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centrally-unplanned · 28 days ago

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I have been taking my fit-and-starts second stab at playing Victoria 3 - I did a Japan run, and a Korea run, and this is a very frustrating game. It bothers me because its deep core is probably the best of Vicky so far. It understands that the appeal of these game is Factorio-esque; you want to build up this cool little supply chain that goes chug chug chug I make-a the widgets and numbers go up.

Vicky 1 was ofc just pure cheese; most goods could just be dumped on the global market with no buyer and do fine, certain goods were just hard-coded to be profitable, and insane things like 100% of import costs coming out of the government's budget pushed you towards a kind of samey, slapdash hyper-industrial mercantilism. Vicky 2 was the opposite - so opaque in its function that you as the player didn't really have agency over it, as the vaunted World Market just does its thing. Your strategies "worked" no matter what you really did though, so you just kind of followed basic "build factory in same territory as RGO" logic and let the system run itself. Both of these systems made for functional-but-not-exceptional gameplay loops.

Vicky 3 is more complicated than its predecessors, but in ways that makes how the economic system functions more concrete. You have local prices for goods, wider markets with clearly labelled high-and-low demand, and clearly defined "production methods" where buildings can commit to better tech at the cost of different inputs. As a player you can build factories, farms, and mines of a dozen different types anywhere, so you always have agency - and those new production lines gives you goals. Invent steel tools, so now your tooling workshops can make more tools but will need steel instead of iron as a input? You can switch over the lines...but make sure you have enough steel mills! And oh, that drives down the price of tools once you do it...so now your cattle ranches can justify switching their line to tool-assisted butchers! And now you make more meat, your local cost is low, but oh in the Russian market meat prices are high - as shown by that little gold coin icon it - so you can export it now!

Things are looped, contingent, and based on your decisions. It is simple, of course, you are making lots of little, easy calls that build you up over time - which is what makes it fun. It has to be simple, because otherwise it is a dizzyingly complex web of a million markets, it would never work. You feel like you are actually building the economy without being overwhelmed by it.

Which would be great if it wasn't stapled to one of the worst political & military systems I have ever seen, played with a UI God abandoned in shame.

So you can join the markets of other countries? Like you have your own market as a default, so you can click the "market" tab and it will show you how much wheat your country makes, how much iron it buys, etc. All good. But if you join another country's market, now that tab shows the collective market, everyone's wheat, iron, etc. Useful but like obiously I am not playing the market, I am playing the country; so how do I see how much wheat I make?

You can't.

You actually can't! Idk maybe they patched it in recently, but I couldn't find it and all the reddit threads I google from 2023 say you can't. Are you planning to declare independence and wanna see if you make enough food for your people? Too bad! Fuck around and find out I guess. I saw one thread where someone's advice was "save the game, declare independence, screenshot the new market, then reload". Quantum timeline level of experimental design going on in these guys' Bureau of Labor Statistics.

It isn't even the gameplay implications that bother me the most - this is a game about building an economy. You want to see what you built! And they stop you. It is baffling, and is just the tip of the iceberg - there are so many things like this. One of my favourites is that your "construction sector" is a hybrid of government and private projects, sometimes it is you spending the money, sometimes investors. Okay, cool, when it is you spending it comes out of your treasury, right? Well, yes, but the way they show that is when everyone spends it comes out of your treasury, but the private sector reimburses you for their share. Which you will not understand your first ~3 games, and instead just see huge red numbers on your budget screen and panic. And you are just left asking why? Why do that?

Beyond UI, the political system is just half-baked. It is "interest groups", each has baseline popularity, and verrrry slowly that changes as your economic structure changes (or revolutions). And to change laws you initiate campaigns to drum up support with roll dice to pass/fail. Which isn't a bad baseline, but it completely fails to capture how political change occurred in the era. Like the Meiji Restoration is "done" by you putting industrialists in power and kicking out the "landlords" lol. Japan didn't have industrialists then! Landlords are the ones who did the restoring of Meiji.

More importantly than inaccurate it isn't fun - to change a law you just arrange a coalition in power than kind of backs it, then pray you get good random events. In Vicky 2 they had a lot more railroad-style decisions and stuff you could do to capture history, "hit this military score benchmark and launch a civil war" kind of stuff. It wasn't complicated, and it was less organic, but it was pro player agency, you could take active steps to achieve it. In Vicky 3 it is mainly waiting or cheese - people often talk about getting the Meiji Restoration by deleting all your armies at game start and launching a civil war immediately that the AI will lose by default. A checkbox decision is better than that!

The military mechanics are the epitome of their "systems over gameplay" approach. What they wanted to do was two-fold; reduce micro in Vicky 2 where it is "click army to province" over and over, and "balance" the game by making combat not reward micro where players could cheese the AI. Very valid goals, I totally support it. What they did was built a system where armies auto-move to "fronts" and their AI can't handle it, but now as a player my agency over my units is gone so I can't fix it. The UI is awful, you can't even really tell armies to attack or defend, they just ~whim. You have to do a lot of clicking to fight the system - yes it is less clicking than Vicky 2, but in Vicky 2 that wasn't mentally taxing, it was fun enough to wage the war you wanted to wage. Everything was concrete and in your control.

Here...look, as Korea I declared war on China to gain independence. Then the UK - not my ally, just separately, declared war on China as well. So now we are kindaaaa on the same side? At which point half my army auto-reployed to Hong Kong because a "new front" had "appeared". One my one boat. Then the UK declared war on me as well and then 50% of my army was fighting the UK in the South China Sea alongside the Russians (???) while the other half of my army is sitting there at home facing the Qing troops along the Yalu River going "bro, wtf?". At one point a newly spawned army of mine tried to auto-redeploy to Senegal.

All of this is just so preventable - you wanna reduce micro? Make combat provinces really big. You just invade "Manchuria", no clicking from Jilin to Mukden, and have bordering armies support each other defensively or something like that so you don't have to dash back and forth. Don't try to make your AI "do it for you" because it clearly can't and you want to play your own game. I'm sure the above will get better as I learn the system but I can just see the hundreds of players who saw this system and insta-quit, because until you "understand" it, it stabs you in the back. Not what you want out of a game.

Anyway enough me whinging about the game for way too long - the fundamentals are strong in the end. I will test out mods, I could see an overhaul mod really fixing everything except maybe the combat (and then you just cope). I definitely want it to work, the potential is high.

#victoria 3 #paradox love-hate blog

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crispsandkerosene · 3 months ago

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Crisps' Basic Blender Plugins

I made two basic Blender plugins, one to easily center objects in the scene, and the other to easily remove and re-add numbering from bone names.

Both plugins require Blender 2.8 or above. They were tested in Blender 2.9, 3.6 and 4.0 on Windows. (Please report if anything explodes so that I can fix it. I've not coded much for Blender before so these are probably wonky.)

Both are found in the Item tab in Object mode.

Basic Move Tool

Save a few clicks sitting objects’ asses on the scene origin.

Sit Selected at Scene Origin Moves all selected Mesh, Curve and Text/Font objects to the scene’s origin, their lowest points at height zero. The objects’ own origins (pivot points) move with them, but keep their relative positions in object space. Sit Selected & its Origin(s) at Scene Origin Moves all selected objects to the scene’s origin, their lowest points at height zero. Their origins (pivot points) are also moved there. ! Apply -> Rotation to your objects before use if they’ve been rotated. I use bounding box information to calculate objects’ lowest points. Bounding boxes are automatically updated when an object is translated or scaled, but not on rotation 🤔

Bone Name Manager

Remove a substring/pattern from bones’ names; save and restore the originals via save file. The default pattern is “#\d+$”: “#” followed by numbers at the end of the name string.

I created this one because the GMDC Import/Export plugin requires the bones to be numbered, but that breaks the symmetry mode for weight painting. I wanted an easy alternative to renaming and re-renaming them by hand.

Use Custom Regex? If ticked, the plugin will use the specified regular expression instead of its default pattern. Only the first match found in a name will be taken into account. Strip Bone Names Removes elements matching the pattern from bones’ names. The original names are not saved. Save Bone Names to File Creates a json file listing and mapping stripped and original bone names to each other. Uses the Save Path. The bones are not renamed. Strip Bone Names and Save to File Creates a json file listing and mapping stripped and original bone names to each other. Uses the Save Path. Removes elements matching the pattern from bones’ names. Restore Bone Names from File From a valid json file, loads the mapping of stripped to original names and renames bones accordingly. Uses the Load Path. Will fail if the current pattern is different from the one used by the file.

