#Full-cycle product development

[fenebris-india]

Noida Startups: Here's How to Choose the Best Android App Development Services for Success

Building a successful mobile app isn't just about hiring developers. It’s about choosing a partner who understands your product vision from the ground up. For many startups and businesses, especially in fast-growing markets like Noida, this choice can determine whether their app becomes a market hit—or just another icon users delete. That’s why finding the best Android app development services in Noida is more than a tech decision—it’s a business-critical one.

The Problem with Fragmented Development Approaches

Many companies start app development by simply outsourcing a team of coders. It seems efficient, but often leads to problems. The development may start fast, but once challenges arise—such as shifting requirements, scalability concerns, or user feedback—projects slow down or fall apart. Why does this happen?

The issue often lies in working with teams who focus only on the development stage, without thinking about the product lifecycle as a whole. Coding an app is just one part of the journey. What about user research? UI/UX design? Testing? Maintenance? Without these phases tightly integrated, the result is an app that may look good but fails to solve real user problems.

This is where the value of a Full Cycle Product Development Company becomes clear.

What Is Full Cycle Product Development—and Why It Matters

A Full Cycle Product Development Company doesn’t just build apps—they build complete solutions. From ideation and product strategy to design, development, testing, and post-launch support, every step is handled by a cohesive team. This ensures that nothing is lost in translation and your product evolves in sync with your business goals.

Take for example Fenebris India, a company offering full-cycle development services. They don’t just deliver a final app—they guide clients through research, MVP planning, prototyping, user testing, and product optimization. This approach reduces risks, shortens time to market, and increases the chances of product-market fit.

If you're looking for the best Android app development services in Noida, choosing a full-cycle development partner like this gives you an edge over competitors relying on disconnected teams.

Android App Development: Why Expertise and Context Matter

Android powers over 70% of smartphones globally. But developing for Android is not just about writing code for the latest OS. It involves dealing with hundreds of screen sizes, hardware configurations, and user behaviors—especially in diverse markets like India.

Teams offering the best Android app development services in Noida understand this complexity. They bring experience in building for local user expectations, optimizing for low bandwidth scenarios, and ensuring performance across devices. More importantly, they don’t just “build and hand over.” They engage in performance monitoring, bug tracking, and iterative updates to ensure the app thrives post-launch.

Companies like Fenebris India combine this Android expertise with product thinking. This means your app is designed not just to function, but to grow.

The Cost of Not Thinking Long-Term

Many businesses underestimate the hidden costs of working with teams that don’t offer full-cycle support. What seems like a budget-friendly choice in the beginning often leads to long-term headaches—missed deadlines, poor UX, or even complete project rewrites.

On the other hand, full-cycle development might appear costlier upfront, but it saves money by reducing the need for rework and ensuring your app is aligned with business objectives from day one. You're not just buying code—you’re investing in product success.

How to Make the Right Choice

If you're a startup or business based in or near Noida, here are a few questions to ask before choosing an Android app development company:

Do they offer end-to-end services or only coding?

Can they help with product discovery and market research?

Do they provide post-launch support and iteration?

Have they worked with clients in your industry or similar markets?

If the answer is “yes” to most of these, you’re likely dealing with a company that can be a real growth partner—not just a vendor.

In a tech-driven ecosystem where user expectations evolve quickly, having access to the best Android app development services in Noida through a Full Cycle Product Development Company in Noida can dramatically increase your chances of launching a successful app.

Final Thoughts

The journey from idea to product is long—and filled with decisions that shape the future of your business. Choosing a partner who understands every stage of this journey is essential. In Noida’s thriving tech scene, there’s no shortage of developers. But those who combine Android expertise with full-cycle capabilities? They’re the ones who turn great ideas into real impact.

Whether you’re building your first app or scaling your tenth, partnering with a team that brings full-cycle thinking to the table could be the smartest decision you make.

[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.

