#Full-cycle product development

[marrywillson]

Unlock your business's potential with our top-tier web development services. Whether you're a start-up looking to achieve product-market fit or an established company aiming to enhance your online presence, our expert solutions are tailored just for you.

[appnox-tech]

Top Full-cycle Product Development Company | Appnox Technologies

Embark on a journey of innovation and growth with Appnox Technologies' full-cycle product development services. From conceptualization to launch, our expert team ensures every aspect of your product is meticulously crafted for success. Explore our comprehensive solutions and turn your vision into reality today

[webatlas]

If you're in the process of selecting a product development company, it's important to know specific needs, budget, industry, and the type of product you're looking to develop. The best option is Webatlas Technologies, an outstanding product development company that provides top-notch web and mobile app development, software creation, comprehensive software testing, and quality assurance to clients worldwide. Their well-established prestige makes them a trusted choice for high-quality product development solutions. They build cutting-edge products while maintaining a reasonable pricing structure.

[punkpandapatrixk]

❤️‍🩹I Just Want to be Loved ♦︎ Timeless Pick A Card

We attract terrible loves for various reasons; so many lessons; but now sorrow has got to lessen. Let’s reveal patterns by exhuming roots. We’ve got to stop this cycle of disappointments. Done being made to feel as if we’re hard to love.

We’re not hard to love. Many of us were simply denied love, warmth and affection as we were growing up… Don’t know how to love self; don’t know how to love others; basically don’t know how to even receive Love… Who’s to blame now?

Why the hell were so many children denied love, warmth, affection…?

What are you going to do with yourself when you were denied love, warmth and affection as you were growing up?

☆♪°・.

‘The child who isn’t embraced by the village will burn it down to feel its warmth.’ – an African proverb

People denied warmth and affection tend to fall into a desperate loop of fishing for attention as a result of love-deficiency, right? Some learn to lick love off a knife; some pursue success (whatever that means) all too frantically; some…shoot complete strangers in broad daylight; and some who ain’t got the guts to murder complete strangers in public places go instead for antagonising strangers on social media… Gosh, that is desperate.

But you know what, not all hope is lost because there’s still plenty of us who are blessed with this incredibly RARE thing called self-awareness. There are plenty of us who will take our traumas to the graveyard than pass them down the next generations.

You, don’t deserve to have your sanity and your Life ruined by some psychos who didn’t know how to love you. Reclaim lost pieces of yourself by understanding THREE Houses in your natal chart, babe:

4th House: your roots; tells you what was lacking in your home; explains your erratic 10th House ambitions

8th House: your marriage or your desire for a bond like it; this the House where trauma manifests itself in full spectrum

11th House: your wish fulfilment; where you connect with people who support your visions; breeds a healthy sense of connection, even community

SONG: Emptiness by BoA

MOVIE: Breakfast at Tiffany’s (1961)

[PAC Masterlist] [Part 2] [Part 3]

[Patreon] [Paid Readings]

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Pile 1 – Because I Can’t Even Trust Myself

VIBE: Trust by Hamasaki Ayumi

lost pieces (pertaining to 4th House) – Ace of Pentacles Rx

It’s clear your childhood didn’t offer a sense of stability or security—the physical kind that children usually need. It could be that a grownup left early or it could be that you moved around a lot, so you easily lost contact with new friends you’d just made. In essence, it feels like you grew up feeling ‘everything disappears eventually; everyone leaves eventually’.

Some of you might’ve grown up not having a lot of material resources, but for the majority of you tuning into this Pile, it was more a feeling of a lack of warmth. For children, the pain of neglect and a lack of emotional connection do really affect our physical health more severely. You might’ve grown up poor and sickly due to all the grownups around you being inattentive, unaffectionate, and just…unreliable at best.

Because of this awareness, from a young age you realised you would have to do everything yourself. You wanted to grow up quickly and do your own things your own ways. It’s not like you had to grow up fast, you wanted to grow up fast to have your freedom and power! It was…hard to trust adults. It was hard to trust the world at large.

growing pains (pertaining to 8th House) – 8 of Pentacles

On the path of growing up, I think you became a hard worker of sort? This is very nuanced though—there are layers to your developing yourself to become a hardworking person. In many ways, you grew up responsible because you didn’t want to become like the adults who had disappointed you. But since this sense of ‘responsibility’ is a product of neglect and trauma…this is coming off as your feeling responsible for everything. Everything!

Some of you could’ve been too hard on yourself, expecting way too much for your age. You’ve felt like you’re always the one with everything to prove. It’s hard living like that. It feels like you’ve put so much effort into keeping everything together, and yet, nobody sees how much you care. Nobody truly understands the fear in your mind and pain you carry in your heart.

In matters of relationship, you cling extra hard to friends or lovers, too; because deep down you’re afraid of losing things and people, again and again. This unhealthy attachment—and to some extent, controlling behaviour—is truly your wounded inner child attempting frantically to keep your Reality from falling apart…

reclamation (pertaining to 11th House) – 4 of Cups

I’m very sure that at some point in Life, your Higher Self and team of Spirit Guides are going to kick in and meddle with your Earthly business. For some people, it’s possible you could lose contact with everybody you’ve ever known in Life and go into a hermit mode to find yourself again. For some, it could be that your whole Life is simply flipped, without necessarily losing key people in your Life, for you to look at Life and human connections from a very different point of view.

It’s going to be hard, of course. Emotionally, it could be devastating. Themes of abandonment and betrayal are big in your incarnation. But you know, ultimately, all of these challenges serve to remind you that the Cup of Love and Affection you’ve been looking for has always been right inside of you. You’ve had a bitter time with a lot of people because deep down you couldn’t trust them. You couldn’t trust other people’s loyalty because you didn’t even believe that you’re worthy of that Love and Loyalty you yearn for.

Your Spirit Guides are saying, that although at some point in Life things are going to get really tough, know that when you’ve graduated those lessons, you’re going to be rewarded with the most beautiful Soulmate-shit friendships, familyship and relationship. Truth be told, part of your Soul’s scenario in this incarnation is to find your Soul Tribe; and find your Tribe you shall~

A L O N E🔻💗

ALL of you – Red Alchemist (John Dee)

becoming ONE and whole – Priestess of Healing

Access full reading + cards on Patreon🌸

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Pile 2 – Misled by My Own Compassion

VIBE: Cry Me A River by Julie London

lost pieces (pertaining to 4th House) – Knight of Cups

It’s very likely your 4th House is in a Water sign, but if not, you’re still very much a Water-y person; perhaps your Ascendant or Moon is in a Water sign, or that you have Neptune/Moon near/in your 4th, 7th or 11th House. All of this generally makes you a deeply compassionate person. No matter what outer appearances give, you strive to look deeper into a person’s Soul. You have so much empathy and you want to believe in the good of people.

Alas! This rotten world doesn’t make it too easy. This world is not a world where kindness and compassion are truly rewarded, if we don’t learn to be a tad cruel ourselves. You’re not in the wrong for being so genuinely good and compassionate; it’s this world that’s the wrong world. You know that? Therefore, it is paramount you learn to be a bitchilante! But I’m getting ahead of myself.

In spite of this PAC’s intro, I sense the majority of you tuning into this Pile actually grew up quite well. Many of you actually grew up in loving homes and that’s why it’s been quite challenging for you to grapple with the realness of the ugliness of the world outside of your loving home. Really…people in the real world…are monsters! And you were taken aback!

But some of you instead most likely grew up in chaotic, battlefield-esque homes and that’s why you’ve striven to be so good to a point of detriment.

growing pains (pertaining to 8th House) – 0 The Fool Rx

Be that as it may, you being you… Well, you do put in the effort to try and understand what makes monsters the way that they are, right? It’s all good and wonderful, until you get yourself in deep trouble where nobody can save you but your own monstrosity. Depending on your age when reading this, this could be something that’s happened in the past or will happen; where you will be forced to grow up in the sense of seeing the world as it is and get firm with assholes!

