#it gives us as much flexibility as possible for its structure; but the story is far tighter; therefore the scope is different.

[invinciblerodent]

Now I kinda want to toy around with a story where a Rook that proves unsuitable to be the leader (because they lack the soft skills, the compassion, the conflict-management skills the story implies they have from the prologue on and requires of them as the crux of its central conflict) does actually get booted by the team, and play with how that would work out for the story, if they were to choose a leader among themselves.

I don't believe I've ever posted about this, but my partner and I have had great and lengthy discussions about how we think that, if Rook, within the story, had the capacity to openly be the kind of amoral asshole certain folks seem to want for a protagonist, there is no way this team would tolerate that.

I mean... just going by the most obvious things alone, Harding and Bellara are immediately, within one of the first missions, very much open about not shying away from taking affirmative action against a self-serving failure of a leader, with both of them approving of leaving a man to die as "atonement" for an (objectively horrible and selfish) crime that resulted in the townspeople's and Veil Jumpers' deaths.

Neve, and the entirety of the Shadow Dragons express frustration with the Magisterium's passive hand-wringing, and have taken matters into their own hands from the start, as the foundation of their faction.

The Grey Wardens we meet before Weisshaupt, including Davrin, are all defying explicit orders just by associating with Rook, showing that their convictions are more important to them than any chain of command.

Hell, Davrin, Taash, Harding, Neve, and Lucanis all greatly approve of the player resolving conflict with a leader who proved incompetent and a hindrance to the cause via violent means- and it's Davrin's boss we're talking about, so his approval of it is especially poignant.

Over and over, these companions can (and depending on the influences in their lives, do) act with great compassion, kindness, understanding, and love towards others, while individually being one of the best in their respective fields, and firm in their convictions independently from Rook. (Davrin will always stand for the griffons. Neve will always clash with Aelia. Bellara will always resist Anaris. These are not mutable parts of them, they do it because it's who they are, and over and over, this repeats with pretty much all arcs.)

If Rook were to go around slinging slurs and telling little orphan kids that life ain't fair and they should suck it up, do you think this group of people, who make this story (about compassion, grief, acceptance, and how no man is an island) possible, would stand by and just let it happen, continue following them like it's nobody's business and their hands are tied?

Blackwall said it best a decade ago: You are who you choose to follow.

I feel like it bears repeating- the team needs Rook, but they need them because of Rook's skills, not just because they are the protagonist. Rook is Rook because of who they are, and the team needs them because they are, in their unique way, who they need their leader to be. They do not need a Rook, they need the Rook that Varric, only after a short while of knowing them, decided was fit to be the leader of this mission in case anything happens to him.

The story sets you parameters within which you can play with your Rook's responses. These are quite broad parameters (and Rook can also lie, the game doesn't need to specify whether a line you choose to have them say is said earnestly), but the kind of specificity we have in the plot, and the kind of reactivity that we have, by its nature, requires the sacrifice of some flexibility.

Utterly boundless freedom to create a kind of protagonist who openly kicks puppies and murders little old ladies for fun, a tight-knit group of compassionate professionals united in service of an important cause, and a tightly structured plot that makes sense and has real stakes, are situated on three separate vertices of a triangle. You can only choose two, and still have a story that works.

[evolutionsvoid]

It should be no surprise that when someone thinks about the dangers of the wild, most tend to focus on the animals. How could you not? With razor claws, huge fangs and a hunger for flesh, it's just like in all those horror stories or pulp novels! Though I argue that not every place is filled to bursting with bloodthirsty beasts, it is important to understand what species live in the environment you are visiting and which of them may be aggressive or territorial. But it isn't just animals that may pose a problem when delving into wild forests, jungles and other such biomes, as plants and fungi can be just as dangerous or even more! Stinging leaves, sharp thorns, infectious spores and so much more! Part of their danger is the fact that most people don't pay them any mind, and don't realize the threat until they step right in it. It's just a flower, what could it possibly do? Well, it depends on what species you are dealing with, ranging from "itchy skin rash" to "looks like we will have to amputate." Sound extreme? Believe me, I am not exaggerating here. There are tons of dangerous plants and fungi, and I don't just mean ones that are bad to eat. At least those ones you can avoid by not being an idiot and not shoving unknown specimens in your mouth. Just get a plant ID book and don't eat stuff you can't identify exactly. But back to my original point! What I was saying is that there are indeed flora and fungi that can ruin your trip to the woods and your life on this planet. The Manus Bloom is a very good example, as most people think it just some pretty flower or funky plant until they decide to admire it up close.