[blackberry-sage-tea]

I don't think that Veilguard is a product of developers who didn't care. I feel like it's a product of developers who cared so much that they were willing to do anything and everything to get the game finished. Even if it involved a million concessions. A million compromises. An FPS game engine that had to be twisted far beyond what it was designed for, a set of assets and mechanics and art style created for a polar opposite game to the "gritty" singleplayer narrative they were making. With all the core veterans of the series that shaped its identity having been driven out or fired, and the ones remaining either inexperienced/unskilled in their new roles or burned out beyond belief to the point where they actually felt they needed a "fan council" to advise them on writing it.

I think they wanted so badly to deliver on the promise of DA4 that they kept going even as (imo) everything that would have made DA4 worthwhile got stripped out of the game.

I know a lot of people think of that as a miraculous achievement, "at least it Got Made", but personally "a hypothetical great DA4 that just sadly never got finished" would have been better than "the shitty DA4 that every new piece of fan content is now obligated to include or reference in some way by virtue of being the capstone finale to the series".

Especially because getting it made didn't...save their jobs or the series or anything they still got fired and the studio still got shuttered. Sometimes "cut your losses", "listen to your regrets", and "the little wins aren't enough" are acceptable things to say. So much of Veilguard's script feels like it's full of the mantras that the development team was telling themselves over and over just to get through a hellish cycle and you know, I think a lot of those messages are wrong, actually. I'm not looking to be judgmental, in that position I might have made the exact same choices, but looking in from the outside I think it was a mistake to just keep going at any cost.

[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]

[iwacura]

when we say RGU is about "the cycle of abuse", we refer to gender-based violence, particularly perpetuated through "romance" (or a manipulation of it), and even more particularly through incest and grooming—and i have no intention of erasing that because it clearly is the central theme of the show. but part of me wants to focous on the idea of RGU representing political cycles, too. on taking the word "revolutionary" by its communist meaning. because weirdly enough, the way the anime conceptualizes time, history/myth (if they can even be separated), eternity and cycles is so....marxist?

i can't stop thinking about utena as a girl born within a system that lives off of exploitation—akio's exploitation of anthy as the archetype, and all others who emulate it. and she is so desperate to liberate her from that exploitation, to revolutionize ohtori. she is full of drive and good intentions, but so were all the other duelists that came before her. all the others that upon reaching the last duel—the duel named Revolution—allegedly were told by akio give up your sword, abandon your aspirations to revolutionize the world, and instead join me as my bride at the top of the tower. and they did, only to last two or three years as akio's chosen princesses—like kanae (re: The Palace Perspective)—and then be discarded. like so many socialists that get convinced by parliamentary social-democracy and abandon communism for reformism, only to last what? a brief decade-long political cycle and then get replaced. the Podemos and Sumares. the Die Linke to be. all leftist parties in mult-party systems that claim to be moved by good intentions but end up achieving nothing because they don't pose an actual alternative to the bourgeois system—they've just joined it. and the cycle continues.

except with utena, the cycle breaks. because she refuses to participate in the exploitation, rejects the system, and leaves to find an alternative. she is utena, the revolutionary girl, in the communist sense. her actions destroy ohtori entirely—as the school's power is founded on convincing its prisoners it is the only real world. ohtori is a parallel to capitalism in this case (bear with me on this).

in the post-soviet era, after the existing alternative of a socialist state was crushed, there spread a general idea that. this was it. "there was no other alternative", as Margaret Thatcher's campaign motto kindly put it. socialism didn't work in the USSR, which means it will never work, and we are stuck with capitalism forever. this thesis is famously developed in Mark Fisher's Capitalist Realism, that picks up from Zizek and Debord's concept of the "perpetual present" (*). it is also the control device akio uses to get no student to leave, trapped in the stasis of adolesence forever, where they are easily exploitable. that is, until utena reminds them that an alternative is possible, that abandoning the exploitative system is feasible. you could say she restored class consciousness.

this ties into RGU's thesis of "eternity as something fake", too. in a way that this post explains better than i could:

