tions with ROB SAUN­DERS of LET­TER­FORM ARCHIVE and li­brar­i­ans AMAN­DA SAM­BRA­NO and ALYSA GER­ARD. Ad­vice from cabaret leg­end DUTCH FAL­CONI helps flesh-out the 1920s and (years ago) pho­tog­ra­ph­er ED­WARD MAT­ALON de­fined for me what ART re­al­ly was (and could be). MI­CAELA AN­TOZZI and JES­SI­CA PALMINTERI kept me in the loop re: FU­TUR­ISM and all the Great Things it did (be­yond the Bad Things it also did).

Please vis­it
MARK BAR­BOUR at the IN­TER­NA­TION­AL PRINT­ING MU­SE­UM and BILL MORAN at the HAMIL­TON WOOD TYPE & PRINT­ING MU­SE­UM. And a shout out to the boys in #MY­SURVEIL­LANCE­VAN.

The over­all in­flu­ence of RUDY VAN­DER­LANS and ZUZANA LICKO for do­ing things Their Own Way – and a quick com­ment from RUDY re­sult­ed in me to­tal­ly re­think­ing FLOMM’s am­mu­ni­tion; MAR­I­AN BAN­T­JES for also charg­ing for­ward with her own aes­thet­ic no mat­ter the odds and say­ing ‘wow’ to the FLOMM trail­er; ROBYNNE RAYE for Break­ing Rules and in­cred­i­ble con­ver­sa­tions; the writ­ings (and work) of ELLEN LUP­TON, JES­SI­CA HIS­CHE, LESLIE CABAR­GA and a small ar­ti­cle on BAUHAUS type by IN­DRA KUPFER­SCHMID hit their mark. FE­LIX MARCELI­NO for show­ing up (quite lit­er­al­ly) out of the woodwork.

FLOMM has artists!
They in­clude B.A.M.R., JOSE DI GRE­GO­RIO, MARKO DAVI­DOVIC, KEN HEN­DRICK­SON, LAU­RA HOHLWEIN, DAN HER­RERA, MICHELLE LeCLERC, OLIVI­ER LE­LONG, CAB­RI­NA ROBIN­SON and ERIC SADAHIRE. Oth­er artists (and de­sign­ers) I’ve crossed paths with and talked shop in­clude: JONATHAN BUCK, MARK L. EMER­SON, JAKE FAVOUR, AN­GELA GLENN, INAN­NA NAKANO, BET­TY NELSEN, NATASHA NEW­TON, DON REID, GABE SAN­FORD, MELANIE SCOTT, MICK SHEL­DON, JULIE VATUONE, JUSTIN WOOD, and JI­AYI YOUNG. Once the mod­el­ing artist for the PILLS­BURY DOUGH BOY: SU­SAN SIL­VESTER had great ad­vice re­gard­ing mo­tion and colour perception.

FONTS are a HUGE part of FLOMM.
Ty­po­graph­ic sup­port came from DELVE WITH­RING­TON, MARK VAN BRONKHORST, STE­FAN HAT­TEN­BACH, ROD CAVA­ZOS, PAULO W, CHANK DIESEL, EBEN SORKIN, AN­DREA LEK­SEN, CHARLES BORGES DE OLIVEIRA and MICHAEL DORET; plus JIM PARKIN­SON and DOROTHY YULE – who both let me play in their mas­sive librar(ies). LIND­SAY LIBER­MAN for ask­ing me where the best free fonts are and in­tro­duc­ing me to her Boss; the great LAU­RA WOR­THING­TON, LILA SYMONS, and KAREN CHARATAN land-let­tered text on the ‘of­fi­cial’ FLOMM coat; and BRAN­NON WARD­WELL for the trade of the coat itself.