-> Download both at Box or SimFileShare

(I'm not sure about the ethics of putting non-sims stuff on SimFileShare, so I may remove that link.)

#Blender #plugin #Blender 3d #download #not sure what to tag this

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h-emera · 1 year ago

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5th try at writing the guide on custom pet paint mode brushes, if tumblr manages to mess this one up i will have a fit

16/10/2023 Edited: Updated to add better hash ID generating practices.

Things you'll need:

Sims 4 Studio

GIMP

Notepad

Guide:

Tools that we will be using:

We'll begin by creating a new, empty package.

Save it somewhere convenient and easy to access.

Once you've saved the package, you'll be met with this screen:

From here, we'll go to Tools > Game File Cruiser

We'll be working with Pet Coat Brush files and DST Image, but for now we'll only select Pet Coat Brush file, so that it's easier for us.

I've selected the first brush file and I've highlighted the piece of data we'll need to use.

We'll have to use the Game File Cruiser search function, but first, press "Add to current package". When you've gotten the hang of this, you can explore the pre-existing brush files and decide which one you'd prefer to use as your base, all are different and correspond to different brushes/stamps in-game.

Once you've clicked on "add to current package" your package editor should look like this:

Now we'll copy the Image1 ID and go back to Game File Cruiser, select DST Image from the file type list and enter the ID into the search bar:

Now, click "Add to current package" and now the package file you're working on will look like this:

Before we move further, we need to generate new instance ID's, we'll need 3 of them.

Go to Tools > Hash Generator

Edited 16/10/2023: When generating your hash ID's, please use your creator name ie.: "[YourCreatorName/Blogname]TutorialCustomFurCoat1", this will give you a more unique hash code than hoping to be as descriptive as possible when generating the hashes (in this case instance ID's).

Thanks to Mizore Yukii for this advice, from Creator's Musings.

In the "text" field, enter whatever text you want, I just go with the item name/description + a number, to indicate which ID it is.

We'll need 3 of FNV64 hash codes.

These are the 3 ID's that I've generated:

514EF7FCFA080185

514EF7FCFA080186

514EF7FCFA080187

We'll use the first code for the Pet Coat Brush file, the second code for Image1 (Brush file) and the third for Image2 (Brush icon file).

Your Pet Coat Brush file should look like this now, with the updated ID's.

Moving forward, we'll be changing the ID for the DST Image1 (Brush in-game) -

Now that you've done this, you need to right click on DST Images > Duplicate, you'll be prompted with this window:

In this window, you'll use the last hash code you generated for the Image2 new ID (in-game icon).

Now! It'll all look like this:

To edit the brush we'll be seeing in-game, we'll now have to edit the image, begin by exporting the image available in DST Image.

Once that's done, open it up in whatever editing software you want to use, I'll be using GIMP, because it has built in DDS exporter, I recommend you do the same, however if not interested in doing so, make sure your program can export DDS images in L8 format, if not, edit in preferred software and use GIMP to export as DDS.

Once you've made your brush, you'll want to do as follows:

IMPORTANT

It MUST be exported in the format L8, it will appear broken in-game otherwise.

Then, import your custom made brush into S4S package editor:

Do the same for the icon:

You've got the easiest part down, now, comes the part with testing how well the brush works and behaves in-game.

The responsibility of this falls onto the values you may have seen in Pet Coat Brush file -

These are the values responsible for how the brush works in-game.

I'll be upfront right now, I can't get the rotation value to work, I'm not sure if I'm doing something incorrectly, but if I figure it out, I'll add to the guide eventually. I haven't had time to test this further, but as far as I've been able to test it, it works like a charm.

These are the value meanings -

Sorry for how lazy this is presented, as once I figured out the basic meaning, I moved forward.

B1 is responsible for sorting on whether your brush is considered a Brush or a Stamp. 0 & 2 - Brush, 1 & 3 Stamp EDITED 24/10/2023: 0 is non-rotating brush, 2 is a rotating brush!

For F1, I do NOT recommend using 0 or 5, when I tested these values in-game, they were extremely laggy when attempting to paint. 1 - Smooth Painting, 2 - Spaced Apart Slightly, Overlap, 3 - Spaced One After Another, Some Overlap, 4 - Spaced One After Another, No Overlap

F2 changes the size of the brush in-game, meaning how small it can be, I believe. 0 - 1px smallest size brush, scaling up changes how small the brush can get.

F3 I suspect is brush rotation, but I could not make it work on any of the brushes I tried making, so I'm not 100 sure. This is one of the brushes you'll have to look at values for in the existing in-game brush files, as I could not get this to work for myself.

F4 is the maximum the size of the brush will become. Maximum size the brush can get, I've tested it from 0 to 5, 5 is quite large, so I recommend that, but go for smaller as well.

F5 I'm not entirely sure, however during my testing, I found that this changes where exactly the brush appears in both stamps and brush tabs in-game. There may be more to it, however, I could not figure it out. The values I tested for this were 0, 1 and 2, this affected where the item appeared - 0 - First Row, First Item, 1, First Row, 2nd Item, 2 - 2nd Row, First Item, I've seen that these can go quite high, ie the base file I used being 44, so keep that in mind while changing this setting. For my personal brushes I use 0.

I recommend comparing existing brush files to the one you're looking to edit.

I believe this is it. If there are any questions, I'll try to answer as best as I can. If anyone wants to add anything to this, please do so, I'll be elated to update and credit you for the information shared.

This all came to be because I could not find a guide, but fortunately for me, I'm too good at figuring things out and even though I didn't quite understand how the Game File Cruiser worked a few days ago, I've consumed so much information it hurts my brain.

Forgot to add: Finished product

Because I didn't edit the Pet Coat Brush file I was working on, I've made a stamp, I recommend messing around for a while though and finding what you prefer. The values themselves are pretty easy and forgiving to edit.

So account for that, you'll definitely want to edit the values responsible for the brush working correctly. If you have any questions, please let me know, I tried to make this as clear as possible, and I know this is probably over the top for a guide, but I'm the kind of person who needs every small direction, to even know what I'm doing, when I'm following a guide.

UPDATED AGAIN, I FORGOT TO ADD THE ACTUAL VALUES I FOUND.

#The Sims 4 Guide #The Sims 4 Horse Ranch #The Sims 4 Custom Brushes #The Sims 4 CC guide #TS4 CC Guide #TS4 Horse Ranch #TS4 Horses #The Sims 4 Horses #Sims 4 Horses #Sims 4 #Sims 4 Horse Ranch #The Sims 4 Tutorial #Sorry if this isn't a great guide #i tried really had and nearly had an aneurysm because tumblr deleted my previous attempts like 4 times

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bekkathyst · 17 days ago

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Hey everyone! This post is for those who have messaged me about their tracking number for an older order showing an error; please read this post for all the info! Also I’ll preface the whole explanation by saying please don’t worry or panic, your order is still on its way as expected and nothing is seriously wrong.

The way shipping works is that I generate the customs forms at home and print them out. This form is just for exporting/importing purposes, it’s not actually the shipping label since the Austrian post doesn’t let small businesses print those at home (the rant I could write about that…)

So I put all the customs forms on the packages, and add the customs form number into Shopify and you get a shipping notification with that number. Then I drop them off at the post office, the wonderful ladies there make all the shipping labels for the packages and then I pay for everything and the packages go on their way.

Previously, after that, my job would be done because the system would automatically connect the customs form number with the new actual tracking number and it would update the link in Shopify automatically.

Unfortunately, the Austrian post has once again changed in a way that hurts small businesses, because now they have made all the customs forms numbers unsearchable in the system and therefore impossible to connect to the new tracking numbers. So basically I have just found out that at least 50+ tracking emails I’ve sent out to people are functionally useless.

Now, when I do pay for the packages I get a super long receipt with all the tracking numbers listed. When I type in and search each tracking number individually, I can see what zip code they’re being sent to, so I can search the recent orders and figure out which tracking number belongs to who. As you can imagine, this is an incredibly tedious task, but it’s now something I’ll have to spend time doing after every batch is dropped off at the post office until either the Austrian post fixes their system or I can finally convince them to give me a merchant account with them so I can just print the labels myself at home.

This is truly frustrating but I will manage and figure it out. And the good news is that packages are still being delivered fine and everything, there’s no issue with delivery, but for the packages that take a little longer than the others (as there always are some with every batch) not being able to track the package will obviously make one nervous!

So please rest assured if you’ve messaged or emailed me with this issue, I will spend some hours tomorrow looking through my old receipts and finding your tracking number for you.

