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arandompostarchive · 4 years ago

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Inure - Ch. 2

SAVED WORK

Summary: To some, The Specter is a serial killer. To some, a hero. But to everyone, you were entirely a mystery. You had no history, just a list of victims a mile long. No matter how many people searched your name, they could find anything. If only they had the spelling right. Now, you’ve come across some unfortunate information that drives you out of your usual shadows and into the path of the Avengers. Including two of the more reclusive members of the team. And it’s hard to pick only one of them.

***

“Howard, I’m not sure this is a good idea. SPECTR isn’t ready to show the public yet, much less reporters who will make up a million theories on how we’ll use this.” You argued. You sat across from Howard as you looked over the machine’s blueprints. Howard had suggested that it was ready for a test run, which was completely wrong. It was far from perfect.

“I’m not saying we have to keep it running, but we’ve got to show people something!” He said, getting frustrated. You began to get frustrated too.

“Maybe you shouldn’t have bragged about it to every media outlet in the country, then. You told them about SPECTR, now you have to tell them it’s not ready. It’s that simple.” You didn’t look up at him.

“C’mon. One test, we don’t have to test all it’s features, let’s just turn on its most basic setting. Just show that it works!” He said. You stood, walking toward the control panel you had set up. The machine was behind glass in a testing room. If you turned it on right now, you weren’t sure what the reaction would be, so you insisted it be put safely away from you.

“But it doesn’t work.”

“They don’t have to know that! I just gotta show them something.” You were tempted to give in. To let him bring in his media crew and you would have if it weren’t for the dangers SPECTR presented.

“Turning it on right now could endanger lives. We need to stay safe about this.” He rolled his eyes. He hated your safety rules which you had only implemented because he would run around the lab doing stupid things otherwise. “Look, I get it. I’m excited about this too! We’re making life-changing stuff here! But let’s save it until we know it will actually change lives.” You bent down and unscrewed a panel on the control board. You had missed the upset look on Howard’s face, not that you couldn’t guess what it looked like.

You continued working while he made a call or two in the background. You jumped a bit when a spark came out of the panel. You stood up, opening the door to the test room to check the machine itself. You could feel Howard staring at the back of your head.

***

You jolted up, sweating a bit. Most of your dreams were memories now. At least, all the dreams you remembered were. At the time, that memory didn’t seem so bad. It just seemed like two friends arguing and that’s what you thought it was. You wished you could go back. Tell yourself to listen a little closer to his phone calls. Double check that he really wouldn’t get a dozen reporters. Instead, you trusted him. That had been a grave mistake.

You pushed yourself off of your bed. Your room was nice to say the least. Leave it to a Stark to make things look expensive. You had an apartment-like area. There was a bedroom and a small living room and kitchen hybrid. It had a tv, a couch and the bare essentials of a kitchen.

You walked into your kitchen area to make tea. “What time is it?” You wondered out loud, seeing the darkness outside your windows. “I need to tell that Captain more about what I know, maybe the team would stop talking about me. Or at least do it in a more private setting.” You grabbed an electric kettle and filled it with water, waiting for it to boil.

“It’s 3:44 am, and I can remind you, if you’d like,” A voice offered. The sound of another person in your space made you jump, but when you looked around you couldn’t spot anyone.

“Hello?” You said loudly, unsure of where the person came from.

“Hello.” The voice said again. You stepped closer to the couch and looked around, still, no one was in sight.

“Who are you?” You asked. Trying to locate the voice.

“I’m FRIDAY, Mr. Stark’s AI system.” You almost laughed. Of course.

You were still curious though. She was really AI? Had she passed the Turing Test? How had he made a completely functional system? How was she built in, is it just in certain rooms, or did he manage to put her everywhere? You had questions to ask Stark about his inventions, though you were dreading having to talk to Howard’s son. He couldn’t be that much better than his father and you weren’t ready to spend time with Howard 2.0. You’d seen Tony on the news and even spent your own time watching over him, but you’d never had a real conversation.

“FRIDAY, huh? And how do you work?” You asked. Admittedly, it felt weird talking to the air. There was no where to focus, so you really just ended up staring at the ceiling. It felt odd.

“I was implemented to help Mr. Stark after he lost his previous AI. I’m a network of different systems Mr. Stark has created. I’m not allowed to share all the details, but I’m sure Boss wouldn’t mind showing you.”

Of course she calls Tony “Boss”, seems just like a Stark to put themselves on a pedestal. “Well,” you began, “Thank you FRIDAY. I can remember to talk to Captain Rogers, though. I don’t really have much else to do.”

“Alright, Miss.”

“Just call me Spectr,” you told her, smiling at the ceiling.

“No problem, Spectr.” There was a soft whistling behind you and you stopped the kettle before it got too loud. You took the tea along with a bit of honey and sat down on the couch, slowly sipping it. It felt odd to have a ‘home’. A TV, couch, bed, kitchen, even the weird body-less AI felt comforting. Something you hadn’t felt in a long time.

***

Coming downstairs to get breakfast was one of the most awkward experiences of your rather long life. You had come down late, hoping the Avengers ate early. To your dismay, most of the team were in their kitchen, chatting about something or other, though it seemed like a few of them there only to talk to the group.

When you walked in, book in hand, their conversation immediately hushed and all eyes turned to you. The team was terrible at pretending not to stare, but you did your best to ignore them.

“Um, Spectr.” The Captain spoke up. His voice stayed steady, but you could tell he felt odd asking you anything. You turned around to face him, silently telling him to continue. “Join us, we’d like to get to know you.” The sentiment was nice, though you knew what he was doing. If they could befriend you, they’d have a permanent ally or maybe even stop your ‘crime spree’. Or maybe they wanted a reason to justify working with you. Maybe they felt guilty putting a serial killer on the team, even temporarily, and thought that maybe, just maybe, if you were a kind person they’d feel just a little bit better. But the much more likely option was that they wanted a way to take you down. They wanted to know exactly what made you tick just in case you got too hard to handle. You wished them luck, you had died decades ago.

“No, Captain, you don’t want to talk to me. I’m a possible threat in your house. You want to learn whatever you can about me. That’s fine, I understand.” Everyone at the table was avoiding meeting both your eyes and Steve’s. You didn’t really have anything against Rogers, but you weren’t here to become best friends, you were here to stop a threat. Then you could leave and go back to your old life with no record of your crimes. Not that the city papers wouldn’t have a field day.“But you don’t want to talk to me. Don’t pretend you do, it’s rude.” You didn’t get a response, so you assumed you guessed right.

The team went back to your hushed conversation and you scanned the room. You grabbed a cup of coffee from the fresh brewed pot and sat yourself on a couch in their living room area. A man was sitting across from you also buried in a book. You didn’t mind the lack of conversation, though his book choice was interesting. Shakespeare’s The Tempest, certainly a good read.

You looked down at your book, staring at the page but still focused on the man in front of you. You recognized him, though you weren’t certain from where.

“The team seems to have deemed you a villain as well.” He said, barely glancing up from the pages. Usually, you’d be angry. You’d leave and find somewhere else so you could be alone. But for some reason, you didn’t.

“You’re getting the same treatment?” You asked, somewhat skeptical. From the outside, he looked like just another team member.

“It is to be expected after what I did. They still do not trust me.” This time he looked up at you, fully meeting your eyes. Then, you recognized him. Loki. The guy who wrecked New York.

It wasn’t your style, but it did end up taking out one of your targets for you and he seemed nice enough.

“I see. Well, can’t exactly blame them for not liking me either, then.” You said. He kept a straight face. It looked practiced, like he knew exactly how to keep his emotions hidden. But you knew that look in his eyes. The very silent desperation that maybe, maybe you could relate to him. Maybe you could be outcasts together. You weren’t sure you liked that idea. Being alone in your new ‘room’ seemed much more favorable.

“I’m not exactly clear on what you did.” He closed his book, keeping his thumb between the pages and setting it on his lap. You did the same.

“Well, I kill for a living. Sort of. It’s not the most high paying gig out there, but ‘heroes’ don’t tend to appreciate serial killers.” You tried to state that in the most lighthearted way possible, though there wasn’t really a nice way to phrase it.

“Do you simply kill anyone?” He asked, clearly trying to piece together why a murderer is currently trying to help save the world. You smirked a bit.

“Not exactly. All my victims are the people who’ve escaped justice. Maybe they got away with murder maybe the court just isn’t moving fast enough. Or they’ve got connections and keep walking free. I never miss a target.” You said, proud of your work.

The Avengers didn’t see it how you did. You were correcting the world. Bringing back hope, even if no one would cheer for you out loud.

“And the Avengers feel you are doing the world a disservice by ridding it of evil?” He seemed confused by the concept. As far as he was concerned, it sounded fair. Harsh, but fair.

“They don’t like the whole ‘murder’ part. Well, torture and murder part. They think we should let the system handle it. But the system isn’t working, so here I am.” You said, taking a large sip of your coffee.

“And if authorities catch you? Will they put you to death over such a thing?” You shrugged in response. In all honesty, you hadn’t really looked up what consequences you’d face. You didn’t care. “You do not seem scared.” He noted.

You laughed a bit. “Death is an old friend.” You took another sip of your coffee and he seemed to acknowledge that he wasn’t going to get any more than that. You spent a little while longer in a comfortable silence, both reading your respective books.

Soon, you finished yours and stood up. Loki nodded to you and you nodded back. You wouldn’t call him a friend, but he certainly wasn’t an enemy and that’s the closest thing you had to a friend right now.

You walked back to the kitchen, dropping your now empty coffee cup into the sink and washing it, placing it on the small drying rack they had there. Some of the team was still in the kitchen and you heard their conversation quiet. You had better hearing than average, but it wasn’t anything to brag about. And since the team was mostly super-soldiers, you could hear their extremely quiet whispers. Whatever they were talking about, they were being careful about it.

You grabbed a few granola bars from the cabinet when you spotted a bottle of whiskey that had been left on the counter, probably by mistake. You suspected Stark, Howard would leave your bottles on your table when he went to your house, why would Tony be different? You grabbed a glass and filled it, not bothering to look at the brand of whiskey.

“I like a good drink myself, but, uh, that’s a full size glass and it’s 10 in the morning?” Tony said, looking slightly concerned. You scoffed a bit.

“I’m starting that late, huh?” You asked, drinking a bit of the glass and walking toward their training room. The drink wouldn’t do much, your heart had stopped, well, working after you died. Everything had. As far as you knew, you were essentially a walking, talking corpse. The only reason you had to breathe was so you could talk, so when you lived alone you didn’t find it necessary. Your alcohol limit was high to say the least, you were almost certain you could out drink Thor. And now that you lived in the same house as the guy, you were kinda tempted to try it.

Since all of the loud members of the team were at breakfast, including Thor and Tony, you settled for getting exercise. Their training rooms were huge. Starks always went big. You could hear someone else and you groaned at the thought of human interaction. Like living with a bunch of do-good superheroes wasn’t enough, now you had to actually talk to them.

You walked in anyway, hoping it was one of the quieter members, like Vision. Though you didn’t see why a floating android would need to work out. Instead, it was Steve’s friend, Bucky Barnes. Although Steve and Bucky didn’t know you, you knew of them. Peggy had talked about Steve a bit, so you knew a little bit about their life in the army. You had even comforted Peggy once Steve crashed into the ocean.

The closest you had ever been to actually talking to them was consulting when Howard was designing possible shields for Steve. Bucky on the other hand, you had only heard about once or twice. Mainly about how he had gone missing.

You tried not to make eye contact with him while you went over to the weights. He was practicing what looked like knife throwing, so he wasn’t really focused on you.

“You created that machine, right?” You hadn’t even crossed the room before he addressed you. You internally groaned, not liking the idea of a conversation right now. Especially with someone who would quiz you on all your weaknesses.

He looked at you and offered a knife out of the small chest full of them. You took it and resigned yourself to questioning. It would be easier to manage if it was only one of them.

“Me and a friend. We thought it could do good, but it was never finished.” You said, throwing the knife at the target. Knife throwing wasn’t your specialty, but you weren’t terrible, so it landed off-center. Bucky still looked impressed though.

“Not bad. That machine was made to heal people, right?” You nodded and he threw his own knife, landing dead center. It looked like he was making a ‘X’ shaped pattern out of them. “So how’s he going to use it to hurt anyone?”

You had considered that before. But, considering the… malfunctions the machine was capable of, you didn’t doubt it could harm people as well as heal. “Trust me, it can kill without a problem.” You said, not liking the topic he had chosen. You tossed another knife at the target, this time landing further off-center than the one before. You internally sighed at your lack of focus.

He considered what you said and nodded, seemingly understanding that there was more to your statement.

“I don’t think you’re a threat, if that’s what you’re worried about.” He said, pausing in his knife throwing. You scoffed.

“You don’t, huh? Then why exactly are you talking to me?”

He shrugged a bit. “You seemed lonely.”

You continued throwing knives discussing members of the team. It seemed you had two not-enemies in the tower.

#loki x reader #loki #bucky x reader #bucky barnes #loki x reader x bucky #inure #saved work #fanfic

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nintendocaffeine · 4 years ago

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Nintendo WIP

Taglist: @nintendo @niantic - @nele3299 - @hoodie-art

Nintendo is a so-called game company, but a game company wouldn't overlook such trivial details that are a huge impact on not only their games but their players. It's almost like they want to make all of their 'fans' or just people who could care less about them themselves and only play certain games not want to come back for any sequels or prequels to their games. It's like they didn't even bother to think about this mess until a bunch of people finally open their mouths about it, but that is a hard task. Even if I get no one's attention I want to make some points that at least everyone in the community can agree on.

Animal Crossing

People have either been playing animal crossing for years or only joined with the recently made New Horizons along with me. But in the most recent games, there have been a few things that are too blaring to overlook. It's almost like Nintendo wants to watch players suffer, which if the players suffer, the company suffers greatly too.

So the aspect is to have a bunch of villagers on your island and do a bunch of DIY's that look like 5-minute-crafts came up with how to make things. But I digress, for the most part, it does make some logical sense. But when you need to craft over ten packs of fish bait, it gets more than annoying. Or need to craft maybe four or ten chairs or benches or something seasonal. to have a perfect seasonal island for a month before switching it up again. It would be more than lovely to have the option to pick more than one. I know if you mash A a bunch it goes faster but that doesn't exactly make too much of a difference if you're making a bunch of the same item. Not only that but if you're buying maybe 10+ nook miles tickets, let's say you have 40,000 Nook Points, You can get twenty whole NMT, but pressing A and waiting, doing that twenty or more times depending on how many points you have? It's unbearable and not even finding the villager you want after hopping island to island and waiting hours and mashing A for the amount you want or need.

It shouldn't be hard to program in a counter. You make updates for all the wrong things, I feel.

Like the update to Animal Crossing Pocket Camp, needing a certain camera lens to play a game that actually doesn't require a camera lens like that? Nintendo had an update in November of last year where they cut more than half of their player base. Their phone needed a gyroscope camera, not even phones bought last year could run the game, apparently. I was one of the players affected. I spend actual money on that game. For what? Cosmetics I can't even see anymore? Can't even use? After a month of nothing I had to uninstall, I was told that I should wait but I just didn't have the storage anymore. Sadly. I went back to see the reviews, most people left even if they could still play it because they couldn't play with their friends or couldn't play period.

I want to point out Pokemon Go!

Pokemon Go uses a camera feature for their 3D Pokemon models, which is amazing! But why does that work and yet Pocket camp doesn't? Well, technically Nintendo doesn't own Pokemon Go, Niantic does. Niantic uses different software than Nintendo itself, that and they're two different apps, they were made very differently. But then why does the camera have to be a gyroscope for Pocket Camp and not Pokemon Go? Pokemon GO uses it's AR feature more than Pocket camp! This is true, but the camera feature isn't even needed with Pokemon Go either, it's optional. So then why is Pocket Camp different? Well, Google told app developers that all apps needed to be 64bit by next year. But what does 64bit have to do with a camera lens? The gyroscope lens is implemented in all 64bit phones, that's the difference. Pokemon Go might update soon too but for now, people with a 32bit phone can play it and use its AR features. But I don't know why Nintendo would conform to Google's rules, as Nintendo is its own company and if it's still getting money... Google takes a percentage of money from players as tax for the service, so both Nintendo and Google are taking a hit. I really don't get their thought process here, people are canceling their subscriptions and spending less on their games, people on Reddit and in Google reviews are both saying the same thing.

Oh, but this is where I talk about Pokemon Go now.

Pokemon Go

Pokemon Go is an amazing game that Nintendo can't touch. Until they wormed their way in with Pokemon Go Eevee/Pikachu. Soon you'll be able to transfer Pokemon from go onto your switch games! But... they can't return back to your phone. Here's the thing I want to do, if I have a two-star Pokemon in Pokemon Go and transfer it to make it a three-star with vitamins then I should be able to then send it back into Pokemon Go and dominate. But that's the thing. I can't. We don't even know if they way to make it go two ways or if it'll forever be a one-way transfer only.