Ad­di­tion­al ty­po­graph­ic ap­pre­ci­a­tion to:
HE­LE­NA HAMANN, STEPHEN COLES, LAU­RA SER­RA, JOSHUA LURIE-TER­RELL, JIM WAS­CO, TAMYE RIG­GS, ZARA EVENS, SHU LAI, JEFF KELEM, HEI­DI AN­DER­MA­CK, VIDA VAK­ILO­TO­JAR, AAINA SHAR­MA, FRANK GRIESSHAM­MER, KSENYA SMARSKAYA, MARK SI­MON­SON, JIM MID­DEN­DORP and ALE PAUL; plus BILL DAVIS and BRI­AN KRAIMER at MONO­TYPE; CARMI­NA EL-BE­HAIRY and RICHARD KEGLER at P22 TYPE FOUNDRY; PE­TRA WEITZ, THERE­SA DELA CRUZ, MEGHAN ARNOLD, YVES PE­TERS, DAVID SUD­WEEKS, and JOAN SPIEK­ER­MANN at FONTSHOP; CHRISTO­PHER SLYE, IVAN BETTGER, SAL­LY KER­RI­G­AN, LIB­BY NICHOLAOU, and the team at ADOBE TYPEKIT.

My col­leagues from the World of Teaching:
AMY ASWELL, BRETT De­BOER, AN­NETTE DOWS­ING, KURT FISH­BACK, RE­BEC­CA GIM­LETT, MARY GOODALL, JER­RY GRABER, MARIE HAN­NIGO­VA, DOUG HERN­DON, ROB HUD­DLE­STON, MAR­LENE HUT­TNER, JOHN MOUNIER, JOE MILLER, DAWN PED­ER­SEN, ADRI­ANA PEREZ, JEFF ROCHFORD, CRAIG SCHINDLER, MATT STOEHR, UNI­TY TAY­LOR, KEVIN TRIVE­DI, JAY TRUES­DELL, and TERE­SA URKOF­SKY (we WILL do a FLOMM/FUTURIST banquet!).

From the the World of Fashion:
JULIE TIER­NEY, FAL­L­ENE WELLS, LIND­SAY BLASQUEZ, NICK VERRE­OS, BROOKE DULIEN, TR­ISHA RHOMBERG, SCOTT PATRIC, RICHARD HALL­MARQ and PATY VENTURA.

BWARGH VON MOD­NAR for ‘at­mos­phere’ (and ex­cel­lent HTML/CSS skills).

Some bril­liant students
who have tak­en space in my classes
have been be­hind this ef­fort. They include:
AL­DREEN AM­PALAYO, SON­DRA AMES-HAUGER, De­AN­DRÉ AUSTIN, CE­CIL­IA BALD­WIN, JODY BUTCH­ER, STA­CIE CHERNYKH, JOHN CRE­MER, RAINA DAYNE, AMY DE­V­EREUX, JESS DE­PREZ, BRAN­DON DOSWELL, MEA­GAN ED­WARDS, VERON­I­CA ES­QUIV­EL, MATTHEW GUEDEA, NOIR BLEU GRIS, DI­ANA HANSEN, JANET HER­NAN­DEZ, KRISTO­PHER HART, KATIE HEER, ROS­ALIN­DA HUCK, SEAN IRE­TON, TIRZAH JOHN­SON, AMAN­DA LAYNE, CHAR­LOTTE MIL­HOAN, MELIS­SA MUNGUIA, JODY NIED, JEN­NA NUESSE, MYA PARABO­LA, KEN PARK­ER, NICK PE­TER­SON, EMI­LY POAGE, SCOTT RE­ECE, CHRYS­TAL SANDS, EM­I­LIE SAY­LOR, AL­LEY SCHEF­F­KI, NICK­O­LAY SHIP­ILIN, MOR­GAN SPILLER, LISA SUD­BECK, MERITT THOMAS, PAULA UMANA, DON UT­TER, JES­SI­CA VIN­CENT, KAY­LA WALK­ER, and DAN­NY EN­SE­LE for con­stant­ly ask­ing, ‘WHEN’s it gun­na be DONE?’

More or less,
FLOMM is here.

Man­i­fest­ly old, new and now.
 
STEVE MEHAL­LO, OC­TO­BER 2014