I’m so sorry for any worry this is causing but your order should still arrive soon and I will get back to your message/email tomorrow 😊

Thank you!

#original

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ajcgames · 7 months ago

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The Big Weekend - Part 1

Part 1 of my 'big weekend' of project development has gone really well so far. Lots of new things added, and progress has been made on my big list of new-things-to-add.

Let's first show everything in a brief video overview:

Whoa! Environments!

I did end up doing some extra work outside of my intended weekend scope, mostly because I wanted a brief distraction from coding. To that end I finally added the first parts of my 'asteroid' environment that your factory is placed in. This will be improved over time, I'm sure, but now serves to make the factory feel a lot more grounded in the very place you're supposed to be!

I also re-added the factory walls, which are now correctly done programmatically - rather than being hand-placed. These scale up with the size of the factory floor, so they're more or less 'done'.

Packager

You can now drop the packager into your factory, which is a necessary first step to exporting your goods from the facility.

Routing items through here will parcel them up ready for transport. You just have to snake them off to your Exporter machine.

Ready for packaging!

Exporter

This machine must be placed over one of the new export nodes. This restricts the number of exporters you can use in any given factory (like the import nodes), and you'll likely have to merge a number of packager belts together to bundle up lots of orders in later stages.

The exporter has space for up to 6 stacks of up to 99 items. A lack of space will result in packages backing up on the import belt, so make sure you don't fill it up with junk!

The build ghost of the exporter next to one of the new Export nodes. These are limited, so you'll have to design your factory around them!

What's next?

Here's my big list of things-to-do, with my completed updates marked off:

Main objectives view

Packager machine

Exporter machine

Research tree

Technology upgrades

Money / credits system

Structure descriptions (QoL)

Audio refinements (QoL)

Main menu screens

New pipes subsytem

Not bad progress so far! I'm not sure what I'm going to tackle tomorrow, though I have a sneaking suspicion I'll want to do the research and tech trees, since they are the next 'big' things to nail down. It will also force me to finally implement a system to prevent access to building items that you haven't yet unlocked, which is a crucial part of progression.

Anyway, that's all I have for this evening. If you reached this point, thank you kindly for your time! And with any luck I'll see you again tomorrow for another progress update.

Have a great evening, wherever you are, and I'll see you again soon! 😊

#indie games #game development #game dev blog #gamedev #automation #factory game

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auxiliarydetective · 8 months ago

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↬ OC Verse Trading Cards

Here it is! The reason (well, one of the reasons) for why I've been so inactive lately. I saw this super cool trading card template by @squea and @buttertrait and thought it was super fun, so I wanted to make something similar for my mutuals and myself. And, as you can see, I rediscovered my love for art deco on the way, so it's very art deco lol

You can find the template to make your own cards here - and I explicitly encourage you to make your own, because I was kinda hoping I would get to see cards of you guys' OCs and we could collect them all in a binder like this one. It would be really fun! (The number next to the name is the power level btw - I wanted to imitate a set of Star Wars trading cards I used to collect as a kid) Make sure to @ me when you do and tag your post with #ocversetradingcards!

I tried to make the template as accessible as possible so that even beginners should be able to use it without any issues. So, I color-coded the layers!

The red layers are ones you shouldn't touch. They make up the main frame of the card. The orange layers are ones where you can play around with the colors, but that's for advanced photoshop/photopea users. The green ones are the ones where you put in text! Edit those freely. Blue ones are ones you have to select and move as a batch - if you don't know how to do that, check below the cut ^^

You'll need to download these fonts:

Park Lane (name & power level)

Market Deco (main text font)

Artisual Deco Black Italic (blog url)

Below the cut, you'll find a tutorial for the template and a list of the image resources I used - Quick info for everyone, including the more experienced Photopea users: Save your image at 50% quality. The template is a big file and the exported image will also be pretty big if you don’t save it at a lower quality. 50% is what you can see above and I think it's a nice size-quality ratio.

Tutorial Time

Opening the File

Step one: Get either Photoshop or Photopea. Photoshop costs money, Photopea is free and runs in your browser. Take three guesses which one I use. Yeah, it's Photopea. As such, this tutorial will be Photopea-centric, and I also have no clue what the Photoshop interface looks like, so I can't really help you if you work on Photoshop. But I'm told they're essentially the same, so...

Step two: Download the fonts listed above from the links in this post.

Step three: Click on the link above to go download the template. It's a bit of a big file, so I put it into a zip file for you. Don't worry, you don't need a special program to open it. Photopea will do that for you.

Step four: Open Photopea. Click on "File" -> "Open..." and select the "TradingCardTemplate" zip file.

Step five: Click "File" -> "Open..." again and select the zip files for the fonts. This will import them to Photopea. There are also preview images included in at least one of the zip files for the fonts, so just close the windows for those projects when they pop up by clicking on the little "x" next to their file name. You only need the "TradingCardTemplate.psd" tab to be open in your Photopea window.

Great! Now you're all set to edit!

Editing the name, power level and blog url

I decided to group these together because they function essentially the same way

Step one: Select the typing tool. It's the little "T" symbol in the toolbar on the left side of your screen.

Step two: Select the layer of the text you want to edit. The blog url one is in plain view. For the name and power ones, you need to open the corresponding folders first. They're the green layers in the folders!

Step three: Click on the text you want to edit. It's easiest to aim for the middle, that way you have the least chances of missing. The typing tool is a bit finicky with that sometimes, especially if the text is small.

Great! Now you can use your keyboard to delete the placeholder text and replace it with your own! The power level will only fit two digits and picking "00" will look bad. Your OC should have at least some power. They need it to breathe.

Changing the size of the name text

As you might be able to tell, the basic text size only works for fairly short names. So, you might have to make it smaller for your OC's name to fit

Step one: Enter your OC's name as described above.

Step two: Select the text as you would anywhere else in your browser.

Step three: Above the little tag where it says "TradingCardTemplate.psd", there's an options bar. You'll find a box there labelled "Size" with a box that says "150px" and a down arrow next to it. Click on the down arrow and a slider will pop up. Play around with that slider until your text has a good size. Then click on the checkmark.

Step four: Switch to the transformation tool. It's the cursor with the directional cross next to it, at the top of your left-hand tool bar. Move your text so that it aligns well with the left side of the frame but make sure it's below the middle.

Step five: You now have to select two layers at once. The text layer and the frame for the name tag. Do do that, either press and hold your control key on your keyboard while selecting the other layer or toggle the control key using the on-screen keyboard at the bottom left of the toolbar. If you use the toggle, don't forget to untoggle it after.

Step six: On your horizontal toolbar above your project window, click on the icon that's a horizontal line with two boxes centered on it.

Congrats, your text should now be centered!

Adding in your OC picture

Step one: Open the "Picture" folder and select the layer beneath "Add picture here". This will make sure your picture will be in the right spot. Also make sure to click on the eye next to the "Pattern" layer tag to make it go invisible.

Step two: Select "File" -> "Open & Place..." and pick a nice image.

Step three: Once the image has been imported, make sure you change the zoom percentage to 100%, that way the image doesn't look pixely or weird. Click on the checkmark.

Step four: Resize your image so your OC fits nicely into the frame. The image should fill the entire space inside the frame and can stick out as much as you want.

Step five: Right-click (or press and hold, if you're on mobile) your image' layer and select "Clipping Mask".

Perfect! Now your image should no longer stick out of the frame. Feel free to adjust your image's coloration, brightness etc. by selecting "Image" -> "Adjustments" and your preferred action.

Changing your stats bars

This works the same for each bar and I tried to make it as simple as possible.

Step one: Open the corresponding folder.

Step two: Select the set of three blue layers together. You can do this by selecting one layer normally, then selecting the other two while holding your control key or while having it toggled using the built-in on-screen mini keyboard at the bottom left of your screen. If you use the toggle, don't forget to untoggle it after.

Step three: Switch to the transformation tool (the one at the top of your left-hand toolbar, it's a cursor with a directional cross) and move your layers. By moving them to the right, you'll reveal more of the gold underneath the overlay. More gold = higher level of the corresponding stat.

Great job! Now adjust the bars to your liking.

Saving your project + card image

To save the project: Click on "File" -> "Save as PSD". This will download the current project under the same name as the file that you downloaded it as. So, it will be called "TradingCardTemplate (1)" or something similar. Make sure you change the name in your files so you know which is which. Alternatively, you can also change the name of the project by double-clicking the little square that currently says "TradingCardTemplate" and type in your new name. If you save again now, it will show the new project name! Make sure to save your project if you want to be able to recover it and/or work on it later!