"There is no such thing as something eternal" is reframed as a positive. eternity is Not Good. eternity is everything staying the same forever, never changing for the better. it's the opposite of revolution. it's what akio wants, perpetuating the system that benefits him at the cost of everyone else forever and ever. and no matter what utena might have thought, it is not what she wants. —transmascutena

"Perpetuating the system that benefits him at the cost of everyone else forever and ever" is just capitalism. and the relationships of abuse he subjects his students to should be understood as an iteration of capitalist relationships of production (not literally, as students aren't workers akio is stealing surplus value from. im just trying to say the dynamics of exploitation are very much the same im both cases). ohtori isn't eternal. ohtori is the opposite of revolution. capitalism is just the same. and utena's role within the story is to shatter it.

and there's also the whole double meaning of revolution RGU uses, that is also so post-soviet (or postmodern if you want to open the chronological window). revolution as change, and revolution as cycle. but aren't those contradictory? once upon a time they were, when marxist's viewed history as a linear succession of modes of production. slavery > feudalism > industrial capitalism > communism. a stable accumulation of progress, if you will. but pretty much no marxist stands by that conception today, except they very dogmatic ones. instead we see revolutions—revolutionary experiences—and a part of a cycle. things change, but the change is not final, not stable. we must continue to polish our methods, change again and again in the future. instead of linear history, a spiral. hopefully a staircase going up.

and we could interpret "nothing is eternal" in a different way too. marxian thought was based upon a specific idea of "man", a supposition of what "human essence" entailed—allegedly stable from the appearance of homo sapiens till the explosion of the sun—that guided Marx when envisioning the future under communism. and what is eternity if not that? an essence that remains unchanged no matter how far into the past or the future you go? post-soviet times have destroyed any belief in an unchanging "human essence". nothing stays forever. RGU shares this vision too, trying to chase eternity—or human essence—is futile. though i admit this point is more controversial philosophically speaking as some people still do consider "human essence" to be worth defining.

(*) and to warp it up, i bring up Debord because his Society of the Spectacle has definitions of history, spectacle, myth, eternity, cyclical time....so similar to RGU's. im not going to get into it because the audience for this post is already basically just. me. but maybe another time. here's a sneak peak from Theses 127 & 131 so yall get what i mean. read this while thinking about the Himemiyas as mythical (whether genuinely, or as akio's pretension doesn't really matter, because he weaponizes it either way) and using their magical role in the story to shape it world:

Eternity is within this time, it is the return of the same here on earth. Myth is the unitary mental construct which guarantees that the cosmic order conforms with the order that this society has in fact already established within its frontiers.

The masters who used the protection of myth to make history their private property did so first of all in the realm of illusion. In China and Egypt, for example, they long held a monopoly on the immortality of the soul; and their earliest officially recognised dynasties were nothing but imaginary reconstructions of the past. But this illusory ownership by the masters was the only ownership then possible, both of the common history and of their own history. As their real historical power expanded, this illusory-mythical ownership became increasingly vulgarised. All these consequences flowed from the simple fact that as the masters played the role of mythically guaranteeing the permanence of cyclical time (as in the seasonal rites performed by the Chinese emperors), they themselves achieved a tive liberation from cyclical time.

[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

[zorlok-if]

Werewolves and Lycanthropes in the Zorlok Universe

A look into some of the facts and fiction surrounding lycanthropy.

(Full text below the cut.)

Lycanthropes: Fact and Fiction

Written and distributed by Haru Kurokami on behalf of the International League of Nonhumans

Fiction: Lycanthropy is a disease.

Fact: Lycanthropy is a genetic and hereditary condition. Some scholars view lycanthropes as an evolution of humanity while others consider them a hybrid of humans and fey creatures. It is often passed from parent(s) to offspring, but some lycanthrope parents have human children. This occurs most often when only one of the parents is a lycanthrope. On the other hand, the lycanthropic gene can lie dormant in a family line for generations only to randomly manifest in a child of human parents.