The Manus Bloom is an active plant that spends a good portion of its life unrooted. Their stalk is incredibly flexible and lets this plant move and coil like a snake. They do have roots at their very end, as they do grow from the ground as a seed. When they reach maturity, however, they uproot themselves and take on a more mobile life. The full grown ones can still bury their roots in the earth from time to time to absorb soil nutrients, or parasitically latch themselves to a much larger plant. At the other end is a impressive display of leaves, splayed wide in a hand-like arrangement. Their pink coloration causes people to think they are petals and that the whole structure is a flower, but the real bloom is not so obvious. When it is the season for flowering and pollination, a thin stalk emerges from the center of the leaves, tipped in a tiny flower. Here is where the pollen is produced, formed in sticky packets. Manus Blooms do have pollinators, typical bees and wasps, which is why the flower is positioned so far from the main body. It turns out, those leaves aren't just there to be pretty. 

If you were crazy enough to get a closer look at these leaves, you would notice a vast amount of pores dotting their pink surface. The faint shine of liquid would reveal to you a glue-like substance that leaks from these openings. The hand-like arrangement of leaves are absolutely soaked with this adhesive, which is useful for catching food. Manus Blooms are carnivorous, using their colors and sticky fluid to trap insects and other small critters. It is why their flower is kept far away from their leaves, so that their pollinators don't fall for this trap. Other creatures will see it as just another plant, or be lured in by the sweet smell they give off. Some folk suggest that even the shine of the fluid may fool some prey into thinking there is water trapped in its open leaves. However they are lured in, they will soon find their doom if they make contact with the leaves. The fluid is a potent glue, and it gets prey stuck real fast. Most attempts to escape from its grip only causes them to get further coated in this mucilage, ensuring there is no escape.

To help speed up the process or snare prey that is too wary, the Manus Bloom will manipulate its own leaves like fingers, grabbing nearby prey or squeezing them in folded leaves to further coat them. The serpentine stalk lets them coil up and launch themselves at quick speeds, perfect for nabbing victims that refuse to get close. Once prey is caught, the secondary effect of the mucilage will reveal itself. The fluid isn't just a glue, but a digestive enzyme, and a potent one at that. It will begin to eat through prey like acid, melting them down so that their nutrients can be absorbed by the leaves. Hopefully prey suffocate themselves on the glue before this kicks in, because I imagine it is a pretty painful way to go. When prey is reduced to a fully digested goop, it will wipe its leaves off on a nearby tree or the ground to dislodge the bits it can't absorb.  

Manus Blooms are ambush hunters, though they don't do much to actually hide. They tend to latch themselves to trees and other tall vegetation, so that they are exposed to passing prey and are easier to see. When positioned, they remain perfectly still, acting like any other rooted plant. This way, their small prey can spot them and move in for a closer look. However, it turns out that the Manus Bloom doesn't just eat bugs and tree mice, as they are more than happy to grab hold of a meatier meal. When positioned at the right height in the forest, their sticky hands can grab hold of passing beasts. Larger animals may not notice them as they travel, and may accidentally bump into one as they navigate the sea of vegetation. The mucilage lets them to stick to hair and hide, and the Manus Bloom lets go of its perch to hitch a ride. It will secrete even more glue to cement itself to the flesh and it will begin to digest.