Dr Jordan Peterson has this gold shit to summarise this spiritual lesson you will be taking at some point in Life: ‘You should be a monster, an absolute monster, and then you should learn to control it.’ Well, that’s male speech. In female speech, we just say: ‘you gotta grow up and be a bitchilante!’

Be a bitch only to those who deserve it. How would you protect yourself from monsters if you don’t have the strength to fight them at their own game, darling? If you’re harmless, weak as a fawn, if anything, the real monsters in the world are going to toy with your sanity: ‘I saw my “crazy” side once and decided I wouldn’t be involved with anyone that would take me out of my peace like that ever again.’

Be a bitchilante. That whole concept of ‘good, harmless, love and light, positivity-only’ bullshit was put out there not to really make you good but to weaken you against the truly monstrous ones. WAKE UP, BITCH!

reclamation (pertaining to 11th House) – 4 of Pentacles

So? So what if you’re selective with your affection? Not everybody deserves your compassion. That’s for sure. There are many people in the world and you can’t be nice to all of them. One at point or another, you’re gonna be a villain in someone’s story—so what? Everybody else is the main character of their own Stories; that, you can’t control.

Be careful that you’re not falling victim to your own narcissism in wanting to be praised in everybody’s Story, yeah? So then, pertaining to your 11th House, weirdly enough, your wish fulfilment is in the form of a psychological liberation from your own idea of yourself in the minds of others. I sense that if you’re East Asian this is gonna resonate much harder and louder LOL

Anyway, I want to assure you that once you’ve graduated from your spiritual lessons, you will be met with unique, courageous, rebellious weirdos who will be just as clear as you are about what it truly means to be a good person in a world that’s often very bad. How good should a person be to truly be considered a good person?

‘If I offended you, cry me a river. I’ll bring snacks and a raft. I will literally float down your tears eating chips and working on my tan.’ – Fuckology

A L O N E🔻💚

ALL of you – Green Geographer (Gerardus Mercator)

becoming ONE and whole – Priestess of Success

Access full reading + cards on Patreon🌸

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

Pile 3 – Lights Out; I’m Out to Find Myself

VIBE: To. X by Taeyeon

lost pieces (pertaining to 4th House) – Ace of Cups Rx

I’ve to preface this Pile by saying this the pile that gets a little violent…

You were originally such a positive, happy-go-lucky kid, but quite early on, this world gave you so much darkness. So many reasons to be sad. It’s not been a very kind life, to be honest. Defo many of you have tragical placements here—your 4th or 5th House could start or end in Scorpio; have Lilith/Pluto/Chiron/Saturn there or in the sign of Cancer/Pisces; or it could be that your Venus/Moon is imprisoned in the 8th or 12th House and harshly aspected, too...

If your childhood has been violent or mightily confusing, it’s a group thing, OK? You can think like that. It’s not your fault. Know that practically everybody who has these harsh placements has gone through very similar things as you. So you’re really not the only one who’s failing—whatever that means. You’ve been gaslit a lot into believing there’s something wrong with you, but it was your environment that was just filled with totally terrible Human beings. That much I’d like to assure you.

It wasn’t natural how you were abused psychologically and emotionally. The people around you drew a parallel to Cinderella’s stepsisters in the Disney classic. It’s ridiculous like that. I think you grew up terribly lonely and created comfort characters in your head to console your sorrows? It’s very likely that your comfort characters were in actuality a mirror fragment of your Soul Family’s existence locked in your memory bank.

growing pains (pertaining to 8th House) – XIV Temperance Rx

Life, unfortunately, isn’t a Disney movie. As a result of the psychological and emotional abuse you’ve endured in childhood, your friendships and relationships might’ve been quite turbulent, at times even violent. Juuust a small number of you could’ve dealt with being called a violent kid, or you could’ve struggled with anger management and have terrible tantrums. All of these have made human connections quite difficult to navigate.

It’s not like you want to be a nasty person, right? Many times, you couldn’t help the way you react/respond to what’s being said and unsaid because, somehow, there are many things that people do and say that trigger a trauma response in you. There’s a very difficult Mars thingy going on here. I think many of you resonating with this Pile have some difficult Mars (ruler of Scorpio) placements/aspects that affect the way you manifest human connections in your Life.

Speaking in terms of synastry, it could be that you’ve attracted a great deal of people whose Mars aspected badly in your natal chart—consequently triggering bad traumas and manifesting violent outbursts in your connections. Ultimately though, these negative experiences with other people could’ve enforced your belief about how unlovable you are, which, really, is a false belief…

reclamation (pertaining to 11th House) – 5 of Wands

It is a false Reality that you’re unlovable or unworthy of a healthy relationship. That bullshit was implanted in you through the creation of a harsh environment that caused you a great deal of rage. Of course, you’re accountable for how you behave towards other people, but your foundation was never quite healthy or peaceful or harmonious, so… How about we put it all behind us and focus on healing? After all, it’s not like the people you’ve had a beef with were completely innocent? XP

It's kinda selfish to think like that, but you can depend on your own discernment to distinguish who amongst the people you’ve hurt or had a beef with to apologise to. Remember: sometimes apologies only make you weaker and looking at the unique bullshit astrological placements you were born with… apologising to the wrong fucker would only get you gaslit even more! So, don’t. Don’t apologise for the distress you experienced under other people’s lack of support.

Burn that bridge and detach yourself from that old stinking world. With your sheer willpower, you have it in you to rebuild your own little world of love and peace. After all, those harsh placements you were born with, are you aware of just how much power they bestow you? These placements come with a lot of turbulences but once you graduate your first Saturn Return, they also give you a burst of power unlike any other!

Lights out. Not entertaining aenergies that seek to nip your power at the bud anymore. Burn, baby, burn strong! Burn the whole Tower and find yourself on new lands~!

A L O N E🔻💜

ALL of you – Gold Alchemist (Roger Bacon)

becoming ONE and whole – Priestess of Solitude

Access full reading + cards on Patreon🌸

☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・. ☆♪°・.

[PAC Masterlist] [Part 2] [Part 3]

[Patreon] [Paid Readings]

[dlstmxkakwldrlarchive]

Partly for the prolific volume of projects artists release each year and partly for the fluid definition of an album (running anywhere from three to 13 tracks), an annual ranking of K-pop albums is never easy. As South Korea continues to extend its global musical influence, certain projects transcend hit-song compilations, presenting larger visions and conceptual narratives.

In 2023, stars like V, WOODZ and ONEW used their latest solo projects to share the music that inspires them at their core as artists and let listeners settle into sonic worlds they’ve developed.

[...]

First Place: Onew, Circle The First Album

While it’s somewhat criminal to think that 15 years after ONEW’s debut with SHINee in 2008 we only just received his first full Korean album, the singer-songwriter himself would say that now was the perfect time for Circle. A musical journey unlike anything released this year, ONEW shared that he had attempted to record the album’s title track before dropping his Dice EP in early 2022, but felt it wasn’t at the level of perfection it deserved and held onto the song. ONEW then involved himself in every aspect of Circle‘s production process, from meticulous mixing and mastering to tuning, beats, recording and mastering, attesting to the singer-songwriter’s dedication to artistic expression.

The single “O (Circle)” opens the album with an intriguing blend of electronica and strings, while its gospel-tinged chorus emphasizes lyrics about the circular nature of life and how memories, feelings and dreams are all fleeting. The 10 tracks on Circle develop unique transformations from start to finish: the breezy melodies in “Cough” are paired with loneliness-themed lyrics and a melancholy instrumental breakdown, while “Rain on Me” starts with aggressive acoustic guitar strumming before transitioning into an atmospheric, percussive ballad. Sweet surprises abound, too: ONEW scats on the jazz-rap hybrid “Caramel” and gives a glimpse into his indie-rock side on “Parachute.”