Fiction: Lycanthropy began as a curse afflicted upon the mythological kin killer, Lycaon.

Fact: This myth is nothing more than that, a myth. There are two common explanations for the origin of lycanthropes. The first is that they, like many other species of nonhumans, are the product of human and fey crossbreeding. The second is that the original lycanthropes were human mages who used lunar power while attempting to merge themselves alchemically with animals.

Fiction: If a human is bitten by a lycanthrope, they will turn into a lycanthrope during the next full moon.

Fact: The concept that lycanthropy can be spread—through biting or any other means—was a false idea intentionally invented by early Slayers to demonize all shapeshifters and encourage public sentiment to favor the persecution of nonhumans.

Fiction: The transformation lycanthropes undergo is always agonizing. / There is no pain associated with the transformation.

Fact: Lycanthropes start shapeshifting when they hit puberty. For the first several years, the transformation is extremely painful, though the first is always the most agonizing. With time, the transformations become less jarring and the pain becomes more manageable.

Fiction: Lycanthropes only transform under the light of the full moon; at which time they lose all human sapience. There is no way to prevent this bestial transformation.

Fact: Lycanthropes are compelled to shift with the lunar cycle—always during the full moon and occasionally for a day or two on either side of it, depending on how close the moon is in its orbit. These transformations don’t necessarily begin at nightfall. They are triggered by the moonrise which rarely coincides perfectly with sunset. Most lycanthropes aren’t solely reliant upon the moon to transform. Once a lycanthrope has been shifting for at least a few months, they’re able to transform at will. Importantly, a lycanthrope’s mind is unaffected by their bodily transformation. The idea that they lose all sense and thought was another lie devised by Slayers to frighten humans. There are enchantments and spells lycanthropes can use to ward off the compulsion to transform [ 1 ].

Fiction: When lycanthropes transform back into their human forms, they look the same.

Fact: After each transformation, the lycanthrope’s skin is covered in stretch marks where their body and face were forced to grow, twist, and elongate. However, thanks to their accelerated healing, the stretch marks vanish within a few hours. Still, you can always tell if someone has recently transformed by the presence of these marks.

Fiction: Wolfsbane and silver are the only things that can injure a lycanthrope. They cannot ingest wolfsbane or touch silver, even in human form.

Fact: Wolfsbane contains a potent neurotoxin known as aconitine. Lycanthropes are naturally resistant to most poisons and diseases, so humans are actually more likely to be affected by wolfsbane than lycanthropes. As for silver, almost all lycanthropes are allergic to silver. Lycanthropic healing does not work on wounds inflicted with silver, but any metal can injure them. If they were to hold silver for an extended period of time, they may develop a rash, but little more than that.

Fiction: Lycanthropes have supernatural strength, speed, and senses.

Fact: Lycanthropes tend to be faster and stronger than the average human though they aren't as strong or fast as fey creatures. If humans and fey creatures were two ends of a spectrum for physical ability, lycanthropes would lie about midway between the two, if not a little closer to humans. They have accelerated healing abilities which are affected by the lunar cycle. This means that around the full moon, lycanthropes can heal wounds almost instantaneously, but around the new moon they heal slightly faster than humans do. Lycanthropes’ senses are more acute than humans, but their strengths tend to be related to the type of were-animal they shift into. For example, werewolves and werebats are known for their hearing while werecats and werehawks are known for their eyesight. Most lycanthropes can see in the dark and have a tapetum lucidum, the special membrane that causes eyeshine in most animals.

Fiction: Lycanthropes turn into animals. / Lycanthropes turn into monstrous versions of animals.

Fact: When lycanthropes shift, they are not turning into animals, though they will appear as a hybridic version of an animal and a humanoid. Werewolves, for example, develop lupine features, are covered in thick fur, and grow long claws but they aren’t wolves, nor do they look exactly like wolves. Most lycanthropes are still bipedal in their hybridic form and will be larger than they are in their normal human form regardless of the natural size of the animal they look like.

Fiction: All lycanthropes are werewolves.