At some point, the beast must notice the burning sensation in their side, and realize this thing is literally eating a hole into them. Some may try to shake them loose, but the glue makes their grip unbreakable. Their only hope is to violently rub the parasitic Manus Bloom against a nearby tree or rock, as that can damage the plant enough that it bails. They can take a surprising amount of punishment, but eventually they will call it quits if they are beat around enough. They will break their hold and drop off the animal, but this tends to remove a hefty layer of skin and digested flesh with it. Even with the plant dislodged, the left behind glue will continue to burn away for a good while after. If you ever see a beast in the woods with a horrible burned hole in their side, know that they had a run in with a Manus Bloom. 

So these plants are capable of latching onto larger creatures and burning away their flesh with acidic glue. Sound horrifying? Well, we aren't done yet, as the Manus Bloom isn't always a patient hunter. With their snake-like movements and coils, they can actually choose to attack nearby creatures, launching themselves at food that is just close enough. So even if you don't physically touch one, they may decide to close the gap. This is why I said getting a closer look at one is a bad idea, as even being near them means a chance they may spring forward like a viper and grab hold. Some may dangle from branches and drop down on prey, or they may use their hand-like leaves to take a swing! Another, less elegant, name for the Manus Bloom is "Slapper," as they can whip their bodies around and slap that sticky hand onto anything within reach. And once they are on, it is almost impossible to avoid getting burned. Don't even bother trying to pull them off, it won't work. Even if you had the strength of troll, you would just rip the plant to pieces and still have them glued to your body. Instead, you need to find a knife or properly sharp object and start carving it off, doing your best to slip the blade between the plant and your skin. I will warn you, it isn't easy! Slicing it up and peeling it off is your best bet, but accept the fact that you are going to lose skin doing it. Minor burns and cuts are acceptable, when compared to having an entire chunk of your limb or body being melted off. Waiting for it to finish and drop off on its own isn't an option, unless you want to lose some weight real fast and real messily. 

I hope I painted a nasty enough picture when describing these things, because Manus Blooms are real bad customers for those who travel the wilds. People who are forging a path and not paying attention will bump into one and have it latch on, resulting in a frantic struggle to get it off. I have heard of folk who have lost arms and legs to these plants, having it eat enough flesh off that an infection later sets in and the limb has to be amputated. There are even some tales of those who decided to admire it or perhaps leaned in to smell some of that sweet aroma. Having one of those latch on to your face? Yeesh, I don't even want to imagine that. Maybe the best option there is to find the fastest and most painless way to die before you get the sensation of that glue eating through your face and eyes.

Obviously, locals despise these plants and destroy them whenever they find them. Even dryads aren't a fan, as they will happily latch onto anything that moves. Even if the glue doesn't fully eat our flesh like it would meat, it does cause a burning itchy sensation and the glue is capable of smothering us. The existence of the Manus Bloom makes it extremely important to wear protective gear when traveling into the unknown. Layers of clothing that covers you from head to toe helps a whole lot. If the Slapper gets a hold of your clothing instead of your flesh, then you can rip that sleeve off and cast away the horrid plant before it can cause any actual damage. Dryads have also been able to create a thinning fluid to help counteract the glue and acid, making it easier to scrub it free from your body and also lessening the burn of the enzyme. Even then, any encounter with a Manus Bloom is a panicked one, and I am glad to have never gotten one on me. Let this entry be a reminder that stopping to smell the roses should only be done when you are absolutely sure those are only roses....

Chlora Myron

Dryad Natural Historian    

---------------------------------------------

"Manus Bloom AKA The Slapper"

Another entry to help represent the other kinds of carnivorous plants of the world! Pitcher plants and flytraps stand aside! Now is the time of the butterwort! FEAR THE SLAPPER!

[cyraptor]

My Tears of the Kingdom Review

Hello, I guess this is a followup to my “Top 20 Zeldas of 2021” list from last year, since I just beat the new Zelda game, Tears of the Kingdom, and now I need to find out where it fits in the rankings. I think this is going to end up being more of a proper review than anything I wrote in that list, though, because I have… well, a lot to say about it. I’ll try not to spoil anything major, but if you want to go in completely blind you may not want to read this.