To save the card image: Click on "File" -> "Export as >" and pick your preferred image file type. I suggest JPG for best results. Make sure to turn the quality slider to 50%, then hit the save button. This will download an image file of your chosen type, under the same name as the project name. To change that name, refer to the bullet point above or go to your files :)

Advanced: Changing the BG color of the pattern

Step one: Select the pattern background of either the name tag, power score or picture and turn it to 100% opacity.

Step two: Color-pick the current background color of the pattern.

Step three: Click "Image" -> "Adjustments" -> "Replace Color..." and click on the colored rectangle in the new pop-up. Replace the default color with your color-picked color. Now use the Hue, Saturation and Lightness sliders to get a new color that you like. Note down your slider values for later so you have them for the other elements.

Step four: Color-pick your new color and select the corresponding solid background layer. For those layers, click "Edit" -> "Fill..." and make sure you have "Foreground" and "Normal" selected, your Opacity is 100% and you have "Preserve Transparency" checked.

Step five: Don't forget to turn the opacity of your pattern layers back down to 60%.

Congrats! You have your colors changed! Repeat this process for the other two patterned elements.

Extra advanced: Changing the card's background color

NOTE: I DON'T recommend this. You can do it, but it's a lot of work.

Step one: Select the background layer and change its color to the new color you want. You can do it with the "Hue/Saturation..." adjustment, with the "Fill" edit as described above, or whichever way you want. Color-pick your new color.

Step two: Open the smart object PSDs for the frames for the frames for the picture, the name tag, and the power counter by double-clicking on the preview image of the layer.

Step three: Select the lowest colored layer of each and change its color to the same as your new card background color. Click on "File" -> "Save (Smart Object)". Close the project windows.

Step four: Open the folders for the various stat bars and select the "Color Overlay" layers. Change their colors the same way you did for the other layers. Warm colors and high-saturation colors will most likely not look good here and you might need to find a different way of making the stat bars look good. Playing around with the "Brightness/Contrast" adjustment layers above might help, but I can't promise anything. This is the main reason why I don't recommend changing the card background color. The stats bars are adjusted to the background color.

There we are! Either your card looks very pretty now or you understand why I don't recommend this. Either way: Good job!

Resources from Freepik:

Corners by tartila Power counter frame Picture frame by pch.vector Stats bar by tartila Pattern

Taglist (we're bringing out all fandoms today): @starcrossedjedis @oneirataxia-girl @daughter-of-melpomene @bravelittleflower @box-of-bats @fluffle-system @wheresmybloodynauglamir @nanukanal @supermarine-silvally @cody-helix02

#ocversetradingcards #artsy #photopea adventures #oc: akaito coraline #oc: helena #holy freaking shit i finally did it #look everyone!!!

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sibyl-of-space · 8 months ago

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Well I was possessed to try and make more progress on my Ghost Trick ROMhack this evening because I really and truly am so close to finishing it, and after spending 3 hours being annoyed I can confidently say that I maybe sort of kind of made some slight progress.

I've been really digging into the chapter.xml file because I think it holds the key to telling me some things about how the game handles progression. This is important because the 2 remaining sprites I have not been able to update using the scripts I've done so far both seem to be updated via how the game handles progression [they are updated at the same time during a certain key reveal] - so if I can learn how this database update mechanic works, I might be able to learn what is telling it which sprites to use, and then finally finish this thing I have had ""almost"" done since before I went back to school and got a whole ass masters degree.

Things I have figured out with respect to the chapter.xml file:

- it definitely does have the ability to flag or indicate database progression/updates, because by some shenanigans I tested, I can force it to load the same scene from different "chapter select" buttons and doing so will cause the database to reflect different points in the story. because the scene is identical I know this is almost certainly not flagged by the scene itself or by the stage root file (generally if it were that I'd expect the stage root file to load a different scene altogether along with a different game progression state) ((suppose I shouldn't totally rule it out but anyway..))

- individual stages also have the ability to flag database progression/updates obviously though because sometimes new info is added mid-stage, but there is SO much more code in the stage .xml files that testing and isolating it with the chapter.xml file seems Much Easier

Things that walled me from making more substantial progress with the chapter.xml file:

- I got to a point where it seemed that the process of exporting, decompressing, and recompressing resulted in a crash when the game tries to load any chapter beyond 3.

- Turns out this was completely unrelated to any changes I was making and was caused by probably the emulator cacheing something weird and/or me not properly saving the changes made upon reinsertion in crystaltile and/or the compression algorithm not liking that I renamed the file and/or any number of small little things I was not being careful about. This resulted in about an hour of rigourously testing specific changes in the chapter.xml file being rendered completely useless because all these crashes I experienced were caused by something else.

On the plus side, supreme annoyance aside, I have some strong Hunches that should be able to be confirmed next time I have some time to sit down and test them properly. I have no clue if these will lead me to where I want to go but they should at least further my overall understanding of the game which will, EVENTUALLY, VERY EVENTUALLY, lead me to what I'm looking for. Which has been just the biggest pain in my ass but so it goes.

(I'm trying not to think too hard about the very real possibility that progression stuff needs to be tested by looking at the data in the save file itself; this will be the inevitable next step if chapter.xml bears no fruit.)

#leo tries modding ghost trick #omg a romhack update no way #dw its because im procrastinating on my other game yknow the one im building from scratch

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saptaxhub · 13 days ago

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Digital Signature Certificate for Import-Export Code (IEC) Registration

The Import-Export Code (IEC) is a unique identification number required by businesses involved in the import or export of goods and services in India. One of the mandatory requirements for IEC registration is the submission of documents using a Digital Signature Certificate (DSC). This blog explains the importance of DSCs in the IEC registration process, how they are used, and why securing your DSC is crucial for your business’s growth in international trade.

What is the Import-Export Code (IEC)?

The Import-Export Code (IEC) is a key business identification number provided by the Directorate General of Foreign Trade (DGFT). It is mandatory for businesses wishing to engage in international trade activities. Whether you’re a manufacturer, wholesaler, or trader, an IEC is essential for clearing goods through customs, making payments for exports/imports, and availing other export benefits.

Why is a Digital Signature Certificate (DSC) Needed for IEC Registration?

E-Filing Requirement: The DGFT requires businesses to submit their IEC registration forms electronically via the DGFT portal. To sign and submit these online forms, you need a Digital Signature Certificate (DSC). This DSC ensures that the forms are validated and processed by the authorities without the risk of fraud.

Ensures Legal Validity: A DSC is recognized under the Information Technology Act, 2000, and serves as a legally valid electronic signature. This makes it possible for the IEC application to be processed legally, just like a traditional paper submission.

Prevents Tampering: The use of encryption technology in DSCs ensures that the information submitted for IEC registration cannot be altered once it’s been signed, thus preventing tampering or fraudulent modifications to the documents.

Faster Processing: Using a DSC speeds up the entire IEC registration process. Since the registration is done electronically, you can avoid delays associated with manual document submission and processing.

How to Apply for IEC Registration with a DSC

Obtain a Digital Signature Certificate (DSC): To apply for an IEC, you first need to obtain a DSC from a Certifying Authority (CA). You can choose between Class 2 and Class 3 DSCs, with Class 3 being the more secure option for business-related applications like IEC registration.

Prepare the Required Documents: The DGFT requires various documents for IEC registration, such as the PAN card, proof of address, bank certificate, and the identity of the applicant. Along with these documents, you will need your DSC to authenticate and sign the application.

Register on the DGFT Portal: Visit the DGFT’s official website and create an account. After registering, log in to complete the IEC application form online. During this process, you’ll be asked to upload your documents.

Attach the DSC: Once you’ve completed the form and uploaded all the necessary documents, you’ll need to sign the form using your DSC. This step ensures the authenticity of the registration application and validates your submission.

Submit the Application: After attaching your DSC, submit the application. The DGFT will process your application, and once it is approved, your IEC will be issued electronically.

Benefits of Using DSC for IEC Registration

Security: The encryption technology in DSCs secures your business’s data and ensures that sensitive information remains protected during the registration process.

Legitimacy: With a DSC, you can ensure that your IEC registration is legally valid, reducing the chances of rejection or delays due to discrepancies.

Efficiency: The use of DSC reduces the manual effort involved in IEC registration and ensures that your application is processed more quickly.

Reduced Fraud Risks: Since the DSC links your identity to the submitted documents, it prevents any fraudulent or unauthorized transactions, protecting your business from potential legal and financial issues.

Conclusion

A Digital Signature Certificate (DSC) plays an integral role in securing and facilitating the Import-Export Code (IEC) registration process. By ensuring the authenticity of your online submission and protecting your business’s sensitive data, a DSC is essential for those seeking to engage in international trade. For a smooth IEC registration experience, consult with the Best CA Firm in Delhi, which can help you obtain a DSC and guide you through the entire registration process, ensuring your business is ready for global expansion.

#gst registration #ca firm in delhi

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the12thnightproject · 1 year ago

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Chapter 21: Mitsuhide POV - Consequences: (Surprise) Gacha Chapter - Mitsuhide’s take on recent events.

All Chapters Archived on Ao3

Logline - With Mai, Hideyoshi, and Aki missing, Mitsuhide and Katsuko reluctantly team up. Disguised as a merchant and his concubine, can they outsmart the man known as the God of Deceit?

“Good morning Master Kyubei.” Sho paused in the middle of preparing tea to bow to him. She turned to her brother, who was stuffing a rice ball into his mouth. “Hiko!”

The boy belatedly jumped to his feet and bowed, mumbling a greeting with his mouth full.

Sho just rolled her eyes then turned back to Mitsuhide. “Is Miss Kaya awake yet?”

“Let my sweet lady love sleep this morning. I kept her awake far too late into the night.” Mitsuhide allowed a somewhat rogueish smile to cross his face, knowing that the maid would blush and ask no more questions – especially not in front of her younger brother. “If I could, I would have wiled the morning away with her too, but sadly, my work calls me now. I will take her shopping later.”

With that, he continued on his way down to the main floor, slid open the doors and lifted the blinds to his import export ‘business.’ The key to establishing an alternative identity was to keep it as complete as possible. The import business that ‘Kyubei’ ran, could, if a curious customer entered the machiya, arrange for that customer to receive any number of lacquer items, from decorative vases to armor. As such, Mitsuhide always had the excuse of needing to conduct ‘honest’ business during the morning hours.

Thankfully, this excuse took him out of the vicinity of Katsuko. Acting the devoted lover in front of the audience of the maid had been entertaining enough when Katsuko had merely been a somewhat rebellious tool – it amused him to watch her grit her teeth, knowing that she could not contradict his teasing when Sho was around. Now that it was becoming less of an act, it made for a dangerous distraction. A distraction he could ill afford.

Thus when the boy clattered down the stairs, with Katsuko following behind at a similar pace, his plan to keep her at a distance was immediately tested. Even simply passing through the room, she was impossible to ignore, especially given her inappropriate attire, with that loose sash dragging on the floor. He was not portraying a man who would let his lover appear to the world in any manner except absolute perfection. "Going somewhere?"

"Only to the entry. Hiko is going to show off his juggling skills, and they're sufficiently random enough for Sho to bar us from the kitchen." She nodded at where the child’s toy came close to upending a display shelf.

He ought to stop her and insist that she at least retie her obi properly. Or, even, perform the task for her. A lingering look, a stray touch… perhaps he might even tease a glare from her.

He was halfway to standing when he recalled his vow – made mere moments ago – to stay away from temptation. "Ah." He returned his attention the ledgers he was updating as the two scurried out of the room.

Should he have more merchandise sent from Azuchi? Over the past week, he’d become aware that certain agents, pretending to be customers, had visited the business. It would make sense to at least move the displays around, add new items, to keep up the charade. But, would the replacement stock get here before the Oda ships arrived to move the operation to the next phase?

Given that he had not yet hit upon the proper… enticement, for lack of a better word… to force Shojumaru into revealing Hideyoshi and Mai’s location (or even, for that matter, concrete proof that he was the man behind their disappearance), it would be prudent to continue to act as a normal merchant. He got out a fresh piece of paper and composed a coded message to Kyubei requesting more “lacquerware and pottery from the local craftsmen.” Kyubei would understand the meaning.

Midway through his correspondence, he became aware of some sort of commotion from outside.

Years from now… even days from now… he would not be able to recall what he had been thinking or doing in the time between hearing the frantic yells, and the moment Shojumaru strode into the Machiya, carrying an unconscious Katsuko. The moment his gut seized in terror.

While he was still processing the sight of her, motionless, a splash of blood across her face, Shojumaru had transferred her into Mitsuhide’s arms. He hadn’t realized he had opened them to receive her.

“Ox cart. Yer wench got between it and Hiko.” Shojumaru’s normally smooth tones was rough with an unidentifiable emotion. Later, Mitsuhide would sit back and process this transformation, evidence as much as anything else to support Katsuko’s theory that the man was Motonari.

But for now… He pressed his fingers on Katsuko’s neck, relieved that her heart was still beating, strong and true.

“I’m sorry.” The boy stepped forward, head bowed. “If I had been paying attention to the road … she saved me.” He took a deep gulp of air. “Will she be alright?”

Again, the more dispassionate part of Mitsuhide’s brain noted that Shojumaru lightly patted the boy’s shoulder, the look of fatherly concern on his face, and realized that he had been handed another tool against the man. But… that too… was for later.

He hugged Katsuko closer and her whimper sent his logic into retreat. She was in pain. Putting aside all distrust of Shojumaru for the time being, and hoping that the man’s affection for Hiko would permit him to render aid, he asked, “Do you know where to find a healer?”

“Yes…” There was hesitation in his tone.

“You’ll be rewarded.”

“Keep yer money.” Shojumaru all but growled it. “I know a healer… the man has strange notions… and half the time he is swimming in drink. But if you find him sober, there’s not a better physician in the city.”

“I will take the risk.” If necessary, he would sober up the old man with bucket of water poured over his head, then threaten torture if he could not render aid.

By the time Shojumaru returned with the healer, Mitsuhide and Sho had gotten Katsuko settled in her bed. Sho had helped him wash the blood away. Small actions, really, but it helped keep his worry at bay. The dangling obi sash, which according to the boy had tripped her up after saving him, was banished to the corner of the room. My fault for not insisting she tie it better. For not fixing it myself.

As Shojumaru had warned, the smell of sake clung to the healer, a man much younger than Mitsuhide had expected. Nor did his first words inspire any confidence, for he froze when he saw Katsuko, his skin turning pale. “She's not dead. Oh Gods… I thought she was dead.”

“I would not have asked for a physician for a dead woman.” Perhaps he should not have spoken so harshly to the healer, but Mitsuhide hoped to pull the man out of his trance.

His words were successful, and the man seemed to shake himself, straighten his posture and hurried over to examine her. “What happened?”

Behind him, Mitsuhide sensed, rather than saw Shojumaru heave a sigh. “She was hit by an oxcart.” From his tone, it sounded like this was information he had already relayed to the healer.

The man carefully knelt next to the futon, and gently ran his hands across her neck. “Yes… but where was she hit? A blow to the side of her head could have damaged her temporal artery risking a brain bleed. Damage to her back or neck could paralyze her.”

Paralyze? He couldn’t imagine a worse fate for someone as normally as active… as alive… as Katsuko. While the healer continued to list the potential injuries, Mitsuhide sat beside the bed and picked up her hand, squeezing it gently, willing his own strength to flow into her. She stirred, her eyes fluttering for a moment. "Kaya. Open your eyes."

She let out a hiss of pain, and slipped away again.

“Kaya?” The healer seemed startled at her name. He looked from Katsuko to Mitsuhide. “What is she to you?”

With Shojumaru still in the room, there was nothing Mitsuhide could do other than continue his charade. “She is my concubine.”

“Kaya.” Again the healer said her name, hesitantly as if it tasted odd on his tongue. “She isn’t dead.”

One more of those from the man, and Mitsuhide would throw him out the door, healer or not.

Meanwhile, the boy stepped forward. “The cart hit her here.” He gestured to his hip. “She was already falling forward when that happened. She hit her head on the ground.”

Finally, the healer seemed to gather his senses. “Hm, the skull is thicker in front, less likely to fracture – but the blow would jar her.” He looked into her eyes, muttering something about wishing for better light, then grabbed the lantern off the desk and thrust it at Mitsuhide. “Hold this above her face.”

Startled into obeying, Mitsuhide did as directed, watching as the healer opened Katsuko’s eyes one at time. The man relaxed a bit, before saying. “Pupils are normal sized and reactive to light.”

He had no idea what that that meant, but taking in the healer’s now calmer body language, he presumed her injuries were not as bad as initially appeared.