Fact: It’s unknown just how many variants of lycanthropes exist in the world, but there are many different kinds. The most common lycanthropes are werewolves, werecats, and werebears. Lycanthropes will always turn into the same were-animal and cannot control what type of lycanthrope they are. It’s also worth noting that the animal lycanthropes seem like, isn’t always the same as their parent(s)/ancestors. It’s possible for a weredragon to be descended from a human and a weregoat while a werewolf might be the offspring of a wererat and a werehawk.

[ 1 ] These aids are a polarizing topic in lycanthropic communities. Most see them as viable options for those who don't want to transform. Others see their usage as a denial of one’s nature and suggest that failing to transform and falling out of sync with the lunar cycle can negatively impact one’s health.

[bakerstreetdoctor]

MPREG

Okay, got the gunshots out of the way.

I wanted to make a more detailed post series on my mpreg AU. I'll start off with the bodily aspects in this post, will talk about the socio-psychosexual factors in the next reblog instance of it and in the third one I'll sketch out the historical and social development of the mpreg ability in my AU.

Origin

So, as you all know, I'm determined to get that dead king pregnant and make him suffer. So in January 1709 Karl XII of Sweden, undefeated commander of his army, in the midst of a really shitty winter, is hit by... an undetermined cause (We gotta get this shit somehow off the ground idgaf if it's like a CRISPR virus or a supernatural curse lol. It's probably a curse because that's what makes sense in the context of my fanfic and explains part of the changes, but I'll try to look at it analytically anyways), which causes his Y-chromosome to mutate into something that I'll call a Z-chromosome. This caused him to undergo a number of biological and psychological changes, which will be explored further in this post both in the general description of the condition as well as what's specific to Karl as the first to carry this mutation.

Second Puberty

The expression of the mutation occurs during what is known as second pubery, which can typically happen from anywhere between the ages of 12-18. Up until that point the mutational carriers appear fully functionally male and except for the changes to their pelvic area go on to develop the male type of musculature, larger size, a deep voice and body hair. The changes are typically accompanied by abdominal pain for several months and are comprised of a loss of erectile, sexual and reproductive function of the penis and testes, and a remodeling of the rectum into a structure capable of typical female reproduction.

The anal sphincter is shifted upwards and the exit, now named the anal fold, turns into a slit nestled between the cheeks, capable of greater extension than the prior sphincter but with less retention capability, that can slightly swell with arousal. The prostate enlarges and attaches to the ventral wall of what is now the so called pseudo-vagina. It lubricates the channel in varying quantities depending on arousal or function. The mutational carrier can be brought to orgasm via the internal stimulation of the forward facing and prostate-adjacent wall of the pseudo-vagina.

Beneath the internal sphincter and above the prostate the uterine bud begins to form on the ventral side of the former rectum and develops into a uterus with oviducts and ovaries. The cervix opens into the pseudo-vagina, which experiences changes to the musculature and the consistency of its mucous membrane. After fully growing the new structures a menstrual cycle will set it, similar to a woman's after 0.5-3 years after the start of second puberty. To make room for the uterus the bladder shrinks noticably.

While still needed to urinate, the penis is no longer sexually arousable and the testes cease production of sperm. Stool is now retained at the new position of the internal sphincter. During defecation the sphincter pushes forward and covers the cervix, while great amounts of lubrications are secreted by the prostate to facilitate the semi-passive passage of stool through the pseudo-vagina. Yes, farting is really awkward queefing.

The only outward signs of the mutations are a retention of a full head of hair even into old age, and the earlier the second puberty starts, the more feminized the hips are, with some mutation carriers having a near identical pelvis to women, while others have a typical masculine shape.

Reproduction and pregnancy

Before second puberty the mutational carriers are capable of engaging in typical male reproduction with women with the noticable difference that they produce X and Z sperm. Thus the resulting children are either normal girls, or more XZ mutational carriers.

After second puberty during meiosis only Z ova end up ripening into a fertilisable state, and due to some quirk I've not given too much thought about yet, only accept X sperm, therefore the gestational reproductive role only enable the production of more mutational carriers.

Pregnancy only lasts around 30 weeks and the newborn are accordingly smaller, but internally fully formed. The difference in development compared to regular newborns is usually caught up on within half a year. During the pregnancy the milkducts begin to develop more fully and the nipples enlargen. No female breast shape is reached due to lack of fat tissue, but a noticable swelling develops at around month 4. After breastfeeding is discontinued the breasts will reduce in size again, the nipples will however remain unchanged from their new appearance. Depending on how masculinized the pelvis is the earlier the loosening of the symphysis and sacroiliac joints starts and can take on extreme forms up to several weeks or even months of complete incapacity of walking and sitting before and after birth.

Anomalies in Karl's development

Since the mutation only latched onto Karl at the age of 26, it hit him full force and he underwent the developments outlined above within a month. His receding hairline recovered under the influence of the new gene expressions. Until he finally carried a pregnancy to term nearly five years later, his ovaries were serially producing eggs, making him capable of conception at any point, except for the two times he fell pregnant, but those did not result in the birth of live offspring since the first was miscarried and the second terminated. Only after the successful birth did he start a menstrual cycle.

-

Oki uwu that was it! If you have any questions or comments, feel free to ask them. I'll put my crude drawing of the anatomy under a read more

Oh god I'm a real adult with a job who pays taxes

[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]

[fenebris-india]

Why Startups Fail Without Full Cycle Product Development – And How to Avoid It

In today's fast-paced digital landscape, launching a startup is easier than ever—but sustaining it is an entirely different game. One of the most common reasons startups fail is poor product execution. A brilliant idea without proper planning, development, testing, and scaling often leads to early failure. That’s where Full Cycle Product Development becomes crucial.

If you're a startup founder or entrepreneur, this blog will walk you through why skipping full cycle product development is risky—and how adopting the right approach, possibly through a trusted full cycle product development company, can dramatically increase your chances of success.

What Is Full Cycle Product Development?

Full Cycle Product Development refers to the end-to-end process of bringing a digital product to life. It includes:

Ideation and planning

UI/UX design

Frontend and backend development

Quality assurance

Deployment

Post-launch support and scaling

Startups that treat product development as a one-time task usually miss the ongoing evolution required to meet market demands. A full cycle product development service ensures that every stage is handled carefully with long-term growth in mind.

Why Startups Fail Without Full Cycle Product Development

1. Lack of Strategy and Structure

Many startups jump straight into development without validating their idea or planning for the full journey. They may build an MVP quickly, but without user research or scalability in mind, it becomes a short-term solution. A proper full cycle approach helps define the product roadmap, ensuring you're building the right product for the right market.

2. Inconsistent User Experience

Startups that outsource isolated parts of their product development (e.g., only frontend or backend) often suffer from misaligned components. This can result in poor UX, app crashes, or compatibility issues. A full cycle product development company provides a unified team that handles everything cohesively.

3. Skipping Quality Assurance

Rushed product launches without testing lead to bugs and user frustration. Startups often underestimate how much damage a glitchy app or website can cause to their brand. Full cycle development includes continuous testing, helping to maintain product quality at every stage.

4. No Room for Scaling or Adaptation

Startups evolve fast. What works for your first 100 users might not work for the next 10,000. Without a scalable architecture and long-term tech planning, products collapse under growth. Full cycle product development services build systems with future needs in mind—saving time, money, and technical debt.

The Role of AI in Full Cycle Product Development

With the rise of intelligent applications, integrating artificial intelligence is becoming a competitive advantage. Whether it’s chatbots, recommendation engines, or automation tools—AI is shaping user expectations.

If you’re exploring advanced features, working with an AI development company in India can bring cutting-edge capabilities at a cost-effective rate. From AI-driven analytics to smart user behavior predictions, these integrations are best introduced during the early planning stages—making full cycle development essential.