The album’s effortless flow is anchored by ONEW’s famously solid yet understated vocals. As Circle concludes with the tender piano ballad “Always” which addresses themes of loyalty and resilience, the listener wonders if it’s an allegory for ONEW’s public journey through health challenges, including vocal cord surgery. Even without any writing credits on Circle, ONEW’s presence is undeniably felt in this seamless collection that boasts an emotional depth brought on by 15 years in the game. That’s the kind of introspection you can’t rush or doctor through A&R but need to cycle through and arrive at when the moment is right. From scheduling this album’s release to the messages on the final track, time is definitely on ONEW’s side to deliver such a project. — J.B.

source

[felassan]

Reset Era user: "I trust the folks at BioWare to pull it off. At the very least I trust them to be able to judge their work, and hearing from insiders that BioWare is happy and confident about their game just a few months before launch is the biggest sign that it's in good shape. The lead up to Anthem's launch was a lot different." shinobi602: "Yeah, the sentiment was very different in the lead up to Andromeda and Anthem. They're feeling good. It's been a tumultuous development cycle for sure, but the idea that this game has been 'in development' for 10 years is kinda inaccurate. The project that started under Laidlaw post DAI, then morphing into a live service after, weren't in any real full production. Things were changing around a lot in various stages of pre-pro. Dreadwolf as the game that it is now, has had a pretty normal development cycle, no real major issues (outside of normal game dev stuff). Way smoother than MEA/Anthem. Even though it was technically announced at TGA 2018, a lot of the team was helping finish Anthem and supporting that post-launch. It's a big game so 4-5 years is to be expected." [source]

[kaibutsushidousha]

The Hundred Line - Famitsu interview June 19th 2024

What does the title Hundred Line mean?

Kodaka: The simplest way to describe this game is: student have to live together in a school while fighting to survive 100 days. This "100 days" timeframe became a major keyword, so we decided to express it through the title The Hundred Line - Last Defense Academy.

The game has been described as "a tale of extreme x despair produced by the creators of Danganronpa". This "extreme x despair" keyword reminds me of the Concept Art 1 presented September 2018 at the announcement of Too Kyo Games. Caption: Extreme x Despair. A game co-written by Kodaka and Uchikoshi!

Kodaka: As you can imagine, this is the game from Concept Art 1. We finally managed to announce, but at first, The Hundred Line was developed as Too Kyo's first original IP. However, our company isn't capable of self-publishing, so now we're working with Aniplex, on a half-half split on production costs.

When did development start?

Kodaka: Since we founded Too Kyo Games (2017), so that has been 6 or 7 years. At first, Uchikoshi and I partnered with another major publisher to release our game, but unfortunately, the project was canceled...

In a previous interview, you mentioned a title not coming out as planned, but I didn't think you mean an actual cancellation...

Kodaka: I have so much I could talk about on this one, but I don't think the first talk about this game should be about what went wrong, so how about we save it for another day? Haha. Although The Hundred Line's project was canceled for a while, now, after finding what we needed to make it a good game, we rebranded it and restarted our whole internal development cycle.

We were initially fine with it being indie-sized, but as the story and character designs were getting polished, and the concept gained a more solid form, we started thinking we couldn't make our ideal game unless we went bigger. Determined to put our hand to the test... we took a loan.

A loan!?

Kodaka: It wasn't guaranteed that we'd have the working capital to maintain our enlarged development scope even if we sold all of our stocks. We advanced the production with the phantom of debt on our necks while we searched for a new publisher, and that's where I met Aniplex and smoothly sold our pitch.

However, since this game has simulation RPG sections, they said that'd need a third-party developer. For that, they introduced us to the accomplished Media Vision and had them join the dev team. We're also cooperating with Jet Studio, who worked with us before in Danganronpa and Rain Code.

After all that it took to get this game to a presentable state, we of Too Kyo Games consider it a proud symbol of our persistence, or better yet, the culmination and conclusion to the current stage of our careers.

Staking your life on your work has never been so literal...

Kodaka: True, if this game flops, we won't be able to pay our debt. In that sense, this also provides a rare opportunity to the playerbase too. They get to witness how much a single title's sales can influence the future of a creator and company.

That's not the kind of suspense I want as a game fan, haha. Still, with six years of development, is it safe to assume you've been through a fair share of hardships?

Kodaka: I did. That was my first time dealing with a full cancellation. Also, to enable to Too Kyo to continue its work, to partner up with a new publisher, etc, we couldn't continue the development in the direction we were before. We needed to restart on our semi-complete project, and that's already painful labor in itself.

In terms of creative workload, I can't say I was much busier than I was in the Danganronpa V3 days, having to work in the game and the anime at the same time, but in this situation, aside from my directing, writing, and screen composition duties, I'm also Too Kyo Games's president and producer, meaning I have more work outside my craftsmanship... Making the game and managing the funds at the same time would have given most people a mental breakdown (laughs).

It was mentally and financially taxing, but I don't think I'll ever get another opportunity to pour this level of effort into making a game happen. Putting my life on the line was a very valuable experience.

You mean to say you can feel Too Kyo Games's entire soul in the game? On another note, I couldn't find any of the characters from the concept art in the new key visual or the screenshots. Does the restart mean that those characters got shelved?

Kodaka: The game's general concept is still the same, but to put a new, clean start on it, we changed a few things completely. One of them being the character designs. But despite their changed appearances, they maintain the characterization of their predecessors, so you'll see characters similar to what those would have been.

However, the old politician you see in the upper left corner won't be in the game (laughs). He's a character Komatsuzaki made up on the spot for this illustration, so I know as much about who he is as you do. He's doomed to disappear shrouded in mystery.

(laughs) By the way, considering how The Hundred Line is "the tale of extreme x despair", I'm curious about how this keyword "despair" relates to Danganronpa.

Kodaka: The tagline "tale of extreme x despair" is to signify that this is the first game Uchikoshi and I are directing together. It has nothing to do with Danganronpa, but it is a game made leveraging all of my previous experiences. With that plus Komatsuzaki's and Takada's involvement, I consider it a spiritual successor to Danganronpa.

Who from the main Too Kyo Games roster is working in this and what are their roles?

Kodaka: Uchikoshi and I are splitting the directing and writing work, Komatsuzaki is on the character design, Shimadrill is doing the enemy design and the backgrounds, and Takada is in charge of the soundtrack. Also, Uchikoshi and I do screen composition for the scenes we write.

I didn't think I'd have to do the screen composition job here myself, but I'm the best at handling Komatsuzaki's art and Takada's music, so that job is dumped on me. I got a lot of material to work with. Maybe more expression options than Yuma had in Rain Code.

The Danganronpa series also had me personally choosing faces and soundtrack one by one, so I hope the fans of that series enjoy the familiar vibes in the visual novel sections.

The new announcement came with a key visual. Are these characters in uniforms going to be the main cast?

Kodaka: Yes. They're the students of Last Defense Academy and are living in the school for unknown reasons. The students have special powers called Hemoanimas. They normally have their own sets of clothes, but upon activating their Hemoanima, they change into this uniform and fight against their enemies.

Is the white character a mascot?

Kodaka: Yes. He's the squad coordinator character. So his name is just SIREI, from shireikan; commander. By the way, SIREI is the reincarnation of the raccoon illustrated in the key visual. Both forms of this character were designed by Komatsuzaki. I pointed him in a general direction I wanted but overall let him do whatever he wanted. Meanwhile, the students followed the usual process going through a lot of back-and-forth until their completion.

In Danganronpa, their designs reflected their Super High School Level talents. Does The Hundred Line have any kind of keyword or characterization element that informed their designs in the same way the Super High School Level talents did?