Before getting into the review itself, let me preface this review by making two statements:

Firstly, I think I played this under the worst circumstances possible. In mid-April I decided to replay Skyward Sword since even though I played it when the remaster came out, I never put it into ~the document~ (long story don’t ask). Still enjoyed it, and had a hankering for more Zelda, so I decided to restart Breath of the Wild, which I got maybe halfway through a couple years ago but never finished. When I started doing this I didn’t actually realize that Tears of the Kingdom was releasing so soon, and I ended up finishing BOTW just a few days before TOTK released. Why this is a problem will become evident throughout this article, but basically, it’s just way too much video games.

Secondly, a sequel to Breath of the Wild, just, like, wasn’t the new Zelda game I wanted. I liked BOTW quite a bit but I thought its formula was just too large-scale and unfocused to act as a template for every future Zelda game. Using its more successful elements as a springboard for a slightly more structured, story-driven, somewhat traditional Zelda game would have been ideal for me. BOTW’s almost entirely freeform nature was cool once but I don’t think it needed to happen again. I’ll try not to hold that against TOTK though.

So let me start this review by just coming right out and saying that this is unequivocally, objectively a better game than BOTW. With one exception, every single element from BOTW has been expanded upon and/or improved in some way. Referring back to my Top 20 list, let’s address my criticisms of BOTW one by one and how TOTK fares in comparison:

1) Weapon degradation and weapon variety. These are both still in the game. There’s still a sort of unnecessarily huge amount of different weapon types (and there’s arguably double the amount since “decayed” and “pristine” variants exist for most of them). However both of these are rendered a little less annoying by the new “Fuse” ability, which allows (read: basically forces) you to fuse a weapon or shield with a monster horn, rock or basically any other item in order to increase its attack power or imbue it with a special ability (e.g., attaching a mushroom to a weapon will cause enemies to bounce off it, attaching a piece of ore will cause it to fire magic spells, etc.). I never quite got a full grasp on how the system works, but I think the weapon half of the fusion just informs how the fused weapon is wielded, i.e. as a one-handed sword (quick swing), two-handed sword (heavy swing), or spear (thrust). And then the fused item determines what type of damage it inflicts (slashing or blunt, basically), I think? So for instance, fusing a spear with a blunt object like a Frox tooth results in a “pulverizer”, which is wielded like a thrusting spear but is good for breaking rocks or armor but not so much in inflicting damage to enemies. Anyway, all this is to say that since you’ll inevitably have a ton of monster parts on hand to fuse, you have way more flexibility in the sort of weapons you can have in your inventory at any one time. This also gives monster parts more versatility than just using them to craft potions as in BOTW. I dunno who was crafting hundreds of elixirs with their stockpile of hundreds of Bokoblin horns in BOTW but it wasn’t me. Oh also you can attach the same sort of shit to arrows as well, which gives them the usual bomb/fire/lightning/ice ability but also you can like, stick a Keese wing onto one to make it fly farther. It’s cool in theory but you also have to pull up the quick menu every single time you fire an arrow, which becomes extremely obnoxious when fighting an enemy that requires tons of arrows. No spoilers but if you’ve played the game you know which one I’m talking about.

2) The cooking system. This is basically the same as it was in BOTW with a few extra recipes. This didn’t really bother me in my BOTW replay after I looked into how the cooking system works a little more. It just wasn’t explained very well in-game in BOTW. And TOTK just assumes you played BOTW and explains virtually nothing about any system present in its predecessor. TOTK adds a nice recipe book that keeps track of what meals you’ve made (or received) and how to make them, though, which is a huge improvement.