When no one responded to that cryptic statement, the man proceeded to carefully examine Katsuko, lightly running his hands over her limbs, even tapping his knuckles on her joints. “I don’t see any evidence of spinal cord fracture or broken bones, though she will have a few bruises, and a black eye.” He stood up and backed away. “Treatment for a concussion is simply to keep her calm and quiet, wake her up periodically to check on her, and when she begins to recover, avoid strenuous activity for at least a week.”

As medical treatment, it lacked specificity. Where were the potions and salves? He should have sent for Ieyasu, who while likely to be equally as brusque, would surely have had more instructions than that. “And if she is in pain?” If? She was clearly in pain. Even unconscious, there was a tight wrinkle in her brow.

The healer scrubbed his hands through his hair, averting his face from the bed. “Willow bark tea may help with the pain. If you have access to someone with an ice hut, then a cold compress would reduce the swelling at her eye. Music could be soothing, if you can sing. Avoid bright light, loud noises, heavy food and strong smells. Be patient… she might be confused or emotional for a time.”

“Will you return to check on her?” Mitushide was not entirely convinced in the healer’s abilities, but he was all they had right now.

The man backed further away from the bed, glancing down at his stained clothing. “No… I can’t. Not like this.” With that, he fled from the room.

Only after it was clear the healer had left the building did Shojumaru speak into the silence. “Toshiie is a strange one, but he’s saved many considered too injured to survive.” He bowed to the unconscious Katsuko. “I will find some willow bark.”

Then, he exited as well.

Both Sho and the boy seemed reluctant to abandon Katsuko, and yet unable to contribute any worthwhile aid. Not wanting them underfoot all day, Mitsuhide sent the two of them in search of ice (though at that time of the year, it was unlikely anyone would have any left). While Katsuko slipped into a fitful sleep, he dashed off a quick message to Ieyasu, outlining the situation and the healer’s advice. Perhaps Ieyasu would have additional ideas beyond willow bark and soothing music.

Still…

After sending Goro off to Azuchi with the message, he picked up his flute and considered. He couldn’t imagine that music would have healing powers, but…

… perhaps she would like it?

And indeed, as he sat by the futon and played softly, Katsuko rolled over, turning toward him and stretched out her hand. It appears the healer was correct after all. He paused a moment, and took her hand again, squeezing it gently. Recalling the instruction to wake her up on occasion, he leaned closer and said in a quiet voice, "Kaya, wake up."

Her eyelashes fluttered and she squinted at him. “Who?"

“Katsuko.” But she had already fallen back asleep. Katsuko. The rebellious spy. Not his concubine. Not his. After … everything, he had no right to want something for himself.

He picked up the flute again. This at least was comfort he could provide.

Later that afternoon, Sho and Hiko returned, apologizing for being unable to find ice. Sho held up a bucket filled with water. “It’s not ice, but it’s from a mountain fed stream, so it’s cold.”

Then displaying a bossiness well beyond her years, she shooed Mitsuhide out of Katsuko’s room, telling him that she would change her into more comfortable clothing. “You should rest, Master Kyubei. That way you can stay up with her tonight.”

He didn’t in fact need rest… but Sho seemed to want to do this, so he left her to it. Avoid strong smells. He took a quick trip to the bathhouses and did his best to wash away the odors of incense and fear from his body. He was back in the machiya when Shojumaru arrived to deliver the willow bark, and to escort Sho and Hiko home. When Sho asked if he had gotten enough sleep, he lied and told her he had.

After he’d finally cleared the others out, he made the tea, and resumed his vigil at Katsuko’s side. Without the make-up and elaborate hairstyle she’d worn to portray Kaya or even the boy’s clothing and look of defiance that he would always associate with ‘Katsu,’ she looked young and small. Tiny. Until this moment, he hadn’t realized she was shorter than Mai.

For the first time in days, he hadn’t devoted the bulk of his thoughts to Mai and Hideyoshi. His mission to find and rescue them had stalled, and instead… he had dragged another person into the dark.

“Katsuko." He brushed her hair away from her face.

She batted at his hand. "Nooo. Let me sleep."

"I will. Be patient, Brat. The strange doctor Shojumaru found said I should wake you up periodically." When she shut her eyes and tried to turn away, he brought the tea to her. "If you are able to drink it, I have some willow bark tea for the pain." She didn’t move to take it, so he helped her to sit up, held the cup to her lips, stroking her back until she took a few swallows. It must have tasted terrible, if the look of disgust on her face was anything to judge by.

No use tasting it himself or trying to figure out a flavor combination to mask the bitterness. For all he knew, he would only make it worse.

He set the cup aside – she’d fallen asleep in his arms – he kept her there for a few moments longer than strictly necessary before settling her back on the futon. Holding on to her any longer would be selfish when a mattress was right there.

The only comfort he had any right to offer was more music. He picked up the flute again and played tune after tune, until his fingers cramped, alerting him to the fact that it was time to wake her up once more."Katsuko. Wake up."

"Go away ghost." Ghost? She squinted at him, then moaned, her body shuddering as she covered her head with her hands. "Let me sleep."

Her hair had tangled and was stuck to her face with sweat, so he found the bucket of still relatively cool water, wet a cloth, and wiped her forehead and cheeks. She sighed a little as she slipped deeper into sleep.

Was she improving at all? How long would she be in pain? And though the healer hadn’t mentioned the possibility, he now recalled that one of his vassals had fallen from a tree and suffered a serious wound to the head. While the man had recovered in body, his mind had returned to childhood, and he’d spent the remainder of his short life unable to care for himself.

If such a thing happened resulted from this injury, he would never forgive himself.

As the long dark night continued, Mitsuhide divided his time between music and wiping her face with water. Though she didn’t appear to be improving, her condition hadn’t worsened either. When birds began chirping outside, he woke her up once more. "Katsuko. Time to wake up again, Brat."

This time she opened her eyes and focused directly on him. "Where did your friend go?"

"The healer?" He supposed that was who she was referring to, as no one would consider Shojumaru as his friend (Shojumaru included). “Do you think you can sit up long enough to drink this?" He held a cup out to her. "It's gone cold, but Sho would happily brew up an entire vat if I asked."

"Cold is fine." Once again, he helped her to sit, and she was able to clutch the cup to sip the tea. He kept a grip on it too, as she seemed very unsteady, even sitting down. When he put the cup aside, she grabbed onto his shoulder, as if needing him to stay upright. "Where did you find willow bark?"

"Shojumaru brought it." Only now did he realize that he had not questioned the man about the incident. Not thoroughly. Oxen were generally placid creatures – a runaway cart was unusual. "Do you recall what happened?"

"Arrow." Arrow? Had someone shot an arrow at the animal? That indeed might have caused it to bolt. "Runaway cart. Is Hiko all right?"

"He is fine. Apparently Shojumaru is sufficiently attached to the boy to be grateful." And in that moment, he realized exactly how he could use that information.

How he would use it. Saw exactly how the scenario would unfurl, and exactly what role he would need ‘Kaya’ to play. It could save Mai, Hideyoshi … and keep Katsuko out of the way of Shojumaru’s wrath.

It would condemn him to the dark.

But… it could succeed.

A soft weight pressed against his chest. Not his conscience – that was long stifled. Katsuko – she’d fallen asleep on him – again, trustingly in his embrace. He pulled her closer for a moment… Had she crept into his heart? When? Had it been during the night they’d talked long into the dark? Earlier? The moment she tried to saw through a rope that bound her hands? The moment she threw a knife at him?

Did it matter? For he could not keep her. He had no right. He shifted her back to the bed, and then, because her hand was still wrapped around his arm, climbed in next to her.

To save her… he would need to ensure she betrayed him.

But first, he would have this night… or what remained of it. He would have at least one memory of sleeping by her side. Of hearing her soft breath. Of feeling warmth next to him. Of brushing her hair from her eyes.

“Feathers.” She murmured just the single word before turning toward him, and curling into his embrace.

Within another two days, Katsuko was more alert when awake, and sleeping less, but she’d not been able to eat. By this time, Mitsuhide had heard back from Ieyasu, who had generally echoed the healer’s advice, and suggested that a light broth would be appropriate for a convalescent’s stomach. He’d also sent along a small jar of mint oil that he said might ease some of the pain if the patient could handle its application.

Unfortunately, even a few sips of Sho’s fish and rice soup upset Katsuko’s stomach. "Oh hell. I'm going to-"

As Sho grabbed a bucket, Mitsuhide held onto the patient as she vomited the soup back up, keeping her hair out of the way of the hot liquid. The sound of her retching echoed through the room, and her eyes watered. As much as he knew Katsuko needed to eat, Mitushide felt guilty for insisting she attempt it. “Make it stop.” Katsuko’s whispered.

Sho clapped her hand over her face and escaped the room.

He helped Katsuko wash her mouth out with tea, patting her back lightly until she relaxed again. "Thank you. How long has it been?" she asked.

He was relieved to note that while she was still physically injured, her mind seemed far clearer than it had been on the day of the accident. No more talk of ghosts. "Since you picked a fight with a runaway cart? Three days. Some of your bruises all already fading." He lightly touched her eye, noticing that the dark purple was yellowing at the edges. "I imagine your head will feel better soon as well."

“I hope so.” She closed her eyes. “Right now it only hurts when I move. And when I don’t.”

Recalling Ieyasu’s mint oil, he asked, "Do you think a strong scent will make you feel sick?"

There was a hesitation before she answered. "Maybe."

He got the container of oil, and opened it for a moment, waving it toward her. "What about this scent?"

"So far it seems tolerable." Since that answer had seemed fairly confident, he moved the oil closer, held it open for longer.

No negative reaction. He knelt by her head, holding it by her nose. "And now?"

She breathed a moment. "Still fine. As long as I don't move or open my eyes. Why?"

"This oil may help with the pain, but if I put it on you, I don't want it to make you ill again." Easing the pain at the expense of making her sick again would not be a worthwhile exchange. "May I?"

He held the oil still, waiting for her consent before he placed a drop of the oil on his fingertip, and lightly drew a tiny circle in the corner of her forehead. He paused again, wanting to be certain that this wouldn’t make her ill before he trailed his finger down to her ear. The lines of tension in her forehead eased somewhat. "That's nice."

Encouraged by that response, he massaged more oil into her neck, and she sighed and arched toward him. Almost the way she had pressed against him during that kiss in de Sousa’s office. "Interesting. That response makes me curious to see what would happen if we employed this oil in other situations."

He could imagine that rubbing this oil in more… intimate places might be somewhat arousing.

After a long pause, during which he hoped she was imagining the same, she finally said, "Great. Let me know how it turns out."

His rebellious brat had returned to him. "You would know long before that."

Did she have an answer to that? A quip? A blush? Apparently, he was not to learn her response. She’d fallen asleep again.

Just as well. Safer for her. Safer for them both.

@lorei-writes @selenacosmic @bestbryn @lyds323 @tele86 @akitsuneswife

#ikemen sengoku #fanfic #ikesen mitsuhide #ikemen sengoku fanfic #mitsuhide akechi #ikesen motonari #surprise gacha chapter #mitsuhide not monday #10things #10 things I hate about Mitsuhide #the best information gleaned from hideyoshi eternal is that mitsuhide plays the flute #hurt/comfort

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scbhagat · 2 months ago

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jbird-the-manwich · 11 months ago

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What are you most proud of this year?

oOo that's a hard one. maybe my grimoire system. I did write a file format and a handful of text parsers for it, and I've not designed a memory optimized data format with a functioning import/export entirely from scratch before, so I guess that counts as a milestone!

Also, not as polished, but the last few nights between sleeps and sickliness ive been working on learning the 6502 architecture, and so far my first from-scratch project is a geomancy chart generator targeting the Nintendo, - it's damn near finished, though this is all that's visible from where I left off last night, I do now have a functional (if vram buffer agnostic atm) interface and input system. the underlying code is based on the algorithm Agrippa detailed in Of Geomancy, rather than the usual and computationally very different "init a pseudo random from system time and thats it, thats the program" approach generally employed in divination through digital means - and I feel like that might be the bug in the soup that is digital divination - that it is simply not in general implemented in software in a way that accurately models the process. But with the right algorithm im confident this can be changed >:] also lookit these cute ass graphics:

I've developed a lot of theories over the years about digital divination and how it might suck less. this has lead to designing and now, implementing, a lot of new algorithms that are computationally just plumb off the wall. but as math and low level programming goes, it doesn't get lower stakes than my silly little pseudoscience, so, that's been hugely fun and very good for the winter blues.

I'm also still very much in the design phase for it, I have a few ideas for implementation, but once I have more software ready *to* test, I'd like to integrate quantum randoms and see if that alters the subjective "correctness" of the readings I subject myself to. I expect it won't, but I could be very wrong, and while my first experiments will likely feature QRNG devised by reading noise across a busy internal circuit, I do have to admit there is something very compelling to the idea of using a light sensor to grab ambient photons as raw data for true randoms that are processed and presented by software but originate from outside the system itself, shaped and altered by external circumstance *before* reaching the system, rather than being the result of a purely deterministic, and often repeatable or otherwise low quality number generator, usually one that ships with the standard library, and which is the whole backend of most divination apps but is where the least design effort seems to occur.

sorry for the book lol I guess I've a lot to talk about!!! <3

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cienie-isengardu · 1 year ago

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Cienie’s take on Mandalorian Culture: Kad Ha’rangir and mandalorian traditional weapons, p.3

part 1 --- part 2

In contrast to previous sources that with no doubt tried synthesizing Legends with The Clone Wars lore, the Collapse of the Republic Roleplaying Sourcebook (2019) seems to be written first and foremost with New Canon in mind, at least in regard to Mandalorian culture. While understandably a main focus was put on the conflict between New Mandalorians (pacifists) and Death Watch (traditionalists) just before and during Clone Wars, the history of Mandalorians was presented there in a general, not really detailed way - the Mandalorians were warriors for generations and that is basically the summary.

The two vital data about Mandalorian weapons are:

the importance of Darksaber (a sword not exactly needed to lead Mandalorians, but an important heirloom of Vizsla clan and cultural item nonetheless)

the traditional swords made out of Mandalorian iron are known as beskads and their shape was based on ancient Taung design.

The second point is especially interesting because the visible lack of connection to “ancient time” lore makes the mention of Taung a surprising addition. As I do not have any insight into legal restrictions or demands put on authors, I can only speculate if the authors of this Rulebook couldn’t refer openly to Legends sources which is why this small callback is sneaked into the text without a proper context? Whatever the truth is, Bounty Hunter Code already had similar information, and the same as with the older source, I do not think Collapse of the Republic contradicts what original The Sith War comics presented.

Logically thinking, the metallurgist knowledge needed to be passed down from Taungs to humans and other assimilated Aliens before the original Mandalorians died out. The existence of Mandalorian traditional sword design however is not exactly the same as direct proof the said swords had any real religious importance in their culture. Even more, the lack of proper context who Taungs actually were for (human) Mandalorians raises a question, did Sourcebook mean ancient Taung as the pre-Mandalorian (Roon) culture or indication for original Mandalorian era? Because there is possibility that modern warriors based their beskads on archaeological findings from burial sites on Roon or alternatively, Taung!Mandalorians forged swords in the manner their own forefathers did before Mandalore was colonized. And so we come back to burial sites mentioned in Author’s Cut and a religious/cultural aspect of swords that may or may not survive to the Sith and Mandalorians Wars era. Similarly, we can’t cross out the possibility that Taung metallurgist created swords either for export[5], as gifts and/or sacred items or as equipment for their (non-Taung) vassals before those were acknowledged as equal to warriors and maybe even for Neo-Crusaders who in great numbers came from Republic (thus may be more familiar with sword fighting than more typical Mandalorian axes).

The same as Death Watch Manifesto, "Collapse of the Republic" puts a great importance on the modern conflict over mandalorian “national” identity; however in contrast to the earlier source, the provided knowledge is pretty much separated from warriors’ ancient (alien) origin and it does not even clarify which Taung design - of Roon or Mandalorian culture - it refers and this detail makes a great difference.

Another source worth to examine is one of Mandalorian songs - “Vode An” (meaning: Brothers All), the best known from Republic Commando Game Soundtrack. Years ago, Lucasart.com published the ancient Mandalorian text and English translation of chants used in the game - for those interested, an archived version is still available.

Part of this song, although not specified by name, was also included in Republic Commando: Hard Contact as a little in-universe snippet added to chapter 7:

Bal kote, darasuum kote, Jorso ‘ran kando a tome. Sa kyr 'am Nau tracyn kad, Vode an. (And glory, eternal glory, We shall bear its weight together. Forged like the saber in the fires of death, Brothers all.) ” — Traditional Mandalorian war chant

Republic Commando: Triple Zero’s glossary calls the same song as “ancient Mandalorian war chant”.