Kodaka: Each student masters a different Unique Subject and has a different weapon of choice. That's what their designs mainly reflect. I'll talk more about Unique Subjects and weapons of choice later.

I'm looking forward to the update. Next question. Danganronpa and Rain Code had all-star casts of voice actors. I have expectations for The Hundred Line's cast.

Kodaka: Unfortunately, I can't reveal the actors at the moment, but I will say half of them have performed in previous Kodaka or Uchikoshi game and the other half is people we're both meeting for the first time. But look forward to it, it's going to be as all-star as any previous game. I know the released PV is voiced by the protagonist, but who is voicing him is still confidential.

Will the creatures depicted flying above the main characters be enemies?

Kodaka: Correct. The enemies are unknown entities attacking the school. They're called School Invaders. If you take a really close look at the key visual, you may notice the academy is protected by a pink flame. That's called the Unextinguishable Flame and that's what prevents the School Invaders from attacking 24/7.

When the School Invaders get past the Unextinguishable Flame, the students will need to repel them. The students aren't informed about the academy's or the unextinguishable flame's secrets, nor they know why the School Invaders are attacking. The story progresses as they fight School Invaders day by day unaware of their circumstances.

Do you have anything noteworthy to say about your interactions with Shimadrill regarding his work designing the enemies?

Kodaka: My priority for the character design of the weaker School Invaders was that they had venomous pop aesthetics. At my first discussion with Shimadrill, we arrived at the idea of making their designs intentionally similar to the monsters of a famous game franchise, but we changed plans along the way. Ultimately, we got likable enemies with that pop aesthetic.

Playing aggressively even on the designs, huh? That's the Too Kyo Games I know.

Kodaka: We changed our aim because copying designs was a really bad idea we took too far. Our mindset at the time is that, true to Too Kyo's name, we wanted to make a game that was indeed too crazy. Too Kyo Games is a company that prides itself on its writing, designs, and music.

However, compliance is a lot more important nowadays, so there's a lot more we need to keep in mind. We were defanged by the corporate structure of our partner for the cancelled version of the game. Depictions of violence and dirty jokes that were acceptable in our previous works weren't fine with them. We had to be on our best behavior to adhere to their compliance demands.

Now that I got to remake the game as something else, I can see that not releasing it on its previous state was for the best. Because I couldn't express my strengths in full there.

The Hundred Line was my first collaborative work with Uchikoshi and our first original IP. Making a game that's simply good wouldn't be enough. There'd be no point in starting this over if we couldn't go all-out. We developed The Hundred Line determined to make a game someone with good sense couldn't make. A title to be considered a product of deranged minds. In the sense, we were very lucky to land on a partnership with Aniplex.

Tell me more about what do you mean by "lucky" here.

Kodaka: To leverage the strengths of Too Kyo Games, we're writing a very controversial narrative. Aniplex is being thankfully quite flexible with what we're allowed to depict, as they understand our fortes and respect our vision. For that reason, Uchikoshi and I were able to depict the crazy story we wanted to.

Kodaka, in a previous interview, you expressed determination toward making this game a story that make people question your sanity. A game people wouldn't expect to be possible to make. Would you say managed to fulfill this ambition?

Kodaka: I can't comment about the gimmick without getting into spoilers, so I have no plans to reveal the answer to this before the game's release. Playing the game for yourself should be enough to convey Too Kyo Games's outlandishness. I believe my reason to pair up with Uchikoshi will be equally evident, and it'll be easy to make sense of why this game needed multiple writers and recruiting new hires.

I know perfectly well this is a tasteless request, but can you drop a hint?

Kodaka: Fine, I'll tell you some details after the interview. You're allowed to address what I'll say in your opinion post (laughs).

I appreciate the gesture, but let's see if I'm up for the challenge (laughs)

Tell us what the general gameplay loop is like.

Kodaka: The Hundred Line follows a cycle of 3 parts: a visual novel section, an exploration section, and a simulation RPG section. I already explained at the opener that it's a game where you survive 100 days of combat, but that doesn't mean time will pass uneventfully.

Like in Danganronpa, something will happen each day, and you'll get chances to talk with your schoolmates and deepen your relationships. You'll get Free Time, you'll get training sessions to increase your stats, and you'll be able to get other power ups by sharpening your weapons. The goal in the visual novel and exploration sections is to enjoy life with your schoolmates while also preparing for the enemies that can appear at any moment.

Got it. Now explain the simulation RPG section too, please.

Kodaka: The simulation RPG section has tower defense elements. It's not just about defeating the enemies, you also have to fight defending the school. Also, since the School Invaders come in large flocks, the main gimmick here is that you need to fight on multiple grids of the board at the same time instead of taking it one grid at a time.

Our developer, Media Vision, has a lot of experience in simulation RPGs. We'll disclose more details about the gameplay later, but I'm glad they were able to come up with and implement hype combat ideas (such as unique traits and ultimate moves for each character) in a way that can satisfy the fans of the genre.

You mean to say the simulation RPG sections are going to be solid?

Kodaka: Correct. That said, a lot of people who buy my games are casual gamers, so I always put emphasis on ease of play.

Then first-time simulation RPG players will have nothing to worry about.

Kodaka: Another point of interest is Takada's soundtrack. I requested the battle BGM to have the intensity of an action game. It's inspired by technical rock bands from the 90s, mainly The Chemical Brothers and Boom Boom Satellites. The visual novel sections, on the other hand, have a more sci-fi-adjacent OST to match its strong sci-fi aesthetics.

Tell us a release date and the consoles.

Kodaka: Early 2025, Switch and Steam.

Less than a year before release. Do you think the team can make it?

Kodaka: We're still working on it, but I think we won't have to delay the release. To be honest, The Hundred Line is progressing faster than Rain Code was (laughs). Besides, Too Kyo Games can't afford to delay a game our creators are staking their lives on.

Messages to players and readers usually often saying things like "We're doing our best" or "Cheer for us", but for this title, I can't bring myself to be so casual about it. I feel like I'm issuing a challenge to the players here.

I have a marketing strategy to draw attention to the game, and I'm polishing it to make anyone who buys it say it's a good game, so I'm feeling more of a "Just watch me!" or a "Wait until you see this thing released!" for a closing message.

Giant Kuroda's editorial comment

As outlandish as promised.

That's the interviewer's honest impression on what Kodaka told me about The Hundred Line's gimmick. I [Giant Kuroda] have been the Famitsu interviewer in charge of Danganronpa since Danganronpa 2. I interviewed him pre-release for a game launched in 2012, which means I've been talking to Kodaka for at least 12 years.

Kodaka and his art surprised me many times. In a good way.

Danganronpa 2's final boss. Danganronpa V3's first case culprit, finale, and the secret hidden in the title. Danganronpa 3 simultaneous broadcast of Side:Future and Side:Despair. Rain Code's first case...

The list could go on forever, but The Hundred Line's gimmick is more impactful than of those. I can't deliver a final judgement until I play the game for myself, but depending on what the game has to offer, it could be his uncontested best. That's how much potential I felt in that spoiler. I get the point of staking their lives on it now.

Also, in what's rare for a Kodaka title, the game will be allowed to be streamed relatively far into the story despite earlier spoilers (information subject to change). Kodaka's story-heavy games are a double-edged sword. It's possible for players to feel like they experienced enough by simply watching a Let's Play that spoils all the twists. However, I believe this game actually benefits from unrestricted streaming. But I can't say why. It's a spoiler...

At any rate, this game is Kodaka's and Uchikoshi's first collaborative story, and as Kodaka said, its narrative is a product of deranged minds. I wait with bated breath to the day I can finally play it, and also look forward to reading opinion posts about it online. You can get your hopes up, Kodaka and Uchikoshi fans.