I love how Niantic added Jessy and James even though Jessy as a 3d model looks... strange. I wonder if they'll add Butch and Cassidy, since they were also semi-part of the lore, they mainly just competed with Jessy and James. But this is just a thought I wanted out there. I want more diversity, honestly. But it would take a long time to implement, but I think it would be cute to see how it is implemented. It could be an event type deal and I'd still be happy just to even see them.

I want to congratulate them for finally putting in Kalos starters! I've been wanting a FenFen (Fennekin.)

Pokemon Mystery Dungeon Explorers

Okay, so I've played Pokemon Mystery Dungeon Explorers of Time and Darkness, and let me tell you the anime for it was amazing too. I wanted more. There was a 3Ds version, hated it. Circles... I gave up and restarted twice and haven't touched it for so long since it just.. wasn't as good as the original. I've been meaning to play Sky but one thing at a time. There has been a lot of people talking about the starters, and boy oh boy I'm on the bandwagon late. I was curious about the personality quiz but seeing everyone say want starter is best with what partner and seeing how everyone said 'Don't be Totodile and Mudkip!' or 'Don't be Eevee and Skitty!' it just made me confused since you... technically couldn't have two of the same type of starters. What in the heck were those people thinking? But that isn't entirely a point. The point is starters. In the switch version of Mystery Dungeon, there are some things I just cannot say. The starter selection of awful. What happened to the Unova starters? You added Cubone but not Riolu? Where did you put my baby shinx?

The starters were pretty meh, they could have added more in my opinion. The screen surely could handle it. Also, the animations for the starters weren't even special or fantastic so it wouldn't have been that hard. I hate the walking animation for Eevee. I picture for Mudkip and Skitty it's not much better.

I've played it for three days and was so disappointed. First off, my partner, an AI? I had to literally kill him for my starter could get back to the same level. Thanks, blast seeds. But if I am being honest in found it to be so funny. Not only that but in said Dungeons, on any floor the boss could just be there and without warning. You could have explored the entire floor and it just appears randomly, or might not even be there. Hate that.

Also, there are no party rooms. I miss the party rooms. The party rooms are rooms that randomly fill up with Pokemon either if you hit a tile for the party room, somehow get the room by being dropped there with or without your partner (and co), or if you enter it from a path. I barely ever get past them but it would be a good experience. Also, you can only have yourself, your partner, and whatever one Pokemon you want with you. In previous games, you could have two addons. What happened to that?

Not to mention that in the story, you suddenly are exiled and after beating two birbs you then fight, Ninetails covers for you and says it isn't you, and then everything is suddenly.. just okay? All fine and dandy? So many people wanted to literally kill you over a rumor. If you died once you would lose 5,000 P and items. Um, excuse you. At the end of the journey, I gathered a little over 5,000 P because I'm a money-hungry person who wants to open all of the camps. But again, I know we'd have to go and find Ninetails and figure out the story but that.. wasn't the way to do it. You get past maybe six dungeons and are hit with that suddenly. I would get it if it was mid-game and they suddenly found out the secret and everyone was like 'you were so nice, what happened?' 'Why was it you?' 'You lied to all of us' and it broke my heart, that just upset me. None of them even let the starter explain, and even if they did the option was literally only dots. Also, why was my partner so supportive? They're just so baby and it's killing me. That's just my take on what they could have improved on.

If you want to add on, add your own, or say anything, feel free below or to message me so we can talk about this more. Thanks for the read, lets hope this gets covered on some youtube channel for 'controversy' or just to be agreed on.

#Nintendo #Niantic #Pokemon #Pokemon Go #Pokemon Mystery Dungeon #Animal Crossing #Animal Crossing New Horizons #ACNH #Animal Crossing Pocket Camp #ACPC

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ask-jumblr · 5 years ago

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Goy Asks For Help Un-Fucking a Video Game

The game in question is “Crusader Kings 2: After the End,” which takes place in a post-apocalyptic North America which has regressed to a medieval state due to a deliberately-unspecified global disaster some six centuries ago.

Its an overhaul mod, with “Crusader Kings 2″ being the base game which takes place in the actual middle ages, but I’m only concerning myself with “After The End.” For clarity’s sake, I’ll be referring to the base game, which I will not be concerning myself with altering, as “CK2,″ and I will refer to the mod, which I am altering, as “AtE.”

So CK2 has a lot of baked in Cultural Christianity, much of which is carried over to AtE. I am creating a Submod, and as part of that I want to get AtE’s depiction of Judaism to be less, you know, christian. I want to carve out the ingrained antisemitism so that neither I, nor any Jewish players of the game, will have to look at it anymore.

I’ll be cutting this post up into several parts, each one dedicated to what I, as a gentile, think is probably an issue with the way the game portrays Judaism and my best idea of how to fix it. I’m posting this here with the hope of being corrected about everything I’m definitely getting wrong, and help figuring out how to go about actually fixing things.

Mod of @ask-jumblr briefly interjecting: (1) Putting the rest below the cut so this doesn’t clog dashes, and (2) submission is from @frustratedasatruar because tumblr doesn’t credit submissions once they’re posted.

Part 1: Orthodox, Reform, and… Meshichist?

So the way CK2 handles religion is cut up into a few tiers. The largest categories are the so-called Religious Groups, such as “Christian” or “American-Native” or “Muslim.” Judaism comprises one of these groups.

Then there’s the Heresy mechanic, which exists with the intent to model Catholicism’s whole snake-eating-its-own-tail thing with them, especially back in the middle ages. The way the mechanic works is that you’ve got one Religion that is considered the “main” religion with several others associated with it which vie for control. If things are shaky for the main religion, members of that faith may be prompted to join one of the Heretical movements.

I actually think the way AtE applies this mechanic to Judaism is fairly representative in practice. “Orthodox” is granted the position of main religion, with Reform relegated as a Heresy. But! Both Orthodox communities and Reform communities are scattered across the map at the start of the game. Further, Orthodoxy’s position at game-start is very fragile, so a Reform player can fairly simply supplant them as the dominant branch without even needing a military confrontation with any Orthodox factions.

This combination of factors creates a situation where Jewish communities within the game can ebb and flow between the different sects over time, which wouldn’t be possible if the two religions weren’t tied together with the Heresy mechanic.

One problem though, at least as far as I can see; there’s a third sect in the mix. Again, I’m a gentile, so correct me if I’m wrong, but its really weird for the Meshichists (explicitly the people who believe this man to be the Moshiach) to be depicted as a major faction within Judaism, literally on par with Orthodox and Reform, right?

As far as I, as a gentile, can tell from my research on this subject, the Meshichists are a subset of Chabad, which is itself a subset of Hasidic Judaism, which is a subset of Haredi Judaism, which has a complicated relationship with Orthodox Judaism.

So, assuming I’m not out of place in my assessment that the Meshichists are the odd man out, my question is if I should simply remove them from the game, leaving in-game Judaism to Orthodox and Reform. Or if I should replace them with a different third faction, and if so whom? I understand that Conservative Judaism is another major faction, but I know absolutely nothing about them, including how I would distinguish them from Orthodox.

Help, please.

Part 2: Zealous/Cynical

So CK2, as mentioned, has a lot of structural Cultural Christianity.

Individual characters in the games, that is to say Rulers or associated courtiers, have a list of traits, each one modifying their aptitudes and how the AI will direct them. Things like “Gluttonous,” “Charitable,” “Craven,” “Shrewd,” and so on. There’re hundreds of them.

Some of these traits are set as opposites of one another, which means that if a character has one the game won’t allow them to have the other. You cannot be both “Just” and “Arbitrary,” that sort of thing.

Further, one trait can have more than one opposite. “Slow,” “Quick,” and “Genius,” are all inter-incompatible, for example.

Which brings me to the Zealous and Cynical traits.

Their descriptions are thus:

Zealous: This character burns with religious fervor and cannot tolerate heretics, infidels, or heathens.

Cynical: This character is a cynical unbeliever, disliked by the clergy but good at intrigue.

I’ll shy away from describing their exact in-game modifiers and just leave it that Zealous is considered an overall very desirable trait, while Cynical is undesirable unless you’re playing a spymaster. Zeal makes you more popular with priests of your religion, while cynicism makes you commensurately less popular with the same.

Furthermore, unlike Cynical, being Zealous also precludes you from having any of the “Sympathy for [Insert Other Religion Group]” traits.

Now as I understand it, Judaism rather encourages questioning everything, which feels like a third pole on that little alignment graph. I’m essentially asking if I should try and create a “Pious Skepticism” trait to represent Jewish characters who don’t mindlessly-accept-writ-dogma-and-hate-unbelievers but also aren’t unbelievers themselves, while at the same time arguing with and about established scripture.

This hypothetical “Pious Skepticism” trait, name subject to change, would also allow for characters to be both on good terms with religious authorities and still have access to the Sympathy traits.

I feel like the current system of Zealous/Default/Cynical probably doesn’t represent the Jewish experience, but as a gentile I obviously need advisement to be sure.

TLDR: I feel like CK2 lacks a way to represent the whole arguing-about-everything thing that, at least from what I’ve read following Jewish blogs, is considered so important to your community. Then as an addendum on that point, is my proposed solution of making a new trait to represent it, and slotting it into the zealous/cynical dynamic.

Part 3: Depicting Antisemitism in the Game

CK2 has a limited system for dynamically depicting sexism. For what I feel pretty safe to assume are reasons regarding processing power, the degree of sexism within your in-game territory is boiled down to the “Status of Women” modifier in your nation’s lawcode, with five options.

“Traditional: Women are prohibited from holding all [government] positions. Some government types will be restricted to Agnatic inheritance law.”

“Marginal: Women are allowed to hold some power, occupying background positions behind the people in charge.”

“Significant: Women have been granted official power and are allowed to hold public offices.”

“Notable: Restrictions on female power have been officially repealed. All career paths are open for prominent women.”

“Full: Powerful legislation removing old restrictions has finally had the effect of affecting the general opinion on women in positions of power across society.”

These laws are pegged to different benchmarks in the game’s technological progression system, which has the effect of spacing out the reforms over the coarse of your game.

As you try and move women’s rights forward, powerful men in your nation will fight you tooth and nail to prevent that from happening.

As things stand in the game, antisemitism is represented as identical to every other form of xenophobia. Which obviously downplays the the shear length and breadth of impact antisemitism has on society.

Essentially, my notion to represent the special form of bigotry that is antisemitism is to apply a similar system to the one already applied to sexism.

In the sexism system, your nation is quantifiably better off for every step further you advance down the road to equality. The only real reason not to pursue equality is the hope of placating powerful special interests within your state who want a larger slice of the pie for themselves or have other ideological motivations, at the expense of weakening your nation as a whole.

Which I think would be a pretty good angle for representing antisemitism. I’m not advocating for a 1=1 switchover from the sexism system, of course, indeed one of the things I’d want help with is determine what the five stages would be in a similar antisemitism system.

Anyway, for all that this system is really incapable of handling the magnitudes of sexism or antisemitism, its something I can implement without crashing the game and, I think, a significant improvement over the current situation.

But before I started into the in-depth process of trying to code this, I wanted to seek out some Jewish voices to run my thoughts by first.

Part 4: Ethnoreligion

CK2 has a very christian perspective on the relationship between culture and religion, to the extent that I as a pagan am repeatedly jarred by it. And I’ve learned that Judaism’s view of the subject is even less like that of the christians. Making it, I presume, a bigger problem with the game.

So in the game culture and religion are considered completely distinct from each other, the conversion of one not having any effect on the state of the other. The only direct connection of any kind that I know of honestly just makes the problem worse: if you find yourself in control of a county which is both a different religion and culture from your own, you must actively convert the religion before it will be possible for culture to passively convert.

Which can result in situations which, given my knowledge that Judaism is specifically an ethnoreligion, are very strange. Like Anabaptist Yiddish counties.

Or the way any prospective Jewish rulers, if they want to ensure a firmer political position in a majority-gentile kingdom (if they manage to establish such a thing), demographic shift is fastest achieved not by, say, some mechanism to attract Jewish immigrants from neighboring countries, but by relentlessly proselytizing until the goyim convert, and only then the process of cultural shift may start.

Can you tell that this system was designed for the catholics.

I’m not really sure what exactly I could do to fix this, but I believe I can:

Disable the proselytizing mechanic for Jewish characters. I’d need to replace it with a “dispatch debate team,” or something, mechanic so that Jewish players won’t be left helpless in the face of grassroots Heretic movements.

Code a new system for gentile-counties-with-Jewish-rulers to passively convert culture and religion at the same time, but at a slower pace. And maybe, if I’m feeling ambitious overconfident, some mechanic by which you can try to inspire immigration by Jewish populations, potentially causing a brain-drain in nearby Kingdoms if you invest enough into it.

Create an opposite system, so that if a county of both Jewish religion and culture is converted to a different religion group, the county’s culture will autoswitch to an off-brand version of itself. If I’m feeling cheeky, I’ll call the off-brand culture “Goyim” or something.

I think that these three things in conjunction with each other would adequately solve the problem.

But, you know, I don’t know, because I’m not Jewish.

Part 5: Education

The game’s current system has it that as a monarch you can offer your vassals to have their children educated in your court, which usually results in them adopting your culture and religion if they haven’t already.

I feel like Jewish rulers would be less blaze about that than everyone else. Because, you know, experience. I want to set things so that Jewish rulers will either auto-decline those offers or maybe set it so Jewish characters are ineligible for the events that cause culture/religious conversion during childhood. I don’t really need a perfect solution, I just want to stop the phenomena of the idiot AI selling out to the big homogenizing power every single time.

Unless I shouldn’t do that, and I should leave things as is for whatever reason, or do some completely third thing.

Part 6: Logo

So in CK2, religions have their own individual logos so you can tell at a glance what religion a character is affiliated with. Heresies of the same main religion share a logo between each other, which will be a red version of the main religion’s logo.

Should a Heresy grow powerful enough to usurp the main religion’s position, the former-Heresy will get the full color version and the former-main-religion will get the red version.

Long story short, Judaism is represented by a Menorah. Because I learned that gentiles massively over inflate how important Hanuka actually is, I was wondering if that was a good pick, or if it should be replaced with the Star of David, or some other third thing.

Part 7: Terminology

This one is essentially Part 6: Part 2. The game has a shorthand way of copy-pasting in default terms from the different religions, so that a generic piece of in-game text can vaguely refer back to the character’s religion without needing to be rewritten for each religion.

For reference, here’s what that looks like for the christians:

Scripture Name = The Bible Priest Title = Priest High God Name = God God Names = God, The Lord, Jesus, The Blessed Virgin Evil God Names = Satan, Lucifer, The Devil

So in-game text in various places will be coded to say something like “We found a secret chest of gold, praise [Insert=god_name]!” and the game will insert something from the appropriate category at random.

You’ve probably guessed where I’m going with this: as a gentile, I want to double check that the terminology assigned to Judaism is actually appropriate.

However, as the game’s name lists for the three “god” categories drops several names I don’t recognize, and I know that Judaism is against copying certain things in this regard down, to be safe I’m not going to post the specific list unless asked. Instead, I’m just going to ask how those three categories should be filled out.

What I assume to be safer to directly repeat is that the priest title for Judaism is entered as “Rabbi,” and the scripture name is listed as “The Torah.” At least as a gentile, the only question that leaps out to me between the two of those is if “The Torah” might be better switched to “The Tanakh.”

End:

Thank you all in advance for your patience and assistance! I will of course answer any questions.

My thanks to @queerdo-mcjewface, @terulakimban, @miriams-well-of-jewish-thoughts, and @hermione-walked-out-of-a-yeshiva for helping me already when I couldn’t figure out how to submit this Ask.

#video games #help #Christian-normativity #submission #cursing

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vroenis · 5 years ago

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When The Best You Can Do Is Shoot A Gun

The Animal Crossing / Doom Eternal Covid19 launch coincidentally seems to be related to this discussion, even tho I’d say Doom Eternal has an excellent combat system and isn’t really relevant to what I’m going to bring up. I don’t have a problem with shooty-shooty, I have purchased, played and will continue to purchase and play plenty of video games that engage with firearm violence. There are plenty of discussions about how intelligent, consenting adults can do this without any problems and I won’t retread them here. Doom is simple game themed vaguely around demons; demons bad, player protagonist good, good player shoot bad demons - OK you got it, apply an incredible movement system into that and enjoy.

What I want to discuss involves of-course that pesky word and idea nuance, which annoys the shit out of more people these days, for its applications and misapplications - fingers-crossed I don’t fuck it up, but first I want to bring up Ubisoft and systems, so now’s as good a place as any for a stolen picture from the internet.

As far as concept art goes, that’s actually very representative of the final product in-game.