Both Republic Commando game’s tie-in sources and book series note the old origin of the song and its traditional aspect. On the first glance, it is easy to assume this war chant could be created by Taung!Mandalorians and thus be a proof of swords' importance or presence in the pre-human culture era, especially if used as poetic metaphor. However we need to take two things into account:

First, as I mentioned before, with a culture that has existed for over 7,000 years the term “traditional” may easily refer to various stages of Mandalorian history. If we look closely at the all presented songs, Vode An share a lot similarities - if not the same lines - with other pieces, like:

Bal kote, darasuum kote (And Glory, Eternal Glory) with the first line of “Kote Darasuum” (the difference is addition of “and” in Vode An)

Motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a // Aruetyc runi solus cet o’r. (Those who stand before us light the night sky in flame // Our vengeance burns brighter still // Every last traitorous soul shall knee) share the same lyrics with

🔶"Rage of the Shadow Warriors" (later officially named Dha Werda Verda):

Duum motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a (Let all those who stand before us light the night sky in flame // Our vengeance burns brighter still.)

🔶 "Gra’tua Cuun":

Motir ca’tra nau tracinya // Gra’tua cuun hett su dralshy’a // Aruetyc runi solus cet o’r prudii an. (Those who stand before us light the night sky in flame // Our vengeance burns brighter still // Every last traitorous soul shall kneel in our shadow.)

From the perspective of making music for a Republic Commando Game - and to my understanding, the lyrics were first created by Jesse Harlin and later official mandalorian language came to life thanks to Karen Traviss and her book series - it makes sense that all songs have the same lyric “core”. However, from the perspective of in-universe culture, the similarity either implies a very limited creativity (artistic needs) of Mandalorians or those songs drew inspiration from the same source but themselves may not be created in the same era. Alternatively, one of them is the original version that inspired the later variants who naturally differ from each other due to isolation and cultural (clan) differences, as Mandalorians lived in various enclaves across the galaxy and clans did not always reside in close proximity to each other. Another possibility is that some of the presented chants were adopted by Mandalorian groups as their specific symbols, similarly as happened with clone troopers using Vode An as their army’s anthem and Kote Darasuum as their motto[6].

Frankly, from the all named songs, only for Rage of the Shadow Warriors - in later sources known also as Dha Werda Verda - we have premises to assign it to a specific era. Star Wars: The Essential Guide to Warfare Author's Cut, Part 2 - Ancient Coruscant places its origin to regime of Mandalorian the Ultimate and its role as a plea of dying out Taung species to be remembered by new, non-Taung Mandalorians:

Hu Jibwe, scholar of military history at the Salmagodro Grand Academy, notes that there is another song popularly known as “Dha Werda Verda” -- the Mando’a war chant known as “Rage of the Shadow Warriors.” During the Clone Wars, some Mandalorian trainers taught this chant to their clones, and it became a hallmark of those units. It’s rarely performed today, so if you have a chance to see it, take advantage: The chant and ritual dance are mesmerizing, particularly if the dancers follow Mandalorian tradition and drum out the rhythm on the chest or back of those next to them: The ash of the Taung beats strong within the Mandalorians' heart. We are the rage of the Warriors of the Shadow, The first noble sons of Mandalore. Let all those who stand before us light the night sky in flame. Our vengeance burns brighter still. The gauntlet of Mandalore strikes without mercy. We are the rage of the Warriors of the Shadow, The first noble sons of Mandalore. Let all those who stand before us light the night sky in flame. Our vengeance burns brighter still. But as Hu notes, “Rage” is far more recent than Dha Werda Verda. The best-preserved record of the Taung epic poem, written in Notron Cant and housed in the Baobab Archives on distant Manda, contains none of the verses of “Rage.” “It’s my belief that ‘Rage of the Shadow Warriors’ dates from the reign of Mandalore the Ultimate, when the Taungs knew they were being eclipsed,” Hu explains. “I’ve always thought it a poignant work -- a plea that the Taungs not be forgotten by the newborn culture they knew would outlive them.”

Mind you, this is just (in-universe) researcher’s opinion and the man may be wrong about the song's true purpose as this is only his academic assumption. However the mention of differences between the epic poem and the chant is a strong indication that the song was created much later[7]. Interestingly, Rage of the Shadow Warriors, if truly composed by Taungs in the period of (pre?) Mandalorian Wars, does not use a metaphor of “forged like the saber” while at the same time is the longest and most complex piece. Looking at the similar lyrics between Rage of the Shadow Warriors, Gra’tua Cuun and Vode An, one may wonder if the “saber” part wasn’t added in human!Mandalorians era where such a type of edged weapon became much more popular.

Another thing worth considering is the periodization of Mandalorian culture. More precisely what in-universe researchers and Mandalorian people themselves describe as ancient times? This is a very important question as sources often use “ancient” and “traditional” interchangeably yet those two terms are not the same and may indicate different meanings (the word ancient itself is more chronology based, the traditional - culturally). Secondly, our idea of an “ancient” and “modern” era in a technologically advanced galaxy far far away may be misleading because really, at which point antiquity officially ends? The best example for this problem is Darksaber itself.

The Armorer and Fenn Rau claimed Tarre Vizsla created this one of kind lightsaber around one thousand years ago which is of course impressive amount of time, but also a relative small part of overall long Mandalorian history (and even longer culture if we take into account the whole record of Taung species). And yet starwars.com’s databank still calls this item “An ancient lightsaber that serves as a powerful symbol of leadership to the Mandalorians”.

In Legends, one thousand years before the events of the Original Trilogy, the Republic and Jedi Order went through a great reconstruction known as the Ruusan Reformation that started the Republic Golden Age. Maybe the New Canon too uses similar periodization or its antiquity ended at a different, much later time?

Even if we narrow down the mandalorian antiquity from The Sith & Mandalorians Wars era to creating Darksaber, it is still three thousand years - a great period of time to which the term “ancient” will refer to. Which of course does not help to examine source material, especially related to traditional songs and items passed down from one generation to another for centuries.

So, how important were swords in Mandalorian culture and how does this weapon relate to Kad Ha’rangir?

Next part: Final conclusions and potential explanations of the problem.

SIDENOTES:

[5] In Tales of the Jedi: Dark Lords of the Sith #2 (1994) - a year before the TotJ comic series even introduced us to Taung!Mandalorians - for the first time Mandalorian iron is presented as a material that can withstand even a lightsaber cut.

Master Jedi Arca Jeth used Mandalorian iron to secure a Sith tomb of Freedon Nadd, build in 3998 BBY on Dxun, Onderon’s dangerous moon (Uprising of Freedon Nadd #2) . The duel of Ulic Qel-Droma and Mandalore the Indomitable happened in 3996 BBY (The Sith War #1) and Mandalorians up to this point weren’t well known force within Republic border - they did conquered many worlds and their attention at some point was focused on Teta Empress and similar strong regions of this galaxy, yet for example Exar Kun - who in general was knowledge seeker - had literally no idea what the tomb was made of to whistand lightsaber which suggest Mandalorian Iron wasn’t worldwide known yet. This of course raise a question then how Master Jedi Arca Jeth even get his hands on such precious material - something rather hard to get by different means than from Mandalorians themselves, as:

A) beskar is found only in Mandalorian system

B) without a proper metallurgist knowledge beskar won’t be indurable

C) sources like Bounty Hunter Code states betraying the secrets of beskar and mandalorian metallurgist technique is punished by death and of course, this could be more modern nuance (especially when facing extermination of warrior culture) but definitely beskar had a special place in Mandalorian culture.

Sadly, the issue of Master Arca using Mandalorian iron is, as far as I know, unresolved.

[6] The Guide to Great Army of Republic (Insider 84) states:

[7] The use of the word “Mandalore” also supports the theory that the song Rage of the Shadow Warriors is a much later creation than epic poem. The version known and used by clones (as presented in Republic Commando game) has changed the original line to “Coruscanta kandosii adu.”, as reference to the capital of the Republic. This raises question though, if “forged like the saber” could be also changed from original into something more familiar and Republic/Jedi alike?

#star wars #mandalorian culture #cienie's take on mandalorian culture #mandalorians #mandalorian songs #uff i'm almost done #and a bit shorter part compared to the previous ones lol #anyway I DEMAND DO KNOW HOW IN-UNIVERSE LOOKS PERIODIZATION OF MANDALORIAN CULTURE #is pre-The Sith War era considered ancient time or prehistoric due to limited written / material sources???#the reason i think modern (human) mandalorian could use archaeological findings is the feeling that with warrior culture being destroyed #on purpose they could try to look for their ancient roots for propaganda and ya know culture that lasted for more than 7000 years #sounds better than pacifism that lasted max 700 years #anyway i have few pages of conclusions and theories to present lol

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avaaltechnologysolutions · 9 months ago

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