[thesoftboiledegg]

I wasn't sure what to make of "That's Amorte" before it aired. When signs pointed toward "the spaghetti comes from aliens," I wondered if we had a rehash of Futurama's "The Problem with Poppers," where the crew finds a delicious treat on a planet only to learn that the "popplers" are underdeveloped alien offspring.

Rick and Morty's take on Soylent Green also seemed likely. Everyone knows the twist: Soylent Green is people! A dark sci-fi concept like that could be a ripe parody for this series.

However, "That's Amorte" adapted a concept that other shows have referenced a thousand times and took a right turn. No one's angry at the humans for eating their suicide victims: in fact, they love the spaghetti and turn it into a corporate product.

This is an obvious shot at capitalism and how companies will destroy the environment, brutally slaughter animals and turn cities into concrete wastelands just to make a buck. And I mean--chowing down on this spaghetti isn't that different from eating meat. I'm an omnivore, but I kept thinking that at least these pasta producers chose to die.

The suicide element gave this episode a poignant touch instead of turning it into an edgelord slog where the humanoids kill people and throw them in a meat grinder. Admittedly, the clones leaned in that direction, and that scene also shows how Rick struggles to understand the world outside himself. He doesn't react when the clones kill each other, but one of his daughters is a clone, and he'd be horrified if anything happened to her.

On its own, "That's Amorte" is a great episode. However, when you take the whole series into account, the plot retreads the same old Morty narrative: Morty tries to do the right thing, it backfires, Rick dodges responsibility while antagonizing Morty to be petty, Rick gets stuck fixing everything and Morty tries to pretend it never happened.

I keep waiting for something good to happen to Morty. Rick has plenty of episodes where he makes positive changes: going to therapy ("Analyze Piss," "Air Force Wong"), improving his relationship with Jerry ("Final DeSmithation," "The Jerrick Trap"), trying to do right by Beth ("Bethic Twinstinct"), being kinder to Morty ("Full Meta Jackrick"), etc.

Season five doesn't emphasize his character development as much, but plenty of scenes show how much he's changing. Even season four has moments where he's gentler.

Rick's being his petty season-two self in "That's Amorte," but even here, he does the right thing by showing the world exactly what--and who--they're eating. In earlier seasons, he would've done that just to be an asshole. Here, I don't think that he was trying to torment people as much as he just knew that this spaghetti shitshow had to end.

Same with the spaghetti itself. He didn't feed it to the Smiths, then show them the dead body just to torture them. I think he genuinely wanted to share the spaghetti because it was delicious, but he also figured that they don't want to know where it comes from.

On a similar note, I enjoyed Rick's moments of physical gentleness. Great animation detail.

So Rick gets a little character development and saves the day again, and Morty gets...nothing. Just a rehash of old storylines. "Mortynight Run" in particular has almost the same plot, beat-for-beat.

"That's Amorte" touched on Morty's depression and his family's coldness toward him but didn't go further than that. Morty keeps cycling through the same issues with no resolution. He blows up in one episode, then shuts down the next. His attempts to do the right thing go astray. When's this kid going to catch a break?

Again, this episode isn't bad. It's funny, original and well-written and has a lot to say about ethics and capitalism. Still, I don't understand why reviews on other sites keep emphasizing Morty's character development because I didn't see much.

I will say that everyone's horror at where the spaghetti comes from was a great takedown of the meat industry. Everyone loves sausage, but nobody wants to see how it's made!

Still, next time we get a Morty episode, I hope that it says more about him and less about the world outside his cartoon.

[katerinaaqu]

Okay so that people will not think that I am an unecessary hater here are some things that I actually liked or loved about Epic the Musical:

So everyone who knows me, I openly express my dislike on the changes of Epic the Musical (although as I say many times the music is really good, the production very passionate and I congratulate the creator for getting so much love despite the fact that I personally dislike his artistic choice on the matter)

However here's a small list of things that I actually liked very much about the musical (sorry if it gets long!)

The first two sagas:

Honestly the two sagas (Troy and Storm) were masterpieces not only song-wise but also plot-wise. The adaptation remained loose with many things being adapted for modern audiences but it was still generic to the Epic Cycle in general and Odyssey in particular. The pace of the plot was quick like the fall of Troy was, the heroes speak as if they are on the right ("tonight we shall make the Trojans pay") to encourage each other even though then the reality check falls on them. Amazing fast pace songs give their turn to a slow and dramatic one

Odysseus and Astyanax:

More specifically as a sequence on the above I really liked the way the myth was depicted and again very loosely adapted off Iliou Persis version which is the one version we know where Odysseus clearly kills the baby with his own hands by "throwing it off the walls". Even if generally I am more aligned with the version of the myth that has Neoptolemous doing it, the fact that we have the actual protagonist do the brutal act was a very good touch and I love it how he uses only that small and so under-analyzed concept and he created a very beautiful moral dilemma. The setting stone of "monster vs man" was a promising thing too (although I personally got disappointed at the actual execution of it because of the changes in storyline). The way that Odysseus knows it is the logical choice to kill the heir of Troy and it tears him apart inside is not just amazingly executed but also very much IC with Homer's Odysseus.

Full Speed Ahead:

No need for explanations here. The song was great, was keeping in touch with the original Odyssey, spirit of Odysseus on-point and the essence of it great! Although it was way too happy after the darkness of the "Just a Man" one can understand that the tension created should be released and somehow it did point out the coping mechanism of Odysseus at some parts of the Odyssey which also lead to many emotional breakdowns for Odysseus (ironically the most infamous was the one that got him to offend Poseidon in the first place)

Giving Eurylochus and Polites more lines:

Eurylochus is known for questioning the authority of Odysseus and Polites for being his best friend but in general we do not see too much of them in the Odyssey (especially Polites who only appears once as mentioned at Circe's island). Even if making Polites a bubbly token character to balance the whole emotional burden of the war was a bit too overused theme for me I didn't dislike it per se. And it was good that he plays a good balancing role there. Also generally speaking Eurylochus's character development was not bad either (daresay I liked his character development more than Epic!Odysseus! XD) because it starts from a strong but opinionated man to a basic arch-rival figure to the end part.

Which is why I was kinda disappointed that Polites was killed off at Polyphemus's cave because it seemed to me that he was there for the drama (even future scholiasts of the Odyssey do not think that Polites was in the cave at all yet alone killed in it) but again given that Polites is pretty much a clean slate character if that was like the major change of it I wouldn't necessarily mind it.

Warrior of the Mind:

The song was beautiful and it captured Athena's essence very well (minus the very much overused mind vs heart content of hers which is good that it was somehow rectified a bit with God Games given that Athena was never against emotions neither did she try to stop her champions from having them and she doesn't make separation of logic vs emotions. In fact she fires up emotions to her champions many times knowing what a helpful thing emotion is. I think he overplayed the fact that Athena encourages logic to make her "cold logic material" but that wasn't really my issue so much I mean it is just an over-used trope but it is not completely inaccurate).

It was interesting to connect the boar of Parnassus to Athena (which is again a common trope in greek mythology that gods send random tests for whoever is worthy) and how ellegedly Athena and Odysseus meet in this context. Again it has nothing to do with the original Odyssey and yet this loose adaptation of their meeting was an interesting interraction with a lot of potential and emotional connection. I also like how Athena appears more cold in her speech like "change from the way I designed you" or "don't disappoint me" which is basically a genuine trope of Athena's. Like every champion of hers that disappointed her (for example Tydeus) didn't really end up well! Which is a change I adored for the Musical adaptation

About 2.5/3 of "Remember Them"

Okay the part with the dialog with Athena had me cringing a bit but the rest of the song was a masterpiece. Odysseus saying that there is no time to bury or mourn but have time only to save themselves and remember their fallen friends afterwards is EXACTLY what Odysseus would say and encourage his men to work their backs on something to save themselves and get out of their nasty situation. Also the final 45 seconds of it with his name reveal was probably what hyped me and wanted to get into the musical in the first place (before I started disliking the changes) because it was EXACTLY how it would go down! Also the choice for Odysseus's name officially be revealed on that song was incredibly clever and very nicely chosen

So basically I would only remove the dialog with Athena there given how it just didn't do justice in my head to the extremely complicated situation that led to him revealing himself. I also felt that the line "let's grab the sheep and away we go" was a bit too hasty to show their escape given how much complicated it was but I also understand the way to keep the song going and that wouldn't be done by adding a dramatic angst in the middle. That would mean that there should be a song in-between with their escape and that the second half of "remember them" would turn into a reprise of some kind. So yeah I understand that.

How Much Longer:

That song was also amazing and again not an event that happens to Odyssey but something that perfectly aligns with the spirit of it. Having Eurylochus openly disagreeing here and Odysseus taking him to the side to talk to him, the way that Odysseus comes up with a crazy plan before to groppel upon the castle that floats in the sky etc. It was a great foreshadowing on the actual events that follow which again seem to align greatly with the Odyssey and the events of it even if that itself is not linked to the material itself.

Done For:

Again one more song that I hyped over was "Done For". Harmonies were perfect, the way that the two of them have a duet, which is something that doesn't happen before in order to signify their aligning was amazing and the way Odysseus acts like a cheeky bastard there was something I adored. (Of course got crushed with "Other Ways" hehehe but the build up till there was great. To be fair "Other Ways" till that freaking "I can't!" or the whole "seduce so you can kill him" theme which also kinda ruined it fo4 me, was also a masterpiece to me, like I mention to another post of mine it would be great if the song was to signify their intercourse). The song was a perfect adaptation of the homeric poem for modern audiences (for it doesn't include everything like Odysseus drinking the potion, Circe being terrified and in wonder that her spell doesn't work on him etc) and it keeps the essential part of their interraction making it into a great choreography (with the exceptions of the "I have to protect my nymphs!" thing but again if that was the only change they made on it I wouldn't mind it so much at all in fact it is interesting that the nymph servants of the goddess mentioned in the Odyssey make a cameo here. Would i have liked that we wouldn't get a toned down Circe and instead we got her in her gray glory? Absolutely. But like I said if that was the only thing added here i wouldn't have minded it so much. Unfortunately though it was the whole Circe misadventure that was changed so yeah for me it was potential lost but i hyped at Done For).

Chorus of the Underworld:

Like you know I am one of the exceptions that wasn't impressed by the Underworld Saga and found it brushed off however the idea to add the dead men singing and bringing more guilt to Odysseus was an idea I knew Jorge would go with and he did and it was interesting. Not only the melody of that part was really beautiful and haunting but also the impact was great (I will just choose to ignore the part of "ruthlessness is mercy" and the "klling of cyclops" because of thesame reason that I didn't like the dialog between Athena and Odysseus before the revelation of his name). I also liked the parts of Odysseus's solos but for the rest of it again I think it would be more impactful to me if the original plot was followed more faithfully.

Tiresias song was good, very good actually, as a song but as I mentioned to another post of mine, too vague, too not answering anything.

The rest felt scrapped off. I would love to see at least one or two of the interractions of Odysseus with the dead especially his mother because as I mentioned before it is of outmost importance that Odysseus knew beyond doubt that his mother didn't just die waiting, she died BECAUSE she was waiting. And that has a big difference for me. But again that is just my opinion.

Aphrodite speaking of other types of love:

Gods Games is just a not for me for many reasons but the detail of Aphrodite mentioning a mother's love intead of romantic love was a great touch and amazingly changed from the usual reoccuring pattern of romantic love or passion. It was good that her arguement was based on a mother's love and pain and ironically Aphrodite herself is a mother who has children to protect

The final part of Love in Paradise:

The rest of the song was ak-ok for me (and thank the old gods and the new that at least THIS experience of Odysseus was kept faithful to the original up to one point. I mean the sexual abuse is not touched there directly but given the leap of time and the condition Odysseus is to the final part one can expect that it did happen maybe? I am talkng only on the perspective of the listener since I do not know the background info on it). In my mind it happens and the song just dodges to addrsss it like it happened before but as I said that is only me hearing THIS specific song not any other around it or the background info of it.

But the final part where Odysseus stands at the edge ready to throw himself at the sea to his death is definitely having me "FUCKING FINALLY!" and be so happy that they kept that dark theme at least! Because I simply loved that essence of the myth in the Odyssey and it was something I can absolutely see happening myself and contemplating it as a scene when reading the Odyssey; how Odysseus might possibly make more than one attempt against his life and Calypso stopping him somehow.

The rest of the song was okay as I said before and thankfully it was touching the homeric thing (I lso liked how Jorge chose to get there by having us hear the small portions of other songs as Athena "scans" although as I said the chole concept of "my goodbye" or something just didn't align to me) but the choice was really good but as I said before it was the final part that truly got me! With the final prayer to Athena which again would be something I would SO imagine myself Odysseus would do! In fact I myself imagining him doing it many times over!

That part was probably my favorite so far and is just a few seconds! Which again makes me wish more things were like that...

~*~*~*~

Anyways I believe that concludes it so far. Generally as you know I am not a fan and no I do not have problem seeing this as "different media" or "loose adaptation" or "retelling" or whatever. It just is not my cup of tea and I it doesn't need to be (and the fact that it is so changed beyond recognition of the original is what makes me think of it of yet another average "loosely based on" holywood film material and we have had enough f those already in my opinion of course). I still adore the harmonies the music the singers and such are amazing and the passion is apparent

Is just that I just cannot stand the butchering of the story to the point of literally being easy to replace the characters names and still with the proper background buildup the story can still be told! Because it is not the Odyssey anymore.

HOWEVER

No one said that I disliked every single bit of it. This is a small sample of things that I liked and a small reasoning why. I hope that helps

[thesiltverses]

Hi! Big fan. Wanted to ask-- how did yall develop the structure/audio style of the Silt Verses? Where did yall draw from? I love the show because it's one of the first really fresh, creative takes on the audio drama medium I've seen since Nightvale--your blending of diagetic & nondiagetic sound and dialog is very lucid and flowing; it's vivid and easy to follow *because* it's not so hung up on an in-universe explanation for why the audience can hear the characters and action. The montages especially are just exceptional.

Hi and thank you so much! The mix of diagetic sound, dialogue, narration, etc, has honestly been an evolving and organic aspect of the show rather than something that was drawn from a master-plan. We knew we wanted to do a full-cast audiodrama, but we'd never worked with actual sound design before, directly or indirectly (and we wanted to establish an intimate, confessional aspect to the storytelling that contrasted with the secrecy, lying, and spitefulness in Carpenter and Faulkner's initial exchanges) - hence the narrated segments, and we've dialled them up and down for various purposes as we've gone on.

The montages this season are, I think, more obviously and directly drawn from television; I'm a massive fan of the four-minute montage that closes out The Wire's season finale, which manages to cram in final glimpses of 15-20 protagonists and antagonists across a dozen different locations, demonstrating in a heartbeat who's managed to change their life for the better and who's repeating the same old cycles - while also underlining the fact that there's an entire vast world beyond the central cast, and life goes on there as well.

This is the kind of broad-scope, location-and-POV-jumping storytelling and worldbuilding that as far as I'm aware, we don't see very much of in audiodrama (I'd guess partly because audiodramas tend to focus in tightly on a few close characters, partly because creators understandably fear that the work will become incoherent or impossible to follow.)

But what's really interesting to me about that sequence is that while the montage is geared towards its own medium (including the very deliberate contrast between the silent conspiracies of the drug dealers and the noisy applause that greets the white-collar criminals and establishment figures), The Wire has previously worked to develop such a rich audio vocabulary that with a few tweaks, you really could make this scene work entirely without visuals.

We can already recognise the sounds of police brutality, corner boys yelling out the latest product, the horns of the cargo ships down at the docks, the smash of vials and the sound of running footsteps, we can hear the environmental shifts from a prison yard to a sterile office to the projects - and we can understand that these simple repeating SFX are conveying the central theme that nothing has changed in Baltimore but the players.

In other words, there's no reason you can't accomplish something as absurdly ambitious as that sequence in an audiodrama, so long as you've already done a good job of conveying the thematic and emotional significance of a few individual sounds to the audience - and I think that's really, really exciting for audio storytelling.

[marrywillson]

Unlock your business's potential with our top-tier web development services.

[mistamystic555]

Astro Observations - Part 2

🍂 Scorpio Rising: Walking Transformers

Scorpio rising individuals are like walking transformers, constantly evolving and adapting. Their intense and magnetic presence often leads them through cycles of transformation, allowing them to shed old skins and emerge stronger. This rising sign is all about embracing change and using it as a powerful tool for personal growth.

🧱 Capricorn Builders and Fixers

Capricorn placements, particularly rising, sun, and Mars, are natural builders and fixers. They have a knack for creating stable structures in their lives. However, when emotions run high, there's a risk of inadvertently breaking what they've built. It's crucial for Capricorns to balance their practical side with emotional awareness to maintain harmony.

🌬️Virgo: The Natural Caretaker

Virgos are the zodiac's natural caretakers and nurturers. They have a deep love for good communication and thrive in environments where clarity and understanding are prioritized. Their attention to detail and desire to help others make them invaluable friends and partners.

🎭 Pluto in Aquarius: A Creative Revolution

With Pluto moving into Aquarius, we're entering an era where more resources will be allocated to creatives. If you have Aquarius placements—rising, sun, moon, Uranus, Neptune, or Pluto—brace yourself for rapid changes. Aquarius and its ruler, Uranus, govern quantum physics, signaling a time of innovation and breakthroughs.

🚨 The Critical 29°: A Time of Change

The critical 29° in astrology can feel like a period of annoyance or tension, but it's truly a precursor to new beginnings. It's often referred to as the "anaretic degree," symbolizing the end of a cycle and the start of something fresh. Embrace this energy as an opportunity for transformation and growth.

1️⃣ First House Year: Embracing Self

When you're in a first house year, it's all about embracing your true self and balancing your relationship with others. This is a time to focus on self-discovery and personal development. Remember the mantra, "Be Kind!"—both to yourself and those around you.

🔦 Leo: Lighting Up Dark Spaces

Leos with prominent placements—Sun, rising, Venus, and Pluto—are natural beacons of light. They possess a radiant energy that can illuminate even the darkest spaces. Their charisma and warmth draw people in, making them natural leaders and influencers. However, it's important for Leos to use this light responsibly, ensuring they uplift others rather than overshadow them.

🌓 Cancer: Emotional Tyrants or Agents of Chaos?

Cancer placements—Sun, Mars, Saturn, and Pluto—are deeply emotional and sensitive. Without a productive outlet, these emotions can lead to chaos or tyrannical behavior. It's crucial for Cancers to channel their feelings into creative or constructive activities, such as art, writing, or nurturing relationships, to avoid becoming overwhelmed by their emotional depth.

🔌 Aquarius: The Pitfall of Detachment

Aquarius is known for its intellectual detachment, which can be both a strength and a pitfall. While this detachment allows for objective thinking and innovation, it can also lead to emotional distance. Aquarians should be mindful of using this detachment constructively, especially towards self-reflection and personal growth, to avoid alienating themselves from others.

🦋 Scorpio: Embracing Change for Evolution

For Scorpios, change is not just inevitable—it's essential. Embracing transformation allows Scorpios to evolve and reach their full potential. By letting go of what's no longer serving them, they can harness their innate power to regenerate and thrive, emerging stronger and more resilient.

🚵🏽‍♀️ Sagittarius: The Quest for Greatness

Sagittarius often aspires to be the biggest and the best, driven by a desire for adventure and exploration. However, this quest can lead to self-sabotage if they become too self-centered. When Sagittarians realize that not everything revolves around them, they often undergo profound spiritual transformations, leading to greater wisdom and understanding.

[pocketseizure]

Some of the stuff from the TotK Master Works would have been so great for the game that either Nintendo is struggling to understand what its fans want and cut a ton of stuff that fans craved, or some of this art was created specifically for TotK Master Works and isn't true concept art. Stuff on the cutting room floor is often tantalizing, but some of this seems too perfect for a game with a full development cycle. (Here's a rhetorical question) Seriously, why was some of this stuff cut?

I think that perhaps what you and I might call “nuanced writing” or even “intriguing worldbuilding” isn’t a concern for most people who play Zelda games. This is nothing more than my own impression, of course, but I get the sense that the vast majority of series fans care about one of two things: gameplay mechanics, or being able to see conventionally attractive young people have a happy ending.   

I don’t have an uncle who works at Nintendo, so I don’t have any special insight into the company’s decisions, but I’d assume the devs were aware they’d be competing with Final Fantasy XVI and Elden Ring. If I had to guess, I’d say that the decision to tone down the initial “dark fantasy” elements of Tears of the Kingdom was based on practical issues related to marketing. Instead of trying to beat FromSoft and Squaresoft at their own game, I think the Zelda devs wanted to appeal to the core audience of the series, and they considered that core audience to be professional gaming journalists obsessed with unique gameplay mechanics and creative influencers on social media who ship Zelda/Link.

Accordingly, I think the bulk of the artbook accurately reflects the primary concerns of the developers. There’s page after page of visual references for Link’s outfits and weapons, as well as sparsely annotated concept art for the temples and shrines. I’m still working my way through the 100+ pages of text at the end of the book, but most of what I’ve encountered so far is a basic summary of what we see in the game. In terms of the more “shocking” revelations, such as Sonia and Rauru having children, I can understand why these elements were cut for the sake of streamlining an already bloated product.

At the same time, I agree with your assessment that Nintendo seems to be struggling to understand what its fans want, and I think this is part of the reason why Tears of the Kingdom was awarded a slew of near-perfect reviews from gaming websites but then more or less forgotten by the broader culture.

[talonabraxas]

The Flower of Life

There really is some deep rooted symbolism behind this captivating image. Some say it’s representative of the union of the sacred Masculine and the Divine Feminine, the connectedness of all living things, and others see it as the cycle of life, death and rebirth. Let’s explore the depths of the topic.

Origins & Symbolism The origins of the Flower of Life trace back to the dawn of civilisation, where it is believed to have emerged as a symbol of cosmic order and divine harmony. Its precise origins are shrouded in mystery, with some attributing its creation to ancient cultures such as the Egyptians, where it was found in the temple of Osiris and said to contain a ‘secret code’ (underpinning the basic building blocks of the universe), and also the Sumerians, and the Greeks.

At its core, the Flower of Life is composed of multiple evenly-spaced, overlapping circles, forming a mesmerising geometric pattern reminiscent of a flower in full bloom. Within this pattern lies a myriad of geometric shapes, including triangles, hexagons, and pentagons, each imbued with its own symbolic significance.

The Flower of Life is often associated with sacred geometry, a branch of mathematics concerned with the study of geometric forms and their spiritual, philosophical, and symbolic meanings. It is believed to represent the interconnectedness of all living beings, the fundamental unity of existence, and the underlying order of the universe.

Spiritual Significance In spiritual traditions around the world, the Flower of Life holds profound significance as a symbol of creation and interconnectedness. It is often regarded as a visual representation of the divine blueprint of the cosmos, with each circle representing a stage in the process of creation.