Partnering with a trusted team that offers AI development services in India ensures your product isn’t just functional, but also forward-thinking and future-ready.

How to Avoid Failure: Choose the Right Development Partner

To avoid the common pitfalls of product failure, choose a company that doesn’t just code but thinks like a product partner. Here’s what to look for:

End-to-end expertise (design, development, deployment, support)

Agile methodology to adapt to user feedback

Strong focus on user experience and scalability

Proven track record in both traditional and AI-based solutions

A reliable full cycle product development company will not only help you build your product—they’ll help you make the right decisions at every step, from idea to scale.

Final Thoughts

Success in today’s startup ecosystem isn’t about who launches fastest. It’s about who builds smartly. Skipping over full cycle product development might seem like a shortcut—but it’s often the road to failure.

If you’re serious about your product, invest in a process that’s designed to support you through every phase. Whether you’re building a marketplace, SaaS app, or AI-driven platform, choose a full cycle product development service that aligns with your vision and understands your users.

In a world full of MVPs that never make it to Version 2.0, let your startup be the one that thrives—not just survives.

[marrywillson]

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

[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 Specialist Skill and has a different weapon of choice. That's what their designs mainly reflect. I'll talk more about Specialist Skills 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 Undying Flame and that's what prevents the School Invaders from attacking 24/7.

When the School Invaders get past the Undying Flame, the students will need to repel them. The students aren't informed about the academy's or the Undying 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.

[bloom-wellness-group]

SURPRISE DROP: BLOOMEASE HAS ARRIVED.

[BLOOMVERSE TIMELINE – WEEK 6, DAY 1 | 7:00 a.m.]

“Let Life Bloom Within You.”

— A Nurtiva Labs Initiative

This morning, Nurtiva Labs quietly unveiled its most intimate and sacred enhancement suite yet: BloomEase—a full-cycle fertility and pregnancy enhancement line rooted in nature, touch, and transformation.

Crafted for those ready to embrace maternal power, every BloomEase product is designed to honor the curves, cravings, and connections of becoming something more.

---

THE BLOOMEASE LINEUP:

1. BloomEase: Seeded

All-Natural Fertility Lubricant

Guarantees insemination after intercourse

Herbal warmth draws seed to egg, enhances cervical readiness

Subtle vanilla & rose scent

“Let every drop count.”

2. BloomEase: Quickening

9 Weeks to Full Term

Accelerates pregnancy from 9 months to 9 weeks

Weekly changes include belly growth, lactation, nesting urges, and libido swings

Begins with a tingle in the womb—ends with a swollen, glowing goddess

“From seed to cradle in nine weeks.”

3. BloomEase: BroodBurst

Advanced Multiples Fertility Serum

Induces twin, triplet, or higher gestation

Belly expands aggressively, breasts swell to match

Designed for surrogates, fertility dommes, and extreme maternity lovers

“Some wombs were built to carry more.”

4. BloomEase: Bondroot

Sacred Belly Massage Oil

Heightens sensitivity of the womb and belly

Touch induces emotional and sensual bonding

Partners applying it may feel phantom kicks and maternal warmth

“Feel everything.”

5. BloomEase: Afterglow

Post-Birth Recovery Chew

Preserves the motherly figure: hips, breasts, and a soft belly

Eases recovery while keeping the sensual glow

Enhances lactation and sexual confidence post-delivery

“Keep what you’ve grown.”

BONUS COLLABORATION:

6. BloomEase: Prenatal (In partnership with GummiForm)

A fruit-forward pregnancy gummy for comfort and curve.

Reduces nausea, boosts appetite, and encourages gentle body expansion

Enhances bust, thighs, and hips throughout pregnancy

Breastmilk develops a naturally sweet flavor for feeding or play

“Grow with grace.”

---

Now available exclusively through Nurtiva Labs.

A new cycle begins.

#BloomEase #WombBloom #PregnancyEnhancement #NurtivaLabs #FertilityFlesh #Quickening #Mothercore #TheBloomverse

[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.