Ubisoft appear to have a long-term open-world tech development objective. I believe at some point very soon, these individual objectives will converge into one single middleware product with a mandate to producce retail licenses that combine what each of these individual franchises have been testing and achieving in isolation, those being;

Ghost Recon Wildlands and Breakpoint: 3rd person Load-On-Demand

The Division: 3rd Person Cover and interactivity

Assassin’s Creed: Environmental mapping and interactivity

Starlink: Scaling Load-On-Demand

Far Cry: First Person implementation of various combinations of above

I’ll put it another way;

Ghost Recon: Load everything

The Division: stick to everything

Assassin’s Creed: climb everything

Starlink: scale everything

Far Cry: do it in first person perspective

It looks like all of these games are running in Ubisoft in-house proprietary engines. Ghost Recon and Assassin’s Creed are running in Anvil, developed for the very first Assassin’s game and in which the Prince of Persia 2008 and Forgotten Sands also ran in. Oddly, (Rainbow Six) Seige, Steep (lol) and For Honor are also running in Anvil.

Both Division games and Starlink are running in Snowdrop and this appears to be due to The Division having come from Massive Entertainment. I’ll be honest, from the perspective of a consumer (read: punter) and someone with extremely minimal 3rd-hand development experience, The Division looks far more impressive than both the Ghost Recon and Assasin’s games, and former Massive brand and art director Rodrigo Cortes has said of the engine that it was design to “do things better not bigger” and I think it shows. Anyway, it was still developed with Ubisoft so as I understand it, they own it. Massive is a Ubisoft subsidiary, their studio based in Sweden.

Far Cry is going to be a little different, being a little older and having its roots slightly before... what shall we call this mess... the cynical age? The microtransaciton age? Anyway. The first game used the CryEngine developed by Crytek. At some point, Ubisoft seemed to develop an offshoot of the engine called Dunia because the CryEngine was licensed and clearly lucrative, I think. I’m not entirely sure, but Dunia does appear to remain in-house and under the auspices of Ubisoft Montreal. Where am I going with all this?

Starlink was “toys to life” a-la Skylanders but way too late, combined with No Man’s Sky-lite, but the game itself other than being overstuffed with Ubisoft copy-and-paste template-quests is an excellent proof of concept.

I do need to say that in general, I don’t have any particular affinity for Ubisoft. So I am yes, absolutely fascinated with something I do think is happening as far as tech goes and now I’m writing about it in this piece, and yes you can tell I’ve played and even enjoyed some of the games they’ve produced and published, but there’s a lot not to like about many of their practices, the least of which is the overbearing sense of cynicism pervasive in many of their games.

I played Far Cry 3 long after it released and got perhaps 20% thru the campaign before giving up entirely. For starters, nothing about how it controlled felt right and I appreciate that’s purely a personal preference. Being a Battlefield player, there’s something about DICE’s sense of locomotion that is perfect to me, even tho it varies from title to title from Bad Company 2 all the way to V most recently. Other things about Far Cry bother me tho - if there’s wildlife around, it always attacks the player, guaranteed. Everything about this game seems to be designed to force the player into engagement, to provide you with materials to collect, craft or sell, but also to run you short of ammunition to either scrounge for more or have to buy it because *surprise* - it prompts you to purchase ammunition for real-world money. ARE YOU FUCKING KIDDING ME? Fuck off. I uninstalled the game immediately. I can deal with ridiculous AI with magical aim and irrational scripting. I can deal with absurd narrative for the sake of reading (and roasting later), but the entire package culminating in purchasing more ammunition was otherworldly, it was truly bizarre. To this day, I don’t understand what world Ubisoft inhabits that this is something that makes sense to anyone in management or marketing, and yet there it is and there are consumers that not only accept it but embrace it. No doubt there are metrics from the mobile industry that support it and dear lord the capitalist apocalypse is upon us.

What will Ubisoft do when they can merge these technologies? They definitely want to and likely already have in-house, they just need the engine to run client-side for the Consumer. You and I and Inside Gaming are all laughing it up at Stadia right now, but we’re at the wrong end of the business. For Ubisoft, they can ignore the faltering at the start, it’s the long-term they focus on. The pittance Google are losing now, even if they end-up shuttering the project will be meaningless if they end-up getting the hardware to work, even if the end-result is the hardware sitting in a box in the consumer’s home in 10 years. Sure, that’s a long loop, but the journey still doesn’t matter, only the eventual ROI.

If this piece hasn’t gotten boring for you yet, it’s about to because you’re probably excited for what Ubisoft will do with this impending technological power and development and I rally am not. What will Ubisoft do with it? Probably just more Assassin’s Creed, except you’ll be able to snap to cover and have a fully mapped country. Probably more The Division, but you’ll have a fully mapped city that you can also climb on the outside of buildings and then enter them without any loading. Probably more Far Cry but with bigger maps and more interactivity and less loading. The next generation of consumer hardware consoles from Microsoft and Sony are upon us and as much as PC enthusiasts hate to admit it, the consumer market is largely gated by the generational hardware stepping of these platforms. That may change after this era depending on how Google, Amazon and indeed Microsoft and Sony go with cloud computing, but for the moment the status-quo will remain as alternative products develop. Bear in mind with Covid19, climate change and the general sustainability and ethical standards of working and living being under growing scrutiny the world over, things are changing more each day, our technology development may change in ways we don’t expect so who even knows what’s in store for the future.

So What Do I Actually Want?

Good question. NB: before you ask, Animal Crossing isn’t my thing. I played it years ago on Gamecube. It’s cute, it’s fine. I’ve no interest in it. I’m writing this note in retrospect because I realise you may say “Just play Animal Crossing or The Sims but hopefully I can illustrate by neither of those games is what I’m after, nor do I just want to build a house in something like No Man’s Sky and fill it with crap. Let’s see if I get there... A few weeks ago I wrote about how the best thing Naughty Dog did with Uncharted 4 was Elena and Nathan’s domestic spaces. I did purchase The Division 2 on the cheap a couple of weeks ago and I’ll be honest, there’s a lot about it that I’m enjoying quite a bit. For a start, visually it’s stunning. The art team have done an excellent job of both filling the world with immense detail, but also making every area of Washington unique and distinct which is a huge feat given the total space covered. Thus far, I’ve spent a whole lot of time just walking around and gathering resources, in part just to sightsee and explore without any particular objective in mind. After a while, I got the impression that the map was a bit flat, but the more you explore, the more you find places where you get verticality, and then doing missions always adds verticality and variety in environmental and art design, it’s a marvel to see.

Apologies to James and Thomas (above) for ripping these images, but I’m glad your names are in frame so you have direct credit - outstanding work. The art in this game is without question its strongest element.

And that’s just the thing - The Division is an interesting game in that what I enjoy most is the sense of walking around exploring, gather resources and helping people. I’m not here on an anti-violence kick - I play Battlefield, I actually don’t mind the shooting in The Division, it’s fine, whatever, I’m not going to justify that. What I’m saying is that it gets boring.

THERE ARE A LOT OF GAMES ABOUT SHOOTING.

Like... a lot. More than enough. There will always be a lot of games about shooting and that’s fine. I think I’ll always play them. Hey, I even play games about shooting *in very specific ways* - it’s not like I don’t care about the shooting, I’m playing The Division with only a bullpup DMR and shotgun combo, plus I’m trying to use my sidearm when traversing the streets as much as possible so don’t at me, I’m in the game.

But we seem to mostly get high detail assets in games with guns because shooty games get all the money. I get it - shooty games get all the sales because we as gamers like to play them - sure, I’m one of them, but I didn’t buy The Division until it was under AUD$30 because gotdam the shooting is so boring and even now yes, it really do be just more boring shooting, just like it’s boring in Uncharted, just like it’s boring in Ghost Recon (my goooooood so boring), just like it is in Destiny, and the umpteenth shooty mcshooty game. I’m getting too old for this.

Uncharted 4 had an opportunity to do something more and it almost did. For many players, it probably achieved enough of what I was after by those two visits to the Fisher and North residences but I wanted so much more of that. I want to see Sully’s house or houses, more of his life. I want to know where Chloe’s life is at. I want to know of their lives and emotional engagements outside of the frankly stupid narrative I have no interest in because it’s clearly stupid and an excuse for running and jumping that other games have since done better. If Uncharted as a whole was a subtext for character, then by the fourth game, the focus should have been the characters that carried the series thru to the end - no disrespect to Tom Baker - not the heretofore unrevealed older brother.

For Years I Didn’t Know “Walking Simulator” Was A Pejorative

I think this is why I replayed and continue to replay Dear Ester so much. I remember laughing my ass off at YouTubers making videos about how it wasn’t a game and that it didn’t have objectives. Yet there were still threads and might still be on reddit or Discord wherever gamers congregate these days - about “virtual tourism” and “just chillin’ in place x because it’s so awesome” etc. It’s fine, each generation will rediscover virtual tourism again and again and we can’t denigrate anyone for doing so, it’s certainly nothing we invented given it comes from literature and oral tradition before that, but it’s remarkable that there’s this resistance to experiences crafted purely for the purposes of being immersed in them.

I adore Dear Ester and Everybody’s Gone To The Rapture. Absolutely loved What Remains Of Edith Finch and only if you have already played Edith Finch, because it’s full of spoilers but also its own spoiler warnings, I heartily recommend Joseph Anderson’s outstanding video The Villain of Edith Finch. It’s a 53 minute watch so I won’t embed it, and he has a certain style of presentation that won’t gel with everyone, nor do I always agree with everything he says which should go without saying but at some point folks, you have to stop pursuing art, criticism and media that just wholly aligns with your own views. That said, I generally do find most of what he says agreeable, innit. Anyway he’s great and the video is great.

While Dear Esther is more surreal and Rapture and Edith Finch are in part slightly more fantastical than the real-life settings of Uncharted 4′s home and Division’s post-apocalyptic cities, they all visually represent dense, very human object-rich spaces that to me are quite interesting to explore. Dear Esther might be a little more rooted in nature but its human elements tie-in to its narrative in an extremely interesting way. Each game offers different levels of interaction, some that serve the narrative directly, some as subtexts and others quite mildly in the periphery.

I’m sorry if I’m repeating myself but I remember seeing a promo for Battlefield Hardline coming off the back of Battlefield 4 and the ridiculous marketing phrase “levolution” - the term they coined for large-scale environmental destruction (please take the keys away from the marketing department). I remember seeing video footage of a large construction crane falling in a level and thinking

“All this intelligence, all this tech, and this is what we do with it? Is this all we can achieve? This is it?”

That’s how I feel about this emerging technology. Somewhere out there (on YouTube, to be fair), there’s all this footage buried of the Beyond Good And Evil sequel that to everyone’s knowledge is still in development. I’d put my money on that being the first project built in Ubisoft’s convergence engine that they hope successfully implements everything that each of these games executes individually. I know the BG&E fans are frothing for it and when I saw those early demos, what I interpret of the tech did blow me away, but from an experience perspective, I did still think the same thing...

“Is this it?”

Because of-course, a huge part of the new game is going to be combat. I just - don’t - care. When I think about what was lacking in Uncharted 4, what I wanted more of, it was intimacy. What didn’t I like about the conversation and resolution between Elena and Nathan? About the tours of their homes, the little time spent playing as Cassie, the few insights into Sully as a character, the absence of Chloe who was such a great contrast to Nathan, Elena and Sully all-together... it was intimacy. Yea oroight, so I don’t exactly mean the type of real-life intimacy between lovers, do I - that much is clear. But if I don’t mean shooty because there’s enough of that, and I’m leaning into domestic detail and emotional exploration and reflections of that in objects, spaces and interactivity, then that’s what I mean.

Tho I’m loath to bring it up, I feel like in the worst possible way, David Cage is right on the periphery of this discussion (and for that reason, I ain’t tagging him or his games in this entry, get fucked). He has the most vague notion of trying to ground his games in the intimacy of human experience, so he tries to tie human locomotion and objects to the digital representations of interactivity. If we take those as perhaps the worst possible examples and then come back to some really good examples in Uncharted 4 so I can stop whipping it - I maintain that the house tours are strengths and the high-points of the game, and then look at something like The Division and consider opportunities for more complex interactivity centred around helping people and emotional engagement, I feel like that’s what I’m after.

Which is impossible, right? No-one’s going to make a game even a quarter of the scope of The Division, with all that amazing dynamic lighting, with all those awesome textures and mapped objects, animations, rigged character models, complex scripting and AI, interactivity, load-on-demand tech and full voice-talented support, just to be a game about exploring, sightseeing, meeting and learning about people and helping them? Because who would play that?

I would, for a start.

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zeravmeta · 5 years ago

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Give me your absolute best YGO x Fate headcanons

Ah gee since ya asked so nicely heres my convoluted crossover AU. Also this got hella long so I'll add a readmore

-the protags would all wind up at Chaldea due to being summoned by the godly powers within their own universes (Egyptian Gods, Crimson Dragon, etc.) and are tasked with helping them. Yugi is pre Ceremonial Duel (for Atem), the rest are from post series

-Gudas just so used to all the weirdness surrounding them so they take it in stride. Holmes on the other hand is losing it because he fears they may have been some type of dimensional collapse. He freaks out further when some of the kids say "oh yeah that happens all the time". Da Vinci sets them up to assist Guda since they can use magic (at least half of them use magic and the other half literally fuse with duel monsters) without needing magic circuits (which interests her GREATLY) so she introduces them as a set of new masters to help.

-their decks are still with them but now instead of being confined to the game they can actually summon them as Familiars/Phantasmals, though they can only support a few at a time.

-most, if not all servants are suspicious of these new masters (guda is my favorite master i dont need another one), but its only initial waryness since these are actual kids like Guda and they default to Parent Mode. Theyre even more surprised to learn about the exploits within their own worlds.

Now onto some of the dynamics:

-Yugi would just be happy to meet all these heroes from history. He understands the seriousness of the situation and despite his initial kickback he'd be onboard to help. Atem would take this opportunity to ask around to see if any of these ancient heroes would know him (since pre ceremonial duel he'd know who he is from Mem World). The Pharaohs (Ozy, Nito, Cleo) would be surprised about a Pharoah they've never met before, and especially his divinity since he could summon three Egyptian Gods to aid him. He was from 3000 years in the past so Egypt was beginning in its decline, so such a modern (relatively) Pharoah holding such power would shock them, though in the end Ozymandias would still declare him one of his friends and theyd get along. Yugi would leave the Puzzle with the Pharoahs so they could speak while he went around meeting a bunch of the heroes. He'd love to play with some of the kids though he has earned his fair share of ire since the King of Games never loses on Game Night, Poker Night, or any other type of games. Yugi has more supportive abilities in his skillset for the ourposes of battle, while Atem can more freely use his shadow magic since he's being supplied.

-Judai is more nonplussed than anything. He was already wandering the world so for him this is just another checkpoint. He finds the ability to summon his monsters as familiars more convebiant than anything since he could already speak to them. Many of the magic users are particularly interested in his ability to talk to spirits since its a rare ability in general and usually limited to one type of phantasmal, not to mention empathetic abilities on their own are somewhat unheard of in Nasuverse. Yubel is a protective force around him and for combat training scenarios shes extremely hard to get around since her deflection ability, while hard to maintain when Yubel uses her final form, is pretty much on par with Lord Camelot in terms of defense. He's generally friendly but comes off as rude sometimes due to his general nonchalance. Gets along especially well with some of the more volatile servants like Berserkers and Avengers since his empathetic abilities are soothing to them.

-Yusei is cautious and guarded here. He has responsibilities in his own world he'd want to get back too, but doesn't have it in him to just leave. His D-Wheel somehow came along (Yuya shivers in the distance) with him, so Da Vinci did the only reasonable thing upon seeing a miniature perpetual motion machine and tried to impound it immediately for study. Yusei was happy to share his info and skills on Momentum and implementing it into Chaldeas energy systems, something that had Tesla and Edison proud since one so young was already (but only barely) supassing AC and DC. Holmes was also extremely interested in Clear Mind and the Crimson Dragin, since Yusei managed to consolidate his own concentration into pure evolutionary energy and may have accidentally interacted with an elder god in the process (kinda like Holmes). Yusei assures him the Crimson Dragon isn't evil and that its called Quetzalcoatl, which has Fate Quetz coming in and asking about herself, further complicating Yusei's confusion on the Crimson Dragon. For combat, he starts off supportive by swarming his field with low power monsters before suddenly summoning a more powerful one. With Over Top Clear Mind they become even more powerful and evolve on their own, so Stardust can become Shooting, but summoning Quasar is very dangerous since its extremely powerful but taxxing.

-Yuma is absolutely excited. Astral not so much. "Astral these are literal HEROES how can you not be excited!?" "Idk probably the part where they'll kill us if we take a wrong step?". Yuma loves to hang around servants like Drake, Shiki and Beowulf, and loves swapping stories of their adventures. Abigail heard about aliens and wonders if Yog Soghoth is an alien, but Yuma tells her that the Astrals and Barians are not like Yog Soggoth, even if Don Thousand as described kinda sounds like him. Astral can be seen since since Heroic Spirits are consolidations of magic while Astral was basically an energy being of the same type, and does float through the halls, occasionally scaring someone by mistake. He does get along with a mysterious woman in a kimono who seems to appear in the twilight hours, but he cant ever really remember her face. In combat Astral and Yuma can do their usual combination form which causes their Numbers to automatically Rank Up upon summoning, the higher the form the further they can rank.

-Yuya has it a bit rough at first. He just got out of a war and now he was being dragged into another? Thankfully he gets his bearings quickly but is still somewhat shaken. Some of the servants are wary around him because they can feel the distortion that exists within his soul, his three other versions, and the power that could trun him into the Supreme King once again still exists there even if Zarc has passed on. He gets along with Siegfried well enough, and they swap stories about how the expectations of others can lead you to ruin. The Alter Egos feel a kinship to him since he's also a consolidated personality rather than a full person, though he gets along best with the Celts. Cu, Scathach and Fergus all love to see his performances, but to them that just meant that they can put him through warrior training especially after they hear about the war he went through. Scathach insists that him running for his life while she chases is good training, while Cu agrees while running alongside him. In battle he uses his acrobatic prowess enhanced with a little bit of fortification/protection magic, and can summon all four of his dragons to help him. Since the other Yu Boys are stuck within Yuya, they occasionally trade places:

Yuto gets along with Archer and occasionally helps him out. Archer is sympathetic to the struggles he unerwent in his own world and makes sure to keep his spirits up while also trying to ignore the irony.Yugo and David have struck up a strange friendship since they both have the issue of mistaking people for their so. David sees Yugo talk about how even if his life was hard it was worth it for the people he loved and remembers his son fondly.Yuri is generally avoided since even after the merge he's still something of a wildcard, but he gets along well with Hans and Kiara of all people. Sometimes he'd share the stories of the training he underwent in Academia, how the Professor trained him to see people as toys and all the people he's hurt, how his dragon was his only friend and how itd protect him, and Hans couldn't help but hate his pessimistic attitude in expecting this while Kiara wouldn't really care too much but also wouldn't insult him by offering condolences. He knows he's become a monster and he won't deny or forget his mistakes, he'll simply try to do better.

-[note: Vrains suddenly had its ending announced for Sept.25 (i believe it may have been cancelled) so based on the episode title of 120 Yusaku and Ai will reunite and thats what im following here] Yusaku is skittish at best, downright invisible at worst. He doesn't want to be found, and even some of the Assassin Class servants have trouble tracking him down when needed. Ai managed to bring along a spare SOLtis body with him so he can walk around and physically interact with Yusaku. Even if they still had some tension between them they still cared about each other so they would keep each other company. It got real awkward when BB first showed up talking about being a sentient AI, so Ai immediatelt tried to befriend her, only to learn about her inhuman nature. While Ai may dislike that aspect of her, he knows from what happened with Roboppy that you cant forcibly change what you are, so he does his best to try and get along, which infuriates BB to no end since she feels like she's being talked down to. Yusaku as a programmer helps with most of Chaldeas regular workforce and he accomplishes hiding in plain sight by being the only master to interact more with the regular work staff than their servants. That being said, it doesn't change how some like Tamamo or Suzuka try to drag him out so he can meet some of the other servants. He gets along well with Kerry. Likely because they barely speak and share E Rank Luck.

#zerav responds #whoA this got long #sorry #idk how to add readmores on mobile so i may edit later #fgo #fate grand order #yugioh

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deadanddeactivated · 5 years ago

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Press Conference

Fandom: Spider-Man: Far from Home Pairing: Peter Parker & Pepper Potts Characters: Peter Parker, Pepper Potts, JJJ is there at the end Summary: Pepper's reaction to the end of Far From Home is to do what she does best, handle PR.

AO3

Barely an hour after the release of Mysterio's final moments, screens around the city once more light up with news. A newscaster looks frazzled, like he's just been pulled back into the seat. His partner is much more composed, and it's her that speaks.

"Moments ago Pepper Potts-Stark, current CEO of Stark Industries and widow to the late hero Iron Man aka Tony Potts-Stark, called a press conference in defense of suspected supervillain Spiderman. We go now to the live coverage of the event."

"Thank you all for coming here so quickly. I apologize for the short notice, but we thought it best to clear up the confusion as quickly as possible. The victims of the London attack deserve the truth." Pepper begins, tone calm and perfect. Behind her stands Spiderman, shoulders squared against the glaring crowd of reporters.

"Does that mean you are confirming Spiderman's involvement in Mysterio's death?" One of them calls.

"Please hold all questions until the end of the conference." Pepper says calmly, glaring at the man. "Or at the very least, raise your hand." The reporter shrinks back at the scolding.

"As I said, we are here to clear up the confusion caused by the video released earlier today. I would like to state clearly that this information was always going to publized, we were simply taking the time to present it right. Without that liberty, I can't promise my presentation will be flawless." A screen to her right bursts to life, showing a still of the video released earlier.

"This video was sent to several press companies approximately an hour ago. It was not sent to any police personal. Likely it was recorded by one of the many drones and then later altered, explaining why so much time had passed between its supposed creation and its release."

"How can you be so sure the film was altered?" Someone shouts.

"A little more respect, if you will." Pepper scolds. "Every SpiderMan suit, either the exception of the hoodie, is built with an AI system known as KAREN. One of KAREN's primary duties is to record every moment Spiderman is active. This was implemented both for slander such as this. KAREN has been uploaded onto this secondary screen to show you the truth. KAREN, if you will."

"Of course." A robotic voice said as the screen to Pepper's right flared to life. The crowd was silent as they watched the true retelling of London from the perspective of Spiderman's eyes. And his chest, when he removed his mask, not that they needed to know that.

"As you can see, Mysterio had the technology to create illusions and was intent in fooling the public. He pulled a similar stunt to create the false video blaming Spiderman." Pepper says. "In fact, every thing to do with Mysterio was illusion. Along with KAREN's video, we have several that EDITH took. Mysterio, or Quentin Beck as he is legally called, attempted to delete this." One screen began to play a video if Quentin rephrasing the London attack. On the other screen, Quentin's real documentation appeared.

"Desperate his claims of other Earths, Mr Beck was simply a disgruntled employee with a history of anger issues and a grudge against superheroes." Pepper waits a moment for the crowd to take that in before continuing. "Now, we'll take questions."

"How can we be sure that it was Mysterio's video that was altered and not yours?" Someone asks when Pepper points to her.

"We are happy to let professionals look over our files." Pepper says. "Much like we had professionals look over Beck's.

"Experts were able to confirm that these sections of Beck talking were taken at the same time, and all of them earlier than this moment where Spiderman supposedly calls a strike. More importantly, we confirmed that that call was made at this moment during the London attack. Now tell me, why is a command that will supposedly cause mass casualties immediately followed by the drones retreating?"

"But how can we be sure that Spiderman won't do something like this is the future? That he isn't obsessed with being the next Ironman?"

"Because I don't want to be the next Ironman." Spiderman speaks up this time. "Those are big shoes to fill and I don't have anywhere near the experience needed to try."

"If everything that Mysterio said was a lie, does that mean that Peter Parker isn't Spiderman?"

"As you tell in the video, Spiderman's face is never actually revealed. The photo of Mr Parker at the end was added by most newscasters. And beyond that there's simply no evidence to support that Mr Parker is Spiderman." Pepper says. "We believe that Beck said that to make his video seem more legitimate, believing no one would actually look into it."

"Why would claiming Spiderman is some random teenager legitimize Peter's claim?" The report didn't raise their hand but Pepper allows it. She seems to think for a moment before sighing.

"This is something I intend to have an entirely different press conference about, one with Peter actually here." She sighs. "Peter Parker was not some random teenager. Prior to the Blip, Peter became Tony's personal intern. We used to joke that Peter was Tony's test run for Morgan." She smiles a small but honest smile at the memory. "In his will, Tony made Peter his heir. Few knew about this, but it appears Beck discovered this fact. It's entirely possible he did believe Peter to be Spiderman, given their similar relationships with Tony. However, I can assure you, Peter wasn't even in London. He was in Berlin, waiting for me."

"If Peter isn't Spiderman why isn't he here?"

"Due to the short notice, he wasn't able to get here in time." Pepper explains.

As soon as they’re in the car, alone and out of sight, Peter wraps his arms tight around Pepper. “Thank you.” He mumbles into her shoulder, feeling letting his shoulders start to shake but still trying not to cry. Pepper smiles softly, hugging him back.

“I should be thanking you.” She says. “That a breeze compared to handling PR for Tony, you actually showed up!” They both manage a laugh. It still hurts to talk about Tony. People say grief takes time but it’s been a year and Peter still chokes up at his name. On his bad days, he still flinches at the name of the third father-figure he had to bury.

Today’s not a good day. But Peter has so much more to be stressed about then feeling guilt over Tony’s death and his continued grief.

“You do know this means we’ll have to do a second conference for Peter Parker, official Stark Heir.” Pepper said before the silence could last too long.

“I think I can handle it.” Peter says. “At least I won’t be going on stage an assumed murder.” Pepper gives him a tight squeeze before letting go of him and turning to the steering wheel.

“Come on.” She hums, starting the car. “Let’s go get something to eat, Morgan’s missed you.”

“We’ll have to get hamburgers.” Peter grins. Peper smiles back and starts driving. Plans are already whirring in her head for the next conference. She’ll have to give Hayley a call before hand, he’s about Peter’s height and he’ll be happy to play Spiderman for a day.

“So Pepper Potts-Stark wants to call Spiderman an angel?” J. Jonah Jameson huffs on the screen. “Ridiculous!”

“I’ve had people calling in practically every minute since the press conference for my opinion, and I’m here to give it!” He went on. “Do I think Mysterio lied in that video? Of course I do, what do I look like? A fool? The evidence is overwhelming.

“However, do I think that makes Spiderman a hero? Absolutely not! One good deed does not a hero make! The man’s not a murderer, am I meant to applaud him for that? I won’t! He’s still a menace, making our streets more dangerous and acting like a hooligan!” There’s a sound of screen and Jameson grows distracted a moment, mumbling ‘What? Fine!’ before turning back to the screen.

“Now before I continue to reveal the truth about Spiderman, there is one other thing people keep bugging me with. Peter Parker. No, I don’t think this kid is Spiderman. Mysterio was an idiot. Spiderman is obviously not a twelve year old.” Jameson immediately returns to ranting about Spiderman and Pepper turns the tv off. She’s heard all she needs to know and, as much as she hates it, Peter will just have to get used to some people night liking him.

Or she could sue Jameson for slander, Pepper thinks, running her hands through the sleeping boys hair.

No, Peter wouldn’t want that. Still, she’ll definitely keep it in mind.

#writing #spiderman #spider man: far from home #spider man #pepper potts #pepper #ironman #peter parker #peter #parker #this is one of those 'kail writes someething to fix the end of a movie' fics #because i do that #with some regularity #tfw you forget to title your fic #whoops #marvel

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ichoseperdition · 6 years ago

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Ideas I’d love to see implemented in the next Mass Effect Andromeda game/s.

Some of these are sooo unrealistic, but I can dream right?? :)

CHILDREN: Lots of them, of every race. I’d love to see a Salarian tugging on their mum’s arm because they want to hold their baby sibling who’s swimming around in a fish bowl. Krogan kids running around New Tuchanka and the nexus, getting piggy back rides from their dads. Little Asari and Turians running around playing tag with each other, while one uses her biotics to cheat. Hanar kids teaching humans to swim. Quarian bubbles rolling around all over the place. Drell riding on the backs of their Elcor friends. Baby Batarians being pushed around in futuristic buggies. I need cute little moments like that. Children would add sooo much immersion to the world.

PROTHEANS: They were such an advanced race I’m sure that at least some of them would have come up with the whole leaving the galaxy idea. Maybe they journeyed to a different cluster within Andromeda but passed through Heleus? One of their ships was forced off course after a rouge faction ulterred its course back in Prothean space and crashed on a planet that still remains undiscovered by the kett, angara and the Initiative. The intact stasis pods revived the Protheans within them, but only after they ran out of power? The inhabitants weren’t scientists thus didn’t know how to replicate space faring technology and also fared that the reapers may have followed them, so they abolished star flight all together and made their own nomadic civilization. I’m just hanging out to see more of that race to be honest especially the females.

OUTPOSTS AND AREAS FROM THE FIRST GAME: We spent so long setting up these outposts I’d love to see how they have ended up as well as the other areas we helped mold.

- New Tuchunka. Due to the fact they have the Drive core I’m thinking the outpost would develop quite quickly. I’m imagining three cylindrical districts with deep caves and buildings built into the inside walls of the sinkholes, avoiding the sun. The first as a water storage and farming district with football sized caves carved into the rock with farms inside. The second as a housing and leisure district with apartments and family homes, as well as communal gardens and parks. The third as an entertainment and financial district with bars and shops selling lots of Krogan goods. I’m thinking lots of balconies and overhanging plants etc in all three districts. The original outpost on top is set up as a Krogan historical and science centre making information about the old Krogan and the original Tuchanka accessible to everyone as well as an effort to cure the Genophage. Initiative outpost spreads out further North west up on to the hill.

- The Flophouse. Re purposed as a water treatment center and general eco science facility aimed at supporting and maintaining all the eco systems of the currently occupied worlds and provide water to the whole district.

- Prodromos. Original site three has been turned into a memorial garden and pond as a testament to those who lost their lives at site 1 and 2. A big art installation where the beacon was originally placed has been erected. Prodromos itself has been moved up to The Sheartop with buildings and balconies overhanging the edge of the settlement overlooking site 3 memorial gardens. Sites 1 and 2 have been re-opened. Site one has been turned into a Krogan refuge as an attempt to bring them back into the initiative and Site two as a remnant research facility spearheaded by Peebee.

- Taerve Uni. Due the fact there would be so much melting ice I’d love to see a half-submerged outpost. Lots of glass and exposed steel. The Kett base stripped and re purposed as the new Resistance headquarters? Frozen city unearthed and turned into a research facility?

- Ditaeon. Lots of smaller townships littering the area around the original outpost site, with buildings no taller than 4 stories high. All buildings have gardens of local flora and rock formations atop their roofs. I’d love to see a Hospital run by Dr. Ryota Nakamoto close to the original site. The hospital would aid all Angara and Milky Way soldiers injured in the fight against the Kett plus the development of his penicillin.

- Pelaav research station. Many initiative scientists are sent there to learn more about Havarl itself and a massive collective effort has been put in place to learn more about the Angara and the remnant. No milky way structures are present on the planet as a way to show respect for Havarls heritage. Floating science facility? Science labs in orbit?

- Port Meridian. Opened up for Angaran settlement. Those wanting to live on Aya can now bring their families to live on meridian. Large human settlement around the crash site of the Hyperion. Libraries, science facilities, lounges and other forms of human entertainment. Peebee lives there and spends 24 hours a day studying remnant?

- Ryder-1. Alec Ryder memorial. Large cave settlements?

- Nexus. Fully realized. Heleus plants now grow on it. Moshae Sjefa now lives on it. All races including the Krogan now have a place in its arms. Morda has a home there as she is the interim ambassador to the Nexus in my save game. Nexus is moved periodically to keep it away from the Kett.

- Arks. All except the Hyperion are repaired and docked on the nexus. They travel between the nexus and the golden worlds when needed. OR the Natanus is over run by what’s left of the Outcasts after the nexus rescues all other surviving Turians. Becomes the new Omega station?

TWIN GAME PLAY: I loved the scene where you get to play as your sibling I think that’s a really cool dynamic. Working as part of a family team. It would be cool if your main Ryder did the pathfinder thing while the other sibling did minor missions throughout your story. Let’s say your pathfinder is set off on a mission to go and help a newly found Angaran settlement. On your way to the system instead of it being a loading screen you now play as your sibling on a visit to one of the old outposts from the first game, or you’re asked to help out a Salarian on the nexus. Or you can request your sibling to help you with things via vidcom. Ring them up and request they visit a certain area then bam!! you’re there doing the work, playing as them helping the initiative.

MORE SQUAD MATES:

I’m thinking ME2 amount of squad mates.

MORE ALIEN ROMANCE OPTIONS: Give me a serious Krogan romance option. If Rorik is anything to go by not all Krogan are alien hating brutes. Let me bang a Batarian, snuggle with a Hanar and make out with Drell. I play Mass Effect games for the Aliens, not the humans. If you can’t give me more alien love, then let me see it through NPC’s. A kick ass lesbian Krogan couple would be PERFECT!!

MORE KETT INFO: Origins of the other exalted races. Were they from Andromeda or from further away? Where is Sarhesen?

WHAT DO THE JARDAAN LOOK LIKE, REMNANT MASS RELAYS: Did they have a galaxy wide network? Are they just AI?

CULTURAL DEFERENCES IN MILKY WAY RACES: I think Andromeda presents Bioware with a real opportunity to expand on the narrative of the different races. I don’t believe for second that all Batartians are the same when there are billions of them! I feel like these outliers would be the ones who would want to travel to Andromeda so please show me some. They don’t have to abide by their race rules anymore. Even if all Batarians are the same, some must realise they don’t need to be anymore? That goes for all races too.

MORE RACE VI’s IN THE CULTURAL EXCHANGE: Show me a Quarian VI, one that’s so unsure of itself because Quarian’s aren’t meant to like virtual intelligence and it knows that. An Elcor VI that recites Shakespeare. A Vorcha VI that just insults you or a broken Volus VI that just breathes in.

NORMAL CLOTHES, SKIN: Krogan in Singlets. Krogan in shorts. Krogan in flip flops. The Bioware team did a good job with the facial textures for the Alien races I’d love to see the rest of them. Some of them must have time out of their armour and full body suites. An example would be A turian working on a space ship in the hot sun with no shirt on, a merchant in New Tuchanka with more exposed clothing to combat the heat or a Batarian going for a swim.

A SECRET TERMINUS SYSTEMS ARK: I just like the idea that the government of one of the Terminus and or annexed races found out about the Initiative and sent their own custom ark made from stolen specs. Raoli, Virtual Aliens, Yahg, Vorcha and Rachni. I just loved those races and selfishly want them back.

SMALLER THINGS: - More then one face model for Asari and Angara. Like I mean seriously? - Better writing… - Depth to settlements, growth not just WHAM and there is a settlement. - Characters from Annihilation

#MEA #mass effect andromeda #Mass Effect #Andromeda Initiative #krogan #Turian

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redsdesktop · 6 years ago

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DBH: Deviant Dynamics

Chapter 30

Masterlist

Warnings: None

Guys. This is the last chapter...

Connor looked past the one sided glass into the interrogation room, within, a lone android sat cuffed to the table. The android didn't appear to be the type to kill out of cold blood, but out of fear and desperation. So what did this android fear? Connor frowned a bit, this whole case was a mess . As requested, Connor had called Markus in, since the older RK model was the one leading this reform of android society, he wanted to know down to the very detail on how it was going. Of course, Markus' presence wasn't exactly welcomed by Conrad and Collin, Collin was more on the fence about Markus since he didn't personally know the android. However, after gaining information from their meshing systems, he know what Kamski had stated, that Connor was on the side designed to be Markus' omega.

Despite the obvious scent of Simon on Markus, the two were hovering closer to Connor than usual. Conrad stood directly behind Connor, busy rubbing his cheek and neck against Connor's shoulder and neck, which Connor ignored completely despite the alpha's attempts to gain his attention. This was the workplace, Connor was busy working and wouldn't indulge in Conrad's need to show off who Connor belonged to. Even though he was an omega, he was the one who decided who he wanted as a partner and he was confident in his choices. At the same time, he knew how much those alpha instincts demanded Conrad touch and leave his scent on Connor when he felt there was a rival around, Connor wanted to simply skip through the tension by allowing Conrad to do as he pleased within reason.

Collin was more reserved about his actions, occasionally brushing his inner wrist against Connor every so often to leave his own mark, not wanting his scent to be snuffed out by Conrad's insistent marking. The worst part of it all, Markus was looking far too entertained watching Connor try to work normally with the two showing basic possessive natures around him without batting an eye. Connor shifted his dark brown gaze over to Markus who was leaning against one of the walls with a grin on his face, making a spike of annoyance run through Connor. "You think its funny, but I've heard from Simon how you get as well." Connor tossed out there, Simon often talked with Connor whenever the RK unit came in to get a check up on the bites and thirium loss, just to make sure he wasn't getting anything that was damage him too much.

"Okay, okay, let's get this over with now that everyone is here." Markus held up his hands in surrender, though he didn't look very apologetic. Connor shook his head and then looked over to Collin.

"Bring up the video." He instructed, Collin obeyed only because this was a serious case, otherwise Connor probably at least would've received some reluctance. Collin moved up to the one sided window and placed his hand on it, skin receding to reveal the white plating as he connected to the glass and used it to display the information. A image flickered onto the glass, the one sided pan only showing this on their side as it revealed the bus stop. One android was standing under the roof of the bus stop, appearing to be waiting for the bus. The rain made the image slightly blurry but not enough to hide the person standing under the lighted stop. Coming from the right, a person was walking along, android since they didn't seem too bothered by the downpour.

It was the android they had in custody at the moment, though when he walked past the bus stop, it was the man standing under the bus stop who reached out. It all happened in an instant, the moment that hand connected with the other android's, their bodies seized. However, the omega who had been under the bus stop was the one to collapse. Suddenly, the android still up seemed to startle, turning to look down the street before taking off running. Collin stopped the video there as that had been when Conrad and Connor had entered the scene.

"Rewind it until they make contact." Connor instructed, Collin rewinding the film and stopping it when the man from under the bus reached out to grab the man in the rain.

"That doesn't make sense." Markus stated as he walked up closer to the video as if getting closer would reveal more details."The body you found was the omega, correct?"

"Yes, all the casualties have been omega. Which leads me to believe this omega decided to change bodies." Connor stared past the video into the interrogation room where the android was shifting nervously, making him wait was all part of the game. "I am not completely certain, but I would take a guess that this is the culprit of all the murders. One's first conclusion is that an omega, not wanting to be a dynamic that has a reputation of being weak, decided that changing bodies would allow them to gain the dynamic they want. However, seeing that only betas and omegas are known dynamics for civilians, they have to settle with betas." Connor unknowingly reached into his pocket, retrieving a coin Conrad had managed to swipe from Hank again, allowing Connor to play with it while he went through his thoughts.

"So, one would assume, once they jumped bodies that would be the end of it. They would have the dynamic they wanted, at least until alphas were implemented into the deviancy virus." Connor flicked the coin to his other hand, letting it weave over his knuckles. "But, deviancy doesn't work like that, its embedded in our core programming, our AI if you will. The body is just like a suit, no matter how many times you change clothes, you'll always be the same person." Connor flicked the coin again, this time sending it vertical before catching it quickly on the tip of his finger, allowing it to spin there. "So once his systems began to adjust to the new AI, they began changing the body's dynamic, the scent changing just like it original did so the android would smell like the dynamic they were programmed for."

Connor tossed the coin up and caught it between his pinky and rink finger. "That's why he needed to change bodies every so often, they kept deviating to the omega dynamic, I suppose this didn't occur to him at first but then he simply just got desperate after so many failures. Hoping for a body that wouldn't change dynamics." Connor finished his briefing and tucked the coin back into the inside pocket of his jacket. Markus was busy rubbing his brow as he absorbed all the information he just received, looking as if he had a headache from it all. If androids could get headaches, Connor would likely have one all the time, instead he was stuck with Conrad and Collin, the personifications of a headache.

"So what do you think we should do?" Markus asked for Connor's advice, though Connor knew he had no real final say in the matter. Markus was a leader, whatever decision he made, the effects would land heavily on his shoulders.

"He has destroyed nine AI cores to date that we know of, in human terms, that would be considered murder. With it being intentional and multiple times, they would likely be sentenced to the death penalty. Seeing how we have no formal laws for androids still, this will be the case that sets the rules on how we handle such cases. Though, we do have a court of law enabled with android staffing to handle all the android cases. Its just nothing has ever been this serious before." Connor frowned again, not knowing he was leaning back against Conrad, subconsciously seeking the comfort of his steady presence to keep his mind thinking. "Its a pretty clean cut case though, with video evidence, there isn't any way he can prove he's innocent in this matter. I just need to get him to confirm that he commuted the other acts of murder as well."

Markus sighed and ran his hand over his face, Connor knew the man hated killing, especially his own kind. Sometimes it was necessary, if androids wanted to live like humans, they needed to follow laws like them as well. Without order, the humans would see the android's existence as a threat and a few bad apples would end up ruining the entire basket.

"I know this is a big decision to make, Markus. But if others find out that they're capable of doing this, it will be a disaster. The consequences for this need to be a statement and a warning to keep androids from killing each other just because they're dissatisfied." Connor didn't like the idea of forcing someone to accept their dynamic for what they were forcibly given but they couldn't just let androids kill each other for a task that wouldn't work. After dealing with Gavin, who had been born an Omega and then was masquerading as an alpha, he had seen the struggles and how that could effect someone.

"I would also announce that there is a plan to make modifications, similar to human medication, so that in the future one can change their dynamic that way. However, they will have to be patient a little while longer since we're still in the process of getting the factories building extra parts back up and running. Eventually, everyone will be able to customize themselves on who they want to be in the future." Markus hummed out in thought, Connor knowing he was putting more on Markus' shoulders but hopefully, the other supporters of Jericho would help him out in matters like this. Connor wasn't much of a leader, he provided facts and solved problems.

"I'll talk it over with my advisors, in the meantime, keep him secured until we reach a decision." Markus stated as he began to move out to the door. Markus paused though when he came in front of Connor, amusement hidden in those green and blue eyes. "I'm glad you finally look happy, Connor." Markus gave him a small nod before continuing out, knowing better than to touch Connor with the pairs of silver and golden brown eyes watching him in the dim observation room. Connor sighed out and shook his head, he couldn't deny it. It all started with Hank, a man who quickly became his friend and father figure, the first person to ever view him as something more than a machine.

Now he had an entire family, of course there were rough patches, but the fact they could get over them was confirmation that every good thing required effort. He closed his eyes and relaxed back against Conrad. The alpha nuzzled his nose against one ear, able to hear the faint rumble of a purr. Soon after there was a warmth against his side, feeling Collin lean in to nuzzle his face against the other either, his own purr striking up. Everything inside him warmed as the sound of the two androids he loved were happy and content. With a case wrapped up, Connor couldn't help but to let himself relax and breathe. A little lopsided smile quirked on one side of his lips as his own gentle purr joined in on the symphony of their happiness.

[ RESTART ] || [ LOAD GAME ]

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alexchristin · 6 years ago

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A Different Approach to Difficulty

The problem of difficulty in games has been debated to great depths for a long time. Various alternatives to the traditional approach with different difficulty modes at the beginning of a particular game have been proposed, analyzed and implemented. And yet, as much as they patch up the errors of the traditional approach, within them arise numerous inherent problems and difficulties. As such, I would like to propose another alternative–not so much a mechanical solution that requires implementation, but rather a different approach to difficulty design.

One thing I’d like to stress is that, this has been applied in various games quite successfully before, and I’ll mention them later on, but not to the extent to which it can deservedly become a central design philosophy, in my opinion. This I presume is due to a lack of a rather clear and deliberate approach to difficulty design.

But first, let me attempt to briefly summarize a few popular criticisms of the traditional difficulty modes approach and its alternative.

Problems with Difficulty Modes

Picture yourself coming into a brand new game, only to be asked to choose a difficulty mode that’s suitable for yourself, and presented with a number of different menu options. And frankly, they don’t do that good of a job at giving you sufficient information to make such an important decision. This is how many games in our history have done difficulty, and it continues to be fairly prevalent among modern games.

Here are its common criticisms:

Asking the player to make such a decision right at the beginning is not exactly a good idea. To select a difficulty mode before the game even starts is to make a major commitment based on very little information available (e.g. a short description). Once the player has selected a difficulty, they are probably going to live with it for the entire playthrough.

Even if the game allows the player to change the difficulty mode later on, it is, in itself, still not a very good idea. For one, explicitly selecting a difficulty mode in a menu-based manner is certainly not an interesting choice that games strive to offer their players. They do not have to weigh anything against anything. They do not have to analyze the risks and rewards coming as a result of each option. And generally speaking, players are not going to be good at weighting short-term convenience against long-term enjoyment. They just do not know the game enough.

Such approach would defeat the entire point of progression through unlocking higher and better tools to enhance and assist with gameplay. It would go against the intended gameplay experience from the game designer. And most importantly, it would make the player feel judged for not choosing a higher difficulty.

There have been several solutions to negate these issues, of which Mark Brown has gone into depths in one of his videos. However, not one of them was able to solve them all and still maintain immersion.

Dynamic Difficulty Adjustment

The idea of Dynamic Difficulty Adjustment (or DDA) hinges on the theory of the player’s Flow State, in which the player is completely immersed, and the game’s difficulty feels just right. Any more difficulty will cause frustration and break immersion. Any less difficulty and the player will quickly find boredom, and you guessed it, lose immersion. Therefore, as designer Andrew Glassner put it in his book Interactive Storytelling, games “should not ask players to select a difficulty level. Games should adapt themselves during gameplay to offer the player a consistent degree of challenge based on his changing abilities at different tasks.” Or in other words, games should be implemented with a performance evaluation system as well as a dynamic difficulty adjustment system in order to adjust itself to accommodate the infinitely different and ever-changing characteristics of players. More on the technical details of DDA can be found in Robin Hunicke’s 2005 paper The Case for Dynamic Difficulty Adjustment in Games.

However, while the Flow State theory admittedly has its merits, the DDA approach doesn’t go without its numerous downsides:

Some players, when they find out about DDA, hate it. Especially when DDA cannot be turned off, the player ends up feeling patronized, and not respected by the game as an adult, capable of taking on challenges and improving him/herself.

Players can, and will, learn to exploit DDA by pretending to be worse at playing than they actually are. And oftentimes, a DDA system will require some sort of break time in order to avoid revealing itself to the player, thus not able to quickly adapt itself to the player’s ostensible skill level.

DDA inhibits the player’s ability to learn and improve. As soon as the player improves, the difficulty ramps up to match their skill level, thus eliminating the possibility of positive results. If the player cannot see some sort of feedback from the game regarding their performance, they cannot know whether any changes in their approach to gameplay were effective.

DDA may create absurdities. One of the popular example of DDA going awry is the rubber-band effect in racing games, where opponents speed up and slow down seemingly for no reason in order to adapt to the player’s performance.

DDA is incompatible with some forms of challenge. If the challenge in question is numerically-based, then DDA can work easily. However, when the challenge is symbolical, with pre-designed elements that are nakedly visible to the player, often having only one or a few intended solutions, then DDA cannot work.

There are many interesting and nuanced approaches to DDA that I won’t mention since that’s beyond the scope of this segment. While I imagine there are going to be a lot of way to make DDA functional and sufficiently inscrutable through clever algorithms and implementation, I am rather discussing the fundamentals.

Organic Difficulty in Games

There seems to be a number of different terms to address this approach, but just for this article I’m going to use the term “Organic Difficulty.” This is something that has been tossed around in the last decade or so.

The basic idea of Organic Difficulty is that the game does not ask the players to select or adjust their preferred difficulty via GUI-based commands, nor does it automatically adapt itself to match with the player’s performance and progress. But rather, the game allows the player to interact with it in certain ways to make it easier, or harder, for themselves. These take the form of tools, approaches, strategies, input sequences or methods, etc. which should often come with some sort of trade-off.

This is something that has been implemented in a number of games including From Software’s Dark Souls, which Extra Credits has dedicated an entire episode to, and which everyone should take a look.

In Metal Gear Solid V, for every mission the player has completed, there’s a score rating system which provides a rough overview of the player’s performance based on a number of factors such as stealth, lethality, accuracy, completion speed, whether the player has completed any mission tasks, and what tools they used. While the player does get minus points for mistakes such as getting detected, raising enemy alert, taking hits, etc. some other factors are not as clear-cut as to how they constitute minus points aside from narrative reasons. The player can always go on a lethal rampage, tossing grenades at everybody in sight, or calling a support helicopter to airstrike the entire enemy base. The player is provided the tools to do exactly all of those, and they’re always just a few buttons away, and the worst they get is a C rank, provided they completed the mission, and a slight dip in their earnings.

Another example of this can be found XCOM: Enemy Within. There’s a “cheesy” tactic in the game that can almost ensure victory, which is to have a unit with the Mimetic Skin ability to safely spot the enemies, thus enabling a squadsight-sniper from across the entire map to pick them off one-by-one safely without any real repercussion. This strategy is extremely effective in virtually every mechanical aspect of combat, with the only risk being that the spotter must not be flanked for they would instantly lose invisibility. The actual problem with this strategy is that it’s incredibly boring: your snipers just simply shoot every turn, and you can only take a few shots every turn, not to mention reloading. This strategy is best suited for beginners and people who have made mistakes and want to get out of the downward spiral. While on the other end of the spectrum, there are players who understand how the game and the AI of every alien unit in the game work, so they are more confident about moving up close and personal with enemies with minimal armor. Because for them, it’s not about defending against the enemies, but about manipulating, “nudging” the enemies into behaving the way these players want them to (e.g. nobody needs armor when enemies are only going to attack the tank; nobody needs to take good cover when enemies are too scared to move to flank in front of an Opportunist-overwatch unit; etc.)