3) Enemy variety. Another huge improvement on this front. There’s easily twice the number of enemy types as the previous game. Additions include Boss Bokoblins which are big pig guys who command small armies of Bokoblins and look like what Moblins should have looked like in the last game, there’s flying enemies, there’s returning classic Zelda enemies like Gibdos (with a weird new twist) and Like Likes, there’s new mini-bosses like Frox (which took me almost the entire game to figure out how to fight effectively, but that’s on me) and Flux Constructs, and there’s actual proper boss monsters instead of fuckin Blight Ganon variants. Combat is basically the same aside from the fact that some new enemies require new strategies. I feel like silver enemies showed up way earlier in my playthrough than they did in BOTW. Like a sixth of the way through. And once they do, one silver enemy shows up in every camp and they’re just an utter bore to fight. Even with a reasonably high-powered weapon you’ve still got to whale on them for like 20 seconds while they lie helplessly on the floor. Not challenging, just annoying. Besides that though and the one mini-boss type I refuse to name for spoiler reasons, the monster situation is an improvement.

4) Lack of dungeons. This one’s kind of a wash-leaning-slight-improvement to me. Replacing the Divine Beasts from the first game are… kinda sorta actual dungeons! They’re much more sprawling than the Beasts, although they have a similar completion pattern in that you’re essentially just told to activate five consoles scattered throughout the temple and you can do them in any order and in any way you like. Three of the four main temples are basically open-air and you have a lot of creativity in how you’re able to progress through them, to the point where I felt I was cheating or breaking the game in a couple cases (Fire Temple I’m looking at you), which didn’t actually feel good to me because I feel like the reason I had to do that in those cases is because the “intentional” solution was not obvious! And then the Lightning Temple was inside a building and felt a little bit more like a regular Zelda dungeon, which I preferred. But I also kind of missed the unique mechanisms of each of the Divine Beasts. But also the temples are much less samey. Like I said, kind of a wash, but I didn’t HATE the Divine Beasts to begin with, so it’s fine.

5) I didn’t mention this in my Top 20 list, but it was something I noticed about BOTW on replay. The side quests suck. BOTW has 76 side quests which sounds like a lot but most of them are just “bring me six bear asses, which you almost certainly will have already accrued ten times the amount of by the time you reach me so you can just close out the quest immediately after receiving it,, and i’ll give you a reward of 100 Rupees, which is a pittance in this game”. TOTK has almost 3 times as many side quests (some of which have been upgraded to side ADVENTURES - an in-game distinction I was never really clear on), most are much more involved and more fun, and make the world between the story-related bits feel way more alive and fleshed out. Another huge improvement.

The one thing I think is a downgrade from BOTW is the new sage abilities vs. the old champion abilities. These are the companion-based abilities you get for clearing each of the four main story branches. In BOTW, each had a cooldown of several minutes, but were extremely useful. Mipha’s Grace revived you with full health if you died (useful for casual exploring, but not too overpowered to be useful in brute forcing combat), Revali’s Gale boosted you like 100 feet straight up (essential when exploring), Urbosa’s Fury was a lightning AOE attack basically mandatory for fighting Lynels, and Daruk’s Protection let you take a free hit once in a while. In TOTK, the abilities themselves are a huge downgrade. Sidon’s water shield I never quite figured out outside of the boss battle designed around it. Tulin’s just give you a horizontal boost when gliding (and I guess maybe can blow away monsters in combat, but usually isn’t useful for that). Riju’s is kind of like Urbosa’s in that there’s a lightning AOE but it’s way weaker and you have to waste an arrow to trigger it. Yunobo’s is maybe the one ability that’s an upgrade over his predecessor as you can fire him off like a cannonball and break through huge piles of rocks and shit. There’s also a fifth ability that I won’t mention because it’s kind of spoilery but also because describing it would make it sound cooler than it actually is. The main problem with the new abilities is how they’re activated. Basically after you complete one of the main quest branches, the sage will from that point on fight alongside you as a spirit, using their signature weapons. This is kind of cool and useful although having four or five ghost dudes running alongside you takes away from the feeling of isolation a little bit, but no biggie. But in order to activate a sage’s ability, you have to run up to them and press the use button to queue it, and then press it a second time to actually activate it. The reason this is bad is because in combat, the time when you most often want to make use of these abilities, the sage spirits are fuckin running around and attacking, and you have to go find them. And they’re all the same color so you have to, like, take a second to pick out which is the one you want to use. It’s particularly egregious with Riju, who fights with melee weapons but whose ability is ranged, so you have to run up into the mass of monsters where she’ll be fighting to set up her ability, then retreat to actually use it. The BOTW champion abilities could be used anywhere with a single button press. What the fuck!