Within the Flower of Life, one can find various sacred symbols, including the Seed of Life, the Tree of Life, all 7 Chakra systems, and the Metatron's Cube, each carrying its own symbolic meaning and spiritual power. These symbols are believed to hold the keys to unlocking higher states of consciousness, facilitating spiritual growth, and connecting with the universal source of energy and wisdom.

Healing & Transformation Beyond its spiritual significance, the Flower of Life is also associated with healing and transformation. It is believed that meditating upon the pattern of the Flower of Life can help to harmonise the mind, body, and spirit, promoting health, balance, and inner peace.

In recent years, the Flower of Life has experienced a resurgence in popularity, with many people incorporating its imagery into their spiritual practices, artwork, and jewellery. Its intricate beauty and profound symbolism continue to inspire awe and fascination, serving as a potent reminder of the interconnectedness of all things and the infinite possibilities that lie within the universe.

Modern Interpretations In the modern era, scientists, mathematicians, and artists have continued to explore the mysteries of the Flower of Life, uncovering new insights into its geometric properties and mathematical significance. Through computer simulations and mathematical algorithms, researchers have gained a deeper understanding of the complex patterns and symmetries inherent in the Flower of Life, shedding light on its underlying principles of order and harmony.

Furthermore, the Flower of Life has found its way into various fields beyond spirituality and art, including architecture, design, and technology. Its geometric principles have been applied in the construction of sacred buildings, the development of advanced engineering techniques, and the design of innovative products and structures.

The Flower of Life: Mysteries of Sacred Geometry:

[acti-veg]

something interesting about people arguing that boycotting mcdonalds is really easy and how you don't need mcdonalds is that these are the same people that argue that being able to buy mcdonalds meals is necessary for the survival of poor people. like I regularly see people argue that their dollar menu is cheap and makes it possible for poor folk to eat 'well'. so like if that was true (which, lets be honest, the people arguing this have never been poor a day in their lives are you kidding me I couldn't afford to spend a dollar on only 6 nuggets that's not even a full meal and has limited nutritional value. I would rather spend a dollar on a pack of pasta and at least get multiple meals out of it. but that's besides the point) then trying to tell people that they are being selfish if they can't afford to eat something other than mcdonalds (again, we know that mcdonalds is not the poor persons paradise they want us to think it is but I'm using their logic) is so messed up. shaming people who (by their own arguments) cannot afford to eat anything else for not giving up their (theoretical) only source of food.

the contradiction of their world views is so confusing like they are out here arguing that vegans are classist for demanding people give up mcdonalds for the sake of others then turning around and doing the same thing. I'm all for voting with my money but unlike these people I actually apply it to all aspects of my beliefs and activism not just when it's convenient for me/my message damn.

I've been doing this for a long time but it is still quite jarring to see this play out, over the past few weeks especially. The sudden widespread acknowledgement of the power of boycott, the rapid development in understanding of what it's aims are, and the frankly miraculous sudden realisation that asking someone to boycott a brand to the extent that they're able to is not actually classist, or racist, or whatever else they've decided boycotting animal products is for the last decade of discourse.

I am also depressingly certain that as soon as the current boycotts leave the media cycle and people stop talking about them, they'll go right back to 'no ethical consumption under capitalism tho' and insisting that individual purchase decisions or collective boycotts don't make any difference.

This is something we should be used to, we have all observed the fact that people (and especially leftists) don't apply their existing logic or values to animal agriculture. So much of it really is just talk, because as soon as you ask someone to examine their own beliefs and how they themselves may be contributing to worker exploitation, animal exploitation and environmental destruction, they slip about six grades in basic comprehension and go back to spewing rhetoric that they themselves would laugh at in any other context.

[viperwhispered]

Ngl I'm a sucker for postive characters development. So here's technically a bonus hcs for this ask: Jamil picks up skills that make it impossible for him to overwork.

During his 3rd year, he became the housewarden and FINALLY learned to delegate tasks. Because he's a paranoid king he still prefers do things himself, but now he can identify capable people and put them to work in accordance to their skills. He'll die before admitting, but its something he picked up from Azul.

With Vil he learned how to keep up appearences without letting his boundaries get stomped all over. No, he won't let show how much he despises someone but at least now he can at least properly maintain his own demands without officially offending anyone.

With Riddle he learned the noble art of letting someone know exactly what you think of them with just a look and certain way of sipping tea.

During his travels post-grad and post-freedem, he stops by Briar Valley. Malleus, always happy for the chance to play host, invites him to stay at the castle. While in Malleus' court, he learns how to properly organize all responsibilities within a reasonable time frame of 9 to 6 with a 1 hour lunch break. Any overtime is reserved strictly for emergencies (based on this).

At the end of his travels, Jamil gets convinced to join Leona on his campaign to reform the slums. Because Leona is still one lazy son of a bitch he somehow manages to develop a work/organization system that is so effective that all Leona has to do is occasionally wake up for paperwork and meetings. Said system also includes enough personnel for every type of situation, benefits + good pay for everybody, a 24-hour work schedule with constant rotations to prevent exhaustion, etc. Jamil is in the background taking notes on every little detail of this system.

Skip ahead, Jamil is now working as Kalim's vizier after grueling negotiations of his work contract so that he isn't treated like corporate slave (Kalim is fine with it, its the rest of the nobles who need shutting up).

Jamil proceeds to reorganize the staff according to a modified version of Leona's system and productivity goes up. Helps that he modified their employment contracts so that the staff are treated like staff and not slaves. He also bans child labor and any poison testers are experienced in identification, treatment, and have practiced mithridism. Jamil's absolute refusal to do overtime unless absolutely necessary along with being the only one to bluntly keep Kalim from doing whatever he wants pisses off a lot of higher ups but they can't argue because he's by far the best vizier they could ask for.

Cut to Kalim, who the nobles believe will punish Jamil for daring to "act above his station". Instead Kalim adopts the 9 to 6 schedule himself and orders a mass reorganization of work policies. Why? Because Kalim loves his bestie, wants to help people, and also likes having time to spend with his family. Previous Asim heads would just pass on their extra work to advisors and viziers which caused them to be constantly stressed andoverworked. Kalim is determined to break this cycle.

Ironically, this causes an unintentional employment rights movement all over the country. Staff are demanding contract modifications, better employment benefits, legal reforms to protect their workers rights & their children, etc. Workers unions are popping up all over and the nobles are getting their asses kicked. There are so many protests that the government has no choice but to accept in order to prevent a full-on revolution. Again this was all unintentional, but that doesn't stop Kalim from jumping in as a major supporter with a fondly exhasperated Jamil following behind.

A quibble at first: now I'm far from a Leona expert, but I'm inclined to believe the folks who talk about his supposed laziness as being more of a defense mechanism or a depression symptom. Because why put in the effort it doesn't pay off, anyway?

On the other hand, I love it how I pretty much knew which post you were gonna link for Malleus before even clicking it.

This makes me wonder tho. Jamil is indeed the sort to pay attention to others and what they do. I do wonder if we’ve seen any in-game examples of him picking up “tips” or habits from others in a manner similar to this. 🤔 Can’t think of anything off the top of my head, at least, but it doesn't seem like it would be out of the question.

“He'll die before admitting, but it's something he picked up from Azul.” Yeah definitely. What, the shady man who ruined his plans in book 4 might actually have the right idea for once, to the extent that Jamil would adopt it? Yeah definitely not something he’s gonna broadcast, at the very least.

I mean Azul and Jamil can be such a well-oiled machine when they want to be, and Jamil’s practical enough to recognize that when their plans align (as we’ve seen in events I believe), but… yeah.

Considering this rant of mine, tho… Yes, I'm all in for the workers’ revolution. 

(Tho now I'm also thinking of Jamil going all “chaos is a ladder” about it. Definitely not as a public face or anything, but attempting to capitalize on the situation nonetheless.)