The above examples seem to imply a few important points regarding difficulty:

Difficulty should not only be designed around the mechanics of a game. It should also take into account the aesthetics or elegance of those very mechanics.

Punishment does not always have to be tangible or significant, as long as it is enough to indicate to players that they are straying off the intended experience. A good analogy would be physical pain. The pain itself is not what’s causing harm to your body. The physical wound is. Pain is merely a bodily signal to let you know that what’s happening right now is pretty bad and you probably shouldn’t let what just happened happen again. But remember, the choice is ultimately yours!

It may not be a good idea to put people on the linear graph of “gaming skill” where some people are simply “softcore, not-so-good at video games” and some other are “hardcore and always challenge-seeking.” The idea alone is absurd, because players on such a graph would move up and down constantly, even during a single playthrough. Some people pick things up faster than a game can predict with its tutorials’ pacing. Some people due to real life reasons have to abandon the game for some time, and they lose a bit of their touch when they come back to it.

Instead of judging the player’s skill and trying to accommodate every possibility, games should be judging player interactions instead, using a spectrum between Effectiveness and Aesthetics of Play (or what I shall humbly name Ludoaesthetics).

The Effectiveness-Ludoaesthetics Spectrum (ELS)

On the Effectiveness-Ludoaesthetics Spectrum (ELS), difficulty exists only at the lowest technical level. Each end of the ELS represents what each player wants at a certain point in the game with certain conditions. On this spectrum, games are designed with the player’s interactions, approaches and strategies in mind, each with its own degree of effectiveness and ludoaesthetics. These are not solely defined by mechanics or the player’s skill level, but rather the way in which they are experienced and perceived by the player.

Effectiveness refers to how well the player can progress and achieve their goals in a game using the set of tools they’re given and the strategies they’re allowed to formulate. How easy those tools are to use, and how good they are at helping the player progress towards the game’s intended goals, primarily constitute Effectiveness. Players who aim towards and stay on this end primarily look for the most effective ways to achieve the intended goals of the game (which of course include playing the game the easy way).

Ludoaesthetics refers to the perceivable aesthetic appeals of the aforementioned set of tools and strategies given to the players. Players who aim towards this end do not necessarily look for the most effective ways to achieve the intended goals. But rather they tend to look for the added intrinsic benefits derived from unconventional play. These benefits include:

Superficial Attractiveness: Visual and auditory appeal of using the subject matter or the subject matter itself. It can be represented by any entity the player can recognize in the game such as a character with great visual design, a badass-looking weapon with satisfying visual and sound effects, etc.

Competitiveness: a.k.a. bragging rights. This is rather self-explanatory. There is always that portion of players who keep seeking greater and greater challenges to prove themselves to the world. They may even go as far as handicapping themselves with arbitrary limitations to heighten the challenge.

Greater sense of satisfaction derived from greater challenges that may go beyond the goals intended by the game. People who have been through heights of overwhelming odds know about, and may expect, the immense amount of satisfaction that comes with them.

Narrative Fantasy: Players may look for things that may not be effective or productive in terms of gameplay because they would align with the narrative better (in games that understandably contain some degree of ludonarrative dissonance), or they would add an extra layer of depth and intensity to the narrative and thereby enhancing it. Essentially, they’re sacrificing gameplay optimality to elevate their narrative fantasy.

Design for Ludoaesthetics

The point of designing for ludoaesthetics is NOT to create increasingly harder challenges in order to accommodate the player’s increasing skills (though that is not to say such approach has no merits whatsoever). But rather, it is actually to encourage players to strive for aesthetics in their gameplay and to lean more towards the right side of the spectrum.

Here are a few suggestions on how to go about it.

Creating more depth

Depth refers to the amount of space the player is allowed to make interesting choices using the set of tools they’re given by a game. For a more detailed explanation of what Depth is in comparison to Complexity, you can take a look at Extra Credits’ episode on Depth vs. Complexity.

Essentially, Complexity is the amount of constituent elements that make up a game, and Depth is the degree of interactivity between those elements. The very nature of ludoaesthetics has to do with the deviation from the default, intended approach (a.k.a. Playing “by-the-book.”) Therefore, the more those elements “talk” to one another, the better chance it is for ludoaesthetics to emerge, because then the player will be able to find more different ways to control or manipulate each element.

[Also read: Design for Theorycrafting]

Depth is pretty much the prerequisite for ludoaesthetics even as a concept to exist. Without a lot of depth, the window of opportunities for ludoaesthetics get significantly lower or completely non-existent.

Creating patterns suggesting the possibility of gameplay aesthetics

Adding more depth is not only about simply adding more stuff in a game and making them as obscure as they possibly can be. It is also about leaving breadcrumbs to suggest that there is more than meets the eye, therefore encouraging players to explore further possibilities. What kind of depth to even add? And how does one go about communicating it?

Below is a conceptual representation of a set of challenges typically found in video games.

Each challenge is represented by a window of failure and a window of success. These windows can be spatial, temporal, symbolic, strategic, or a combination of all. They are the spaces in which the player enters by behaving in a certain expected way. Secondly, the black line represents the player’s interactive maneuvers: where to get across and which direction to turn to next, in order to overcome the set of challenges without stumbling into the windows of failure.

For example, say we have a situation in a 3D platformer game where the player is facing a pit, and across the pit leaning towards the right side there is a narrow platform. In such a scenario, we can assume that the window of failure includes any and all sets of behaviors that lead the player plummeting down the pit, and the window of failure includes those that lead the player to landing on the platform across the pit safely.

Now consider the same representation of challenge above, but this time with a slight deliberate arrangement.

As you can see, the sizes of the windows of failure and the windows of success stay exactly the same, but the positions of the windows of success have been altered so that they align somewhat (but not exactly aligned to the point of being too obvious). You can see that nested within the windows of success is a narrower window where the amount of the player’s maneuvers stays extremely minimal. Stepping into this window offers the opportunity for a non-disrupted gameplay flow, where a deliberate and guided set of behaviors will let the player “breeze” through the challenges seemingly almost with ease. This window is where ludoaesthetics occur.

Of course, the downsides of it are aplenty: it can be extremely difficult to realize such a window exists in a real scenario. And in order to stay inside such a narrow window, the player has to be extremely precise and/or smart in their gameplay. You can think of this window of non-disrupted flow as an intended “weak point” of the challenge, where a single and concentrated attack will break the whole thing apart in one fell swoop. But the process of identifying such a weak point, and delivering the finishing blow with great accuracy may require a lot of trials and errors, and can be extremely tedious and/or difficult.

An Example from Master Spy

A common manifestation of ludoaesthetics comes in the form of speedrunning. Finishing with speed is, for the majority of games, not the primary intended goal. Games are rarely ever designed to be speedrun, and most players do not have to finish any games at high speed in order to not miss anything. So speedrunning has always been a sort of arbitrary self-imposed challenge by those who seek greater sense of enjoyment from their favorite games.

However, there are a few exceptions. And you can find the above mentioned window of non-disrupted flow in levels like this one from Master Spy by Kris Truitt.

In this game you play the role of the Master Spy, to infiltrate ridiculously well-guarded buildings, palaces and fortresses with a huge number of different enemies, hazards and contraptions standing in your way. And you are given no tools whatsoever but an invisibility cloak that can help you sneak past the eyesight of certain enemies while halving your movement speed.

In the example above, your goal is to retrieve the keycard on the other side of the wall slightly to the right of your starting point, and then to escape through the white door right above your starting point safely. And while your cloak can get you past the eyesight of the guards, it is of no use whatsoever against the dogs, who can smell you even when you’re cloaked and will sprint forwards to attack you at horrendous speed as soon as you’re on the same ground as them.

So what you have to do as a sequence of actions in this level is first to cloak yourself, then drop down from the first ledge past the the first guard, then quickly decloak to regain speed as the cloak is useless against the incoming dogs. Then before the first dog reaches you, move forward to the right, then quickly jump up. Keep jumping to retrieve the keycard while avoiding the second and third dog. Cloak up, then get on the ledge with the three moving guards. Finally, jump to the left to reach your destination.

However, as you can see from the footage above (courtesy of a speedrunner nicknamed Obidobi), as soon as the player reaches the ledge with the three moving guards on the right, the guards turn to the other side and begin moving away from where the player is, effectively freeing the player from having to cloak and having their movement speed halved. And then right before the player reaches for the white door, the guard on the far right is about to touch the wall and thereby turning back to the left. This is such a tiny window of success that should the player not have begun moving right after they start the level and stayed uncloaked at the end, they would have failed. The level is designed in such a way that it can be completely solved without wasting any moment and action.

Is it significantly more difficult to play this way? Yes. Was this arrangement absolutely necessary? Not really. But the designer made the level with the expectation that people are going to speedrun the game and will be looking to optimize their timing with each level. Thus, the levels in Master Spy are designed so that should the player start looking to speedrun the game, they will easily recognize that sweet, sweet window of non-disrupted flow. It is an immensely satisfying experience to discover it.

Ensure Usability

As usual, it is easy to get too extremely logical about design and forget all about the equilibrium, which is almost always what design is about.

In this case, it is important that designers must ensure that whatever tools they’re making for their players to achieve ludoaesthetics, MUST have at least some sort of usability, even if it’s incredibly niche or extremely difficult to pull off. Things that serve nothing and mean nothing are NOT aesthetic. Say you have an RPG, and one of your players goes out of their way in order to build an unconventional character because they see some sort of future potential from this build, only to find out later that when they’re finished with the build, the meta of the game has changed and the window of opportunity for such a build has long passed. This means that the entire amount of depth you added, and the ludoaesthetics you might have intended by allowing that player to go in such away, is utterly useless and entirely wasted. So always remember to ensure usability for everything you add in your game.

Conclusion

Organic Difficulty and the ELS are not only, and not necessarily, an alternative solution to the whole difficulty problem. But rather, they represent an entire paradigm shift away from the idea that games should find more and more complex ways to serve players with different skill levels, and towards a design philosophy where players are given integrated tools within the context of games to set their own difficulty at any point without breaking immersion and perhaps the extra baggage of shame. It is not enough to have your players stay at the same level of difficulty throughout the game, or dynamically adjust the difficulty on the fly to suit them. It is best, in my opinion, to let your players cook to their palate. Just make sure that the process of cooking and the game itself are one and the same.

#game design #game development #difficulty modes #dynamic difficulty #organic difficulty

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shadowdragonlost-blog · 6 years ago

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Spyro Reignited Wishes; then Skylanders Academy Predictions (Then More Game Stuff)

I decided to do something really stupid, and try and post about three different things in one post because I guess a really long read is something that nobody has complained about yet. I am sorry in advance for the nightmarish amount of text you will see, and tell me not to do this in the future if you’d prefer one thing at a time. I will probably avoid doing this again in the future. I am sorry in advance, and I tried to mark the transitions from one topic to another heavily so you could just skip to what you want.

1. ———-With the Reignited Trilogy coming closer to being just around the corner; everyone who isn’t an original series Nazi — an original series fan that believes that just porting the original series to the PS4 is the only thing that can be done with this series that isn’t punishable by murder — is really exited to get their hands on the Spyro that predates all other Spyros. With that exitement however, many people have come to hope for and even beg Toys for Bob for any reveals on any of the new features they could’ve added, and hope that the Reignited Trilogy is getting all of the love that the N’Sane, and from what we’ve seen so far; from being in development for over two years longer than the N’Sane Trilogy because it was actually being developed at the same time if not early than the N’Sane Trilogy started to having revamped cutscenes and a reactive development team that gives what the fans ask for through hard work, the Reignited Trilogy seems to be receiving more love than the N’Sane Trilogy.

This love that is being given to the Original Spyro has given many of us a list of things that we may have come to hope for or expect (or hate the idea of if you are an Original Spyro Nazi). My list of wishes are as follows:

•Playable Cynder and/or Ember: First thing, because Crash had an extra playable character added for after the game was beaten, this is then followed by the Original Series having had done this before in later installments, and is made more likely through being probably THE MOST REQUESTED THING OF THE REIGNITED TRILOGY BY FANS OF THE LEGEND SERIES. So yeah, may actually be a thing.

•The addition of deleted content: Crash obtained his stormy ascent, and Spyro likely had many worlds that were removed due to either difficulty or time constraints, and as much as all files on the original series were lost by Insomniac, it’s original developers could definitely tell them about deleted content and abandoned ideas.

•A Crash Easter Egg?: Spyro and Crash were best friends after all, so having him show up in an Easter Egg or level could be pretty fun.

•Keeping the Adaptive Difficulty Algorithms: This one is more so one of my hopes for this Trilogy. The Original Spyro Trilogy was technologically ahead of its time in way more ways than one (outside of being two years late to the 3D Platforminng Genre), one of these wonders of technology that this game boasted was how its enemy AI would actually adapt to how good you were at the game, making it absolutely brutal for the pros of the series, and extremely easy for those who struggled with it more often, so every player would actually witness different levels of difficulty for each boss and enemy.

Even though Crash Bandicoot is difficult to start with and understand the full extent of its physics, all of its characters and bosses followed set paths, and for someone who is experienced at playig Crash Bandicoot, and has memorized the boss-paths; it is actually really easy to do a zero-deaths run of any level, boss, or even the entire game after having had played it before. Each of the Original Trilogy Spyro games would actually become more difficult the better you bacame at the game; requiring a more in-depth knowledge of characters and levels by a long-shot if you plan on beating the game without a single death, each of the enemies starting to react within periods of time that aren’t possible for some random player to just pick up and play against. So as much as people talk about how hard Crash is for them, they’re forgetting that the original Spyro trilogy was only easy for them because they sadly (and bluntly) weren’t probably that exceptional at playing it, and also probably because it does begin at an average difficulty level that was designed for anyone to just be able to play; so a lot of people probably didn’t have the difficulty raise too much for them. But yeah; I want the Reignited trilogy to show off one of its technological marvels that people today probably wouldn’t even try to develop or implement in the greatest of AAA games.

2. —————As one of the many people who enjoyed Skylanders Academy, and really payed way too much to the lore of it and similarities it showed to the stories of other Spyros, I have a few predictions for season three that I can pretty much guarantee and would maybe even be willing to bet money on with the confidence and evidence that I have for these. With the Third season being released a month after the Reignited Trilogy, the fall of 2018 will be the season of Spyro. But keep in mind that I have avoided leaks, so any of this could’ve been leaked or disproven without my knowledge.

•A Bloodlines Episode: As much as that episode will not be called Bloodlines, their will most-definitely be an episode where Malefor and Cynder will be having some father daughter time (in the middle of Cynder being pissed); while Eon reveals the truth about Spyro and his history to the rest of the Skylanders; all while Kaos tries to have some father-son moments with Strykore. This episode will entail why Malefor hates purple dragons so much, and him telling that story to Cynder (which will 100% reveal that Cynder’s mother was a purple dragon; who probably died protecting the core of light from all of the dark-form purple dragons, or became corrupted as well. I can guarantee this because of Cynder’s color, her retaining her dark purple scales even though Malefor never corrupted her with Aether in this series, he’s just a black dragon who cares deeply for his biological daughter; so with him being black; Cynder’s mother would have to be purple. So that is definitely a reveal to look for). Though this reveal of Cynder’s mother will likely then be followed-up by a Dark Spyro visit (just because individual episodes tend to have themes that they stick to, and Spyro is convinced that Malefor knows how to find his family, and will definitely show back up to find out).

Stealth Elf and the other Skylanders will probably end the episode determined to find a way to either bring the purple dragons back so they could save Spyro (knowing how he’ll be looking for them), or they will either abandon Eon and his cause for having had lied, or forgive him and prepare to fight Strykore and Kaos to the bitter end. This may also include Eon revealing his relations to Kaos, but if so then this episode may be the forst or second one of season three.

Kaos will likely fail in trying to have his father spend time with him, and will hold that deep in his heart to be triggered later; pushing him to turn against his father when it is needed of him most; either making him worse than his father was, or and antagonistically-neutral character at the end of season three (which may be the last season)

•Saving Spyro: This one is the more complicated part of predicting season three, and that is because there are several ways in which it could play-out; each with similar or different saviors.

Cynder saves Spyro: The case behind Cynder being the one who saves Spyro can be seen heavily from all of the similarities that their relationship in Skylanders Academy has compared to the relationship that The Legend Trilogy Spyro and Cynder have with each other. But there is a twist in that, in every similarity in this relationship, the roles have been reversed between them. So Spyro’s because you have left me nothing to fight for scene can become Cynder’s; since he was the only thing that really gave her reason to be a Skylander. There is also the fact that she is likely a half-breed purple dragon, meaning that she would actually have light to give/bring to him in his darkness. Making her the most-ideal character to save him if the stick to their legend series references and self-established lore of how light works in their own series. Their is only one other character who could fit this role as well as Cynder could, and that is before considering how Cynder is the only character who has lived on both the sides of bad and good, and she learned and accepted how she could be a Skylander in spite of being groomed to be evil. She of all characters knows that anyone could be saved, and if they really want to sell the reflections of the Legend Series; they would have her stop at nothing to save him, this may force her to face both the Skylanders and Strykore though. Hell; she may even join with Kaos for a time just to try and get close enough to be able to reach Spyro.

Cynder saves Spyro when he visits Malefor: So dark Spyro will eventually visit Malefor in season three if not the other way around. Cynder will be in Malefor’s custody when that happens; meaning that she will definitely play a large role in the endgame. So how this will go will be; Spyro likely gets violent, one way or another it becomes a duel between him and Cynder in which she either loses or refuses to fight, does either the inversion of the Legend series Dark Cynder Spyro fight from DotD, or she uses her light to purify him knowing that she’s a half purple dragon now, or a mixture of both. This will either leave Cynder in a weakened or ill state forcing Spyro to apologize and find some way to bring her to the core of light, or she’ll be fine and the story will continue.

Cynder saves Spyro when he his fighting at the core of light: Similar to the last one, just theyre all at the core of light and Spyro and Cynder end up alone in the battle one way or another, repeat all thr stuff from the last one and bam, Spyro is himself again.

Cynder and Stealth Elf save Spyro at the core of light battle: Since Stealth Elf is Spyro’s best friend in this series, just pair up her value of Spyro and desperation to likely save him with the stuff from earlier revolvin Cynder and you’ll have a saved Spyro with two of the most important if not the two current most important people to him there by his side for him to apologize to and finish the final battle.

Stealth Elf saves Spyro: Stealth Elf is Spyro’s closest friend, so with that being a main theme; Stealth Elf alone is a candidate to save him, not as ideal as Cynder and Eon, but she can. She might use water from the core of light, but otherwise the power of friendship is all I can really say.

Stealth Elf at the core of light: Just read the one before, and You’ll know why this is the only location that Stealth Elf alone will be able to save Spyro, because the core of light is the only place where she can restore his light, her not being one of the three beings that just has pure light within them.

Spyro’s Skylander team saves him: Because of the themes of family within this show, the team that traveled with Spyro throughout Skylanders Academy is really the most expectable group for the show to use for anyone who doesn’t Overdose on researching and studying the lore of series like I do. They are a great candidate provided Skylanders Academy wants to just plot-armor the word “family” over all of the lore and character forshadowing that the developers did throughout the first and second seasons. It will still fit the themes of Skylanders Academy though.

Spyro’s Skylander team saves him at the core of light: This is the only area where the team detailed earlier could save Spyro in a lore-friendly way without the help of Cynder or Eon.

Eon saves Spyro: A lot like why Cynder will probably save Spyro, Spyro’s internal struggles are 100% Eon’s responsibility, and he is one of the three characters that we have seen who is a being that contains pure light (Spyro, Cynder from her mom, and Eon); so he would be a great light-giving candidate, but there would be a price to that. Master Eon (as we saw in season one) cannot expose himself to darkness on a great scale, and cannot expend his light without falling deathly ill. So if we wanted an Ignitus in Skylanders Academy who wanted to do right by Spyro even if just once, Eon would likely sacrifice himself to restore Spyro.

Eon is killed: This doesn’t need an explanation, Eon either dies from sacrificing himself, or he is killed by Strykore or Spyro.

What I believe will happen: Knowing the themes of family and friendship; while also keeping all of the Legend Series themes and concepts that are apparent and repeating in Skylanders Academy. Spyro’s team will likely try to save him, but will either fail or give up thinking that he may be too far gone. So they will likely start to relentfully view him as an enemy. Then will come the involvement of either Cynder or Eon to save him; I can almost guarantee Cynder will be the one to save him, because Eon likely shouldn’t die, and also because Cynder is the only character in the series outside of Spyro who has walked on both the dark and the light, and possesses a very unique knowledge of how one can choose to be evil, and can be saved from that, so she will likely either give him her light (some or all, either could happen), after having to either face him with the Skylanders, or face the Skylanders to be able to get him to open up to her enough in his dark form. But yeah; she’ll definitely be saving him; I want to go out on a limb and say that she’ll have to abandon her father and the Skylanders in the process; while also facing Kaos. Of course this series may not go that far, but I’m going to say that will happen, because that will enable Spyro and Cynder to save all of Skylands with Stealth Elf and the rest of the team helping as needed if they aren’t incapacitated, but it will also reflect a very specific condition that I will explain right below this.

•A large part of Skylanders Academy was how it had its own twist on the Legend of the Purple Dragon, in the Legend Series, Malefor and Spyro were Eternal (meaning cannot die at all), and in Skylanders Academy spyro had invulnerable scales, and both Spyros are said to have many more powers. But there is one confirmed power of the Legend Series Spyro that is known by fans as Convexity, and by the game files as Aether. It is one of the many powers that Spyro possesses in the Legend series that makes him as rediculously powerful as he was at the age of fourteen in Dawn of the Dragon (that and being unable to die), but his Aether powers had one twist to them; they were able to be accessed through a balance between dark and light; his dark form being a result of losing himself to the darkness of his heart and emotions and being overcome by dark Aether (along with his critically untreated depression that he only had a hold over with Cynder), but there was no real side-effect of being overcome by light and light-related emotions, unless if love overcoming him with light is what roided his heart into repairing the planet. It was also this power that he used to purify Cynder and restore her at the end of A New Beginning. Meaning that Cynder in Skylanders Academy could maybe even unlock this power; if not use it to save Spyro.

If Skylanders Academy was to use a twist on that power to defeat Strykore, then they would be bringing a lot of their lore full-circle, most of Spyro’s lore in Skylanders Academy being a modified version of the Legend Series Spyro’s lore after all, but the only question is; what would they change about Spyro’s Convexity/Aether powers before revealing them in Skylanders Academy? Cause if they kept them how they are now; then Spyro himself would never be able to use them outside of a few set circumstances; with Aether powers requiring a balance between darkness and light where Spyro is always either a being of 100% pure light or 100% darkness he would never be able to use them unless if he was able to becoming a being of both dark and light. Though with Aether being the one superpower that by its own nature should be able to accomplish anything; it will likely be required to save the Skylands. But there is one gem of a character who fits the requirements for Aether as they were in the Legend Series, and that gem is Cynder; with her mom being a Purple Dragon and her father being the ruler of the underworld; she would be a being of perfect balance between darkness and light by birth and nature. That would make her the perfect candidate to save the Skylands or even Spyro with her Aether powers. She could even try to restore Spyro with her light, which would then place either both of them at 75% dark 25% light, or she will abandon all of her light to save him; leaving Spyro at the perfect balance needed to save the Skylands, but then he would have to clutch a Cynder as she either falls to darkness, or fights desperately to remain herself; then Eon could show up and sacrifice his light to both restore Cynder to her perfect balance and bring Spyro back to 100% percent, or he could leave spyro and cynder at perfect balances and stay at a 50% light 50% neutral state, and then the series will likely end with Spyro either rejoining the Skylanders with Cynder, bringing Cynder with him to save the purple dragons if not going alone, or leave the Skylanders and become a guardian figure of perfect balance between darkness and light either along or with Cynder who shares the same description. Who knows; I’m just babbling on about what’s possible with the lore of the series.

3. ——————GAME STUFF: I said I would like input on game names and stuff, so here I am asking. The game that you’ve all been seeing some random map sketches from is the second game on my development list, but it hasn’t been named yet. The inspiration for the games initial idea was actually my frustration with the pokemon series... I was frustrated with all of the limits that the game series placed on everything, from levels to training to even relationship development; so I started to create a Bestiary that had creature stats and growths plotted out heavily, and I have been trying to design personality types and creature interaction concepts. With creatures ranging from single-stage to five-stage creatures with each one being able to train their stats infinitely in their final stage. I wanted all of the evolutions to be locked-out be relationship level requirements at certain stages, and I wanted there to be main character creatures that would be with you throughout the entire game. So I started designing a creature game that will do all of that. I’ve gotten most of the story concepts down and rough story guidelines for individual characters and main-character creatures, but the back-of-game-case-summary will be a little like this: “Join Xavier on his journey through an alternate world with his otherworldy dragonling Fry as he befriends creatures, slays fiends, and tries to discover his purpose in discovering Fry and traveling to Alterium” or something like that. But yeah, it will feature befriending characters and creatures (no capturing); Xavier and all of the player-characters will actually participate in combat with their creatures; even though they will be significantly weaker than their creatures, and you all should expect concept art for this once I’m confident enough to start posting it. So please send me any name ideas that you come up with for this game, and I will ask for approval on any that I may come up with.

All of you have a wonderful night, and tell me what you think about any or everything I may have said here. You should even feel free to comment as you see fit.

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syntheticaesthetic · 7 years ago

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Bruce Banner versus Hulk

Okay, so bear with me here as I try to do my own “brand” of meta for my friend @whenas-in-silks, who wanted my thoughts on Bruce Banner in Thor: Ragnarok and his relation to the Hulk, and what having Hulk in control for two years did to Bruce.

Right, so, when we last saw Dr. Bruce Banner (a man of SEVEN PhDs!), he had been pushed from a ledge in a collapsing building in Sokovia. His fall necessitated his transformation into Hulk, who then proceeded to join a one Ms. Natasha Romanoff in “being a hero.”

Shit happens.

But, they save the day – hooray!

Hulk gets Natasha to safety on a helicarrier before continuing to wreck-the-shit out of some Ultron-bots. He tosses a bot out of a quinjet and sits his green ass down in front of the controls. Job done, Natasha tries to communicate with him and walk him through bringing the quinjet in. And that’s where things get surprising – there’s something bugging the big guy. He’s looking at Natasha’s face, arguably the team member he trusts the most – the one that can lull him back into Banner!state – and he turns away, literally shuts her off. He doesn’t here what she wants to say. He doesn’t want to turn the quinjet around and come home.

Something is bothering the Hulk – emotionally.

So let’s think about where Bruce was before all this.

Bruce Banner – reluctant hero. He wants to make amends for all of the mistakes he’s made – dangerous, fatal mistakes – but he wants to do it in his own small ways. He wants to tend to the sick. He wants to tinker with some science now and again. He’s not Tony – he doesn’t want to fly around Manhattan and have his name in the papers and he certainly doesn’t want to try to intimidate the US government or privatize world peace. No, thank you, really.

He certainly doesn’t want to unleash the Hulk and be a hero that way.

He doesn’t, every time, get what he wants.

So his hand is forced – he knows he can do some good, but he knows he can do some harm and the line is so hard to find some times. He wants to keep his head down, he wants to help Tony keep his head down. He wants to help with the upkeep of the StarkBots and maybe play around with some AI.

The more time he spends with Tony, the more ambitious he becomes.

Things feel, dare he say it? Normal. He’s doing science again – grand ideas meet genius implementation and he’s helping. But then Ultron crashes the party. Bruce knows they’ve fucked up - he knew it before it even happened. He knew that he was letting Tony talk him into something that could go wrong, and guess what Banner, it did. He knows they’re in the wrong. The path to hell is paved with good intentions and its not like they wanted this to happen, but it has and its his responsibility. He’s got to fix this.

And it all goes to shit. “Guys, is this a code green?” Code green? More like Code RED. Wanda is in his head, only its not his head anymore, it’s the Hulk’s and there’s something very wrong and there’s pain and confusionandsomethinghashappenedsomethingishappeningHulkcan’tthinkHulkconfusedHulkSMASH.

Johannesberg is practically totaled. It’s very likely that people are dead. He lost control of a situation, again, and people are dead, and that’s the second time in two days. He needs to stop helping. He needs to remove himself from the situation. Calcutta was nice…

Natasha talks him into staying, for a while. I had this crazy dream, that I was an Avenger…

Bruce needs to learn to have better judgment. He needs to be surrounded by people who don’t continually put him into these positions or encourage him to put himself in these positions.

Maybe, in the back of his mind, he’s already decided to leave. He talked about it, with Natasha. Just, running away. That’s the plan – it has to be. But Natasha wants to stay, she doesn’t feel like she’s done her part – the job’s not done. She chooses for him – forces him to stay, to finish it.

She forces Bruce Banner to stay, but she can’t keep Hulk from leaving.

Because, here’s the thing – in Thor: Ragnarok Hulk pretty much admits that he’s thinking what Bruce was feeling in Age of Ultron.

“Where in the world can I go where I’m not a threat?” In effect, the Hulk explains to Thor why he doesn’t want to go back to Earth – it’s a place where he’s considered the stupidest Avenger, where everyone hates him because of the collateral damage done during his time at the wheel.

There’s a moment in Age of Ultron, after Tony has smashed Hulk through a building and he sits up in the ruins of it, that you realize that his eyes have become brown again, rather than their Wanda-influenced red. He’s looking around, dazed, as he realizes what he’s done. This moment is all too brief, as his demeanor changes the moment guns are leveled at him and Tony knocks him out, but it must have stuck with him all the way through to Thor: Ragnarok. He remembers what he did in Johannesberg. He remembers Sokovia. He remembers that he is a monster and that humans hate him and he is not welcome there.

But Sakaar? Here, the damage he does is wanted. He doesn’t have to hold back. His rage and his destruction are celebrated here. People fear him, oh yes, but there is no loathing in it. He doesn’t have to run away. Here no one talks of him as just a dumb beast – Hulk has been awake for two years and he has learned things and formed bonds with people and has likes and dislikes and has become his own person and not just the ugly side of Banner. Hulk has control in the fact that he can embrace his lack of control. In letting the monster loose he can now decide when and where and how to do so – its no longer something that must be contained.

He doesn’t have to worry about tiny, fragile humans. He doesn’t have to think of teammates and rules. He doesn’t have to worry about Banner – Banner is gone.

Except, he isn’t. Not yet anyway. But it takes an emotional jolt to bring him out. He emerges into the world bleary-eyed and frightened. While the Hulk seems to have “aged” or matured in his time on Sakaar, Bruce has done quite the opposite. He emerges from his time away unable to contain his emotions – he frequently advertises his fear and panic and dismay to Thor, who doesn’t quite know what to do with this. He’s moody and pissed off – why don’t you want me? Why do you want HIM? He’s sulky – that’s low, man. Banner, with SEVEN PHDs is powerful too!

Hulk has progressed; Bruce has regressed.

What control Bruce had gained from the moment he became the Hulk is gone – he’s a bit of wobbly mess. He’s insecure, confused, out of his element. He’s wearing the wrong clothes that don’t fit right. He doesn’t know who anyone is. He probably can’t understand anyone when they talk ,other than Thor and Valkyrie. He can’t even make the decision to turn into the Hulk – he has to nearly kill himself in order to make the change.

Bruce is not in the driver’s seat, and he’s starting to think that he might not be allowed to drive ever again. In an interview, Mark Ruffalo is quoted saying that "the rules don't apply anymore. That's what's so confounding to Banner and frightening.” The more the Hulk becomes a real person, the less Banner becomes. Almost as if they’re taking from each other. It should be so simple as the Hulk having had more than a few minutes at a time where planetary destruction is not immanent for him to grow and learn and be. But, if this were the case, what’s going on with Banner? Is he just out of practice being a human? Did he feel the passage of time? Was he oblivious? Bruce feels like a very different person from Age of Ultron. What happened to him? What happens to him in Infinity War, after he returns from the transformation he thought he’d never come back from? In previews he looks like the Bruce we know from Age of Ultron. Is the only thing he needs is time to readjust? Was his theory wrong or is he on the path to separation?

With the Hulk’s increasing personhood, Banner is left vulnerable if the case is that the more he becomes the less Banner is left with. Does Stephen Strange do him a solid and separate the two in order to save Banner? Does this somehow go horribly wrong and Bruce and Hulk need to remerge together and finally work out a 50/50 deal?

I can’t even begin to guess because every time I do that in the MCU I’m dead wrong.

So, yeah.

Better luck next time, Banner.

#I'm sorry this isn't perfect #I was a little rushed because I wanted to get this to you today but things have been wild here #but yes happy late Chanukah and merry Christmas #Bruce Banner #MCU #Thor: Ragnarok #I'm going to keep making the other ideas you sent me too at some point!

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t-baba · 5 years ago

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TypeScript 3.6, and npm's ban on terminal text ads

#452 — August 30, 2019

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#Javascript Branding #Javascript Weekly

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antiques-for-geeks · 5 years ago

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Game Review : Slipstream 5000

PC / Gremlin Interactive / 1995 / Originally £29.99

Ah, the future.

Everything is shiny and new. All the time. The womenfolk are all improbably thin and dressed in tight fitting spandex or bikinis. Because that’s that happens in the future, we just go nuts for the man-made fibres. Just look at Buck Rodgers. Or Star Crash.

“Girls of 25th Century”, as envisaged by a boy aged 15 and a quarter with his bedroom door locked...

And in the future are sports; not sports as we know them, sports that are just a little bit different and played out to a pumping electro soundtrack that might just sound like Depeche Mode, Einstürzende Neubauten or Nitzer Ebb but played on a cheap Casio organ to avoid royalty payments.

Yes. The future. And it’s here in the shape of a racing game.

Set at a nebulous point in the near future, Slipstream 5000 brings us pilots racing their aeroplanes around courses around the world. There is no dystopian backstory, no settling our differences through sport rather than war - this is an out and out racing between between ten characters and their flying machines.

This is something of a relief. It gets a bit tedious to constantly be told that society has collapsed and to settle our differences we now play Bridge or Whist, all as an excuse for a developer to hide their slightly naff obsession with Gin Rummy behind a smokescreen rather than run the risk of them being discovered in a latex old-man bodysuit down the WI of a Thursday night.

Each race begins with a fly-through, showcasing the game’s graphics engine. It whips along at a good pace on Pentium level machinery without a 3D graphics accelerator.

Slipstream 5000 belongs to that first flush of 3D games where texture maps were planted on large polygons rather than using smaller and smaller polygons to create the landscape the developers wanted to convey. Sure, even at the time it never was the prettiest but is a fair compromise given the power of the machines it was designed to run on.

Controlling your plane takes full advantage of the 3D environment, allowing you to fly in all directions and creating a feeling of freedom. Playing with a decent joystick really adds to the game, although keyboard control works well enough. Oddly, no provision has been made for a mouse in-game, which combined with the keyboard à la Quake would have been as good a choice at the time as a joystick.

Some circuits verge on the spectacular; not just underground but underwater too. Don’t worry about hitting the glass sides, they won’t break.

The circuits that make up the championship are split between the metropolitan and the natural - one minute you’re flying through the Grand Canyon or Icelandic Fjords, the next it’s London and under (or over, you can choose) Tower Bridge. There are ten tracks in total; before you race each track, you’re treated to a fly-through to help you plan your approach to the race. Presented in a TV style, it can be quite like marmite. You’re going to either love or hate the way it’s done, which comes down to the in-game commentator. More on that later.

Slipstream 5000 makes the most of the axes you can fly in. Each course has its own challenges; enclosed circuits where you are racing through caverns or tunnels require skill and dexterity as the elevation of the circuit changes. Clattering around the courses, scraping the sides of your vehicle will work, but at the cost of performance. Each time you connect with the circuit, another player, or are hit being an opponent’s weapons incurs damage, either to the engine or the controls. As more damage is inflicted, your craft becomes less and less performant, making it easier to compound the damage to meaning that too much damage and it’s game over. Fortunately, each circuit has a pit tunnel where damage is remedied in blaze of lightning. Race wisely and taking the pits each lap can also make you quicker, even when you are not damaged.

Cash bonus? That’ll do nicely.

Each track is lined with bonuses and forfeits, either positioned randomly or dropped by shooting the drones that fly along as you do. Cash is the most valuable thing, but you can also pick up engine and control repair which fix your maladies on the spot, turbo recharge or a short boost of turbo. If you’re unlucky though you get a disrupter that’ll reverse your steering and is more or less guaranteed to chuck you into the walls.

You start the game by choosing your plane and unlike some games, they’re all equal. It’s not how they start, it’s how they are upgraded that is key. For a single race, it’s not that important, in a championship it can be the difference between first and midfield. Some upgrades and weapons just aren’t worth the money and it really becomes a matter of making sure that you chose wisely.

And, you’re going to need weapons. The AI pilots give as good as they get.

The point where you chose your plane is, erm, very much of it’s time. Cheesier than a pack of Wotsits and presented in a very stereotyped way. Clearly the developers were going for a Wacky Races vibe. This extends to the virtual characters in the game: Lyall Mint, the deliberately unlikable, ex-racer and his prim and proper career presenter, Crystal Eyes, as well as the game’s AI pilots.

This is one half of your commentary team, Lyall Mint. He's about to crack a funny, the zany ex-Slipstreamer that he is. Pity all of his comedy material is made up of Dad jokes and insipid sexual innuendo.

Each of your adversaries has their own traits and this is emphasised by their on-screen presence. You get transmissions periodically during each race - sometimes taunting, sometimes bemoaning that they’ve been hit or crashed. It’s a nice idea, if the implementation is rather cliched and adds to the feeling of rivalry in the game. This was something that was not common at the time and unique to the CD version of the game.

Flying against the AI players is good and fortunately Gremlin’s developers added the ability to go head to head with real players; old school two player splits the screen, but there is an option to connect two machines together. It’s not really network play as it’s known today, rather it’s via serial cable (yes, physically linking two machines together) a modem connection or being on the same physical network. Slipstream 5000 fell at that awkward time where the internet was a thing, but standards weren’t.

Yes, multiplayer is not for the casual gamer of today. Those of us playing games in the 1990s were made of sterner stuff. Man-up if you don’t want to be billy no-mates.

Dog fights are fun but can be time consuming. Sometimes it’s better to fly low, turn on the turbo and leave the other pilots to it

So Slipstream 5000, offers you a slice of the future like no other. Or, truth be told, like any other. This so easily could have been a franchise like WipeOut; maybe this would have really taken off (excuse the pun) with the console versions that had been planned. The game would have been really good on a Playstation or Saturn. It’s just a shame that this never happened.

Like so much of Gremlin’s catalogue around that time, this rather smacks of an opportunity missed.

Buying it today

You have lots of options for this today. You lucky, lucky, people. If you are looking to buy it on an auction site, you can pick up a copy pretty cheaply. The original big-box release will set you back in the region of £15, but be later re-releases in their paper sleeves, jewel or DVD cases can be anything from £2.50 to £5. If you’re going this way, make sure that you don’t end up overpaying for a budget version...

Finally, you can skip all this retro media nonsense if you have a PC and get it on Steam or GoG; you won’t have to faff about with DosBox or worry about converting those 3.5” floppies to disk images. Unfortunately, if you’re using anything other than Windows, you’ll have to make your own arrangements.

Commentariat

Tim : Slipstream 5000 was a firm favourite of mine; I first played it as a demo that came on a CD with PC Format in 1995 and excelled on the Pentium that I got to play it on. Although nothing to do with Magnetic Fields, the game had a ring of Super Cars about it in terms of tone and presentation. A sort of Super Cars ++ as it were.

Having played the demo to death, I bought it when it came out on budget - I was not, and am still not, made of money - I bought the title. The demo pretty much summed up the playing experience of the game and although there were extra circuits and a championship mode, it didn’t really add a huge amount to the fun in single player mode...

With only three levels of difficulty, it’s not that hard to finish quite high up the pecking order in every race. This may be ok in a single race, but in Championship mode it reduces the sense of jeopardy. Where the game does come alive is just right - when you’re racing. The action can be fast and frenetic; one minute you can be first, the next 8th after a misjudged corner or a missile strike from another pilot.

That the computer pilots can also mess up on their own adds to the excitement. Nothing more satisfying than seeing the computer pilot hit a drone and be faced with a disrupter. Even more so when it’s your mate in multi-player mode.

The other thing that disappoints - for me anyway - is the music, both in-game and between races does not do the game justice and feels more like an afterthought. That’s not to say it’s not well done; it is, it’s just doesn’t suit the game in my opinion. Add in the flight-computer voice that tells you you’re being shot at when you can hear the shots bouncing off the hull of your plane and it becomes an irritation rather than asset. We’re not talking Cybermorph levels of irritation, but let’s say it’s getting there. Good job you can turn it off.

Overall though, these are minor objections. I love the game and was one of the first titles I got working on DosBox once got that working properly. If only Gremlin had chosen to have taken it further...

Score Lord : I told you lot last time. I’m not reviewing games for you. Even this, which I quite liked when it came out and think it’s a crime it’s been forgotten. No. Go away and stop bothering me.

Meat : The explosion of 3D games at this time wasn’t a blessing; looking back today, there are some really, really ropey titles. Slipstream 5000 might have avoided this fate, but has trodden a fine line to do so. The cross between flight sim and racing game is novel and explored at around the same time by Bullfrog’s Hi-Octane, but there really is only so much you can do and a fair few tricks have been missed here. I’d have liked it to have been a little harder, with differentiation between craft being, well, present. A career mode rather than just a flat championship, where you could have more control over the different elements of your ship and crew would have made all the difference.

This doesn’t mean that the game is bad. Not at all. There are neat little extras, like the rear-view camera which although useless is pretty cool. It plays well, so much so that there is depth in the gameplay to last more than one run-through. For all my gripes about 90s 3D games down the pub, I like the way it looks too. It’s begging for a modern version with proper network play and slightly less patronising tone in the cut-scenes. I’d pay to have that on my phone, provided it came with a branded spandex flight-suit to wear while you are playing, natch. We are in the future after all, right?

Score card

Presentation 7/10

Stakes had been upped in the mid 1990s by the arrival of the fifth generation consoles, Slipstream 5000 holds its own against the kind of stuff coming out on those machines. The whole thing feels rather slick, with quite an authentic TV feel, even if its tone and jokes have dated quickly since the 1990s. PC games had yet to fall to the DVD-box format that is ubiquitous with today packaging, so you’ll still treated to the big-box experience if that’s your thing.

Originality 8/10

The idea of a racing game working on four axes that you can explore, rather than the traditional horizontal is still a pretty neat idea. The elements of rivalries that are generated by the computer characters comments feels a little synthetic, but the game is the better for it.

Graphics 8/10

From beginning to end, the games looks really good; sure it has aged, but more endearingly than some that feel like they have a certain something missing.

Hookability 6/10

The first course is well designed and eases you into the game nicely. From there on in, it’s a challenge, but not always enough of one.

Sound 7/10

Sounds fine, as long as you have the right sound card, but having different background music would have made all of the difference. The floppy disk version loses out on some of the speech, but that’s not the end of the world.

Lastability 7/10

Easy to learn, difficult to master. It can be a difficult but not impossible to play using the keyboard, but there is a lot there for you to explore and those jibes and taunts from your fellow competitors press just the right buttons to make you want to come back for more. Unless you’ve got the floppy disk version...

Value for Money 7/10

Was good value back in 1995 and it’s worth the price of admission today.

Overall 7/10

Gremlin did themselves proud with the game itself and the TV styling, the cliched and stereotypical characterisations of the pilots and presenting team less so. Slipstream 5000 really had the feel of a series in the making. The shame is that it never made it there; with today’s VR tech the game would really have been something else.

#pc #afg #antiquesforgeeks #retrogaming #retrocomputing #videogames #slipstream5000 #review #gremlin #gremlingraphics #retro

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itsfinancethings · 4 years ago

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If the United States wants to protect democracy and public health, it must acknowledge that internet platforms are causing great harm and accept that executives like Mark Zuckerberg are not sincere in their promises to do better. The “solutions” Facebook and others have proposed will not work. They are meant to distract us.

The news in the last weeks highlighted both the good and bad of platforms like Facebook and Twitter. The good: Graphic videos of police brutality from multiple cities transformed public sentiment about race, creating a potential movement for addressing an issue that has plagued the country since its founding. Peaceful protesters leveraged social platforms to get their message across, outcompeting the minority that advocated for violent tactics. The bad: waves of disinformation from politicians, police departments, Fox News, and others denied the reality of police brutality, overstated the role of looters in protests, and warned of busloads of antifa radicals. Only a month ago, critics exposed the role of internet platforms in undermining the country’s response to the COVID-19 pandemic by amplifying health disinformation. That disinformation convinced millions that face masks and social distancing were culture war issues, rather than public health guidance that would enable the economy to reopen safely.

The internet platforms have worked hard to minimize the perception of harm from their business. When faced with a challenge that they cannot deny or deflect, their response is always an apology and a promise to do better. In the case of Facebook, University of North Carolina Scholar Zeynep Tufekci coined the term “Zuckerberg’s 14-year apology tour.” If challenged to offer a roadmap, tech CEOs leverage the opaque nature of their platforms to create the illusion of progress, while minimizing the impact of the proposed solution on business practices. Despite many disclosures of harm, beginning with their role in undermining the integrity of the 2016 election, these platforms continue to be successful at framing the issues in a favorable light.

When pressured to reduce targeted harassment, disinformation, and conspiracy theories, the platforms frame the solution in terms of content moderation, implying there are no other options. Despite several waves of loudly promoted investments in artificial intelligence and human moderators, no platform has been successful at limiting the harm from third party content. When faced with public pressure to remove harmful content, internet platforms refuse to address root causes, which means old problems never go away, even as new ones develop. For example, banning Alex Jones removed conspiracy theories from the major sites, but did nothing to stop the flood of similar content from other people.

The platforms respond to each new public relations challenge with an apology, another promise, and sometimes an increased investment in moderation. They have done it so many times I have lost track. And yet, policy makers and journalists continue to largely let them get away with it.

We need to recognize that internet platforms are experts in human attention. They know how to distract us. They know we will eventually get bored and move on.

Despite copious evidence to the contrary, too many policy makers and journalists behave as if internet platforms will eventually reduce the harm from targeted harassment, disinformation, and conspiracies through content moderation. There are three reasons why it will not do so: scale, latency, and intent. These platforms are huge. In the most recent quarter, Facebook reported that 1.7 billion people use its main platform every day and roughly 2.3 billion across its four large platforms. They do not disclose the numbers of messages posted each day, but it is likely to be in the hundreds of millions, if not a billion or more, just on Facebook. Substantial investments in artificial intelligence and human moderators cannot prevent millions of harmful messages from getting through.

The second hurdle is latency, which describes the time it takes for moderation to identify and remove a harmful message. AI works rapidly, but humans can take minutes or days. This means a large number of messages will circulate for some time before eventually being removed. Harm will occur in that interval. It is tempting to imagine that AI can solve everything, but that is a long way off. AI systems are built on data sets from older systems, and they are not yet capable of interpreting nuanced content like hate speech.

The final – and most important – obstacle for content moderation is intent. The sad truth is that the content we have asked internet platforms to remove is exceptionally valuable and they do not want to remove it. As a result, the rules for AI and human moderators are designed to approve as much content as possible. Alone among the three issues with moderation, intent can only be addressed with regulation.

A permissive approach to content has two huge benefits for platforms: profits and power. The business model of internet platforms like Facebook, Instagram, YouTube, and Twitter is based on advertising, the value of which depends on consumer attention. Where traditional media properties create content for mass audiences, internet platforms optimize content for each user individually, using surveillance to enable exceptionally precise targeting. Advertisers are addicted to the precision and convenience offered by internet platforms. Every year, they shift an ever larger percentage of their spending to them, from which platforms derive massive profits and wealth. Limiting the amplification of targeted harassment, disinformation, and conspiracy theories would lower engagement and revenues.

Power, in the form of political influence, is an essential component of success for the largest internet platforms. They are ubiquitous, which makes them vulnerable to politics. Tight alignment with the powerful ensures success in every country, which leads platforms to support authoritarians, including ones who violate human rights. For example, Facebook has enabled regime-aligned genocide in Myanmar and state-sponsored repression in Cambodia and the Philippines. In the United States, Facebook and other platforms have ignored or altered their terms of service to enable Trump and his allies to use the platform in ways that would normally be prohibited. For example, when journalists exposed Trump campaign ads that violated Facebook’s terms of service with falsehoods, Facebook changed its terms of service, rather than pulling the ads. In addition, Facebook chose not to follow Twitter’s lead in placing a public safety warning on a Trump post that promised violence in the event of looting.

Thanks to their exceptional targeting, platforms play an essential role in campaign fundraising and communications for candidates of both parties. While the dollars are not meaningful to the platforms, they derive power and influence from playing an essential role in electoral politics. This is particularly true for Facebook.

At present, platforms have no liability for the harms caused by their business model. Their algorithms will continue to amplify harmful content until there is an economic incentive to do otherwise. The solution is for Congress to change incentives by implementing an exception to the safe harbor of Section 230 of the Communications Decency Act for algorithm amplification of harmful content and guaranteeing a right to litigate against platforms for this harm. This solution does not impinge on first amendment rights, as platforms are free to continue their existing business practices, except with liability for harms.

Thanks to COVID-19 and the protest marches, consumers and policy makers are far more aware of the role that internet platforms play in amplifying disinformation. For the first time in a generation, there is support in both parties in Congress for revisions to Section 230. There is increasing public support for regulation.

We do not need to accept disinformation as the cost of access to internet platforms. Harmful amplification is the result of business choices that can be changed. It is up to us and to our elected representatives to make that happen. The pandemic and the social justice protests underscore the urgency of doing so.

#IFTTT #Blogger

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