So aside from the last bit, that’s big improvements all across the board. And as I already said, TOTK’s just overall an objectively better game than Breath of the Wild. So what’s the problem?

The problem is that a better version of BOTW is practically ALL THIS GAME IS. And at the risk of making assumptions, that seems to be all that it ASPIRES TO BE. A lot of people have dismissed Tears of the Kingdom as being “BOTW DLC” and while that’s an utterly laughable notion from, like, a scale standpoint - this game has easily twice the amount of content of BOTW - when, looking at, like, the TYPE of new content, I don’t think it’s that far off the mark.

So, so much of this game is “here’s all the stuff from BOTW again, just in a different form”. You need to activate a dozen or so towers to unveil the entirety of the map. There’s a gated tutorial area where you get all your Zonai powers, which are conceptually the same thing as BOTW’s Sheikah runes. There’s 120 shrines in which you have to solve puzzles using said powers. There’s four story paths to complete involving the four major races culminating in a dungeon in which you receive a power from a warrior from one of said races, and after these four branches are complete you can face the main antagonist in and/or above and/or below Hyrule Castle. There’s 12 collectibles scattered around the world from which Link can obtain a memory of a past event (TOTK has more interesting memories but the way to obtain them is more boring. P.S. fun fact you can spoil yourself to the game’s major twist almost immediately at the start if you go after all the very-easy-to-obtain Dragon Tears first like I did). And so on. And like, the stuff IS technically new and different, but it’s new and different in the way that Jakku is new and different from Tatooine. Which is to say, not that much.

What seems to be one of the game’s biggest points of praise is the Ultrahand/Zonai Device system, which allows you to build structures and vehicles by adhering different mechanical parts together. This is kind of fun and the physics system is surprisingly robust, but outside of requiring it to solve some of the shrines it’s not too integral a system to the game. Also most other devices become pointless once you realize you can cheaply build a hoverbike out of two fans and a control stick and fly goddamn wherever you want in the whole map (100% necessary to do in the Depths to remain sane imo… more on that in a moment). It’s fun, you can do silly things, but I kind of got that itch out of my system when I played Garry’s Mod 18 years ago. I’m glad people are having fun with it, though, and I guess I’m even more glad they’re able to.

A criticism that sounds like a huge strike against the game but surprisingly isn’t is the fact that the entirety of the Hyrule map is reused from BOTW. A lot of areas have undergone changes as a result of the catastrophic event that begins the game, but for the most part the differences aren’t massive. I’ve compared it to pre- and post-Cataclysm World of Warcraft a few times now but I don’t think anybody I know understands the reference, but it’s a perfect one, so y’all’s loss I guess. One major change in the overworld is the addition of caves - they did a really good job keeping them feeling fresh and distinct from one another and they further cement the fact that Hyrule was constructed by hand by the developers instead of just being generated from a heightmap like so many other open world games. It’s one of those things that’s like, I can’t believe this wasn’t in the first game, it fits in so seamlessly.

If Hyrule was the only map in the game, I think the asset reuse would be a whole lot less defensible, but it’s not. There’s two other levels to the map, the first of which is the Sky, which consists of a bunch of floating islands hanging motionless over Hyrule in a very Skyward Sword-like manner. The largest of these islands by far is the starting area, which is roughly the same size and function as the Great Plateau from BOTW. The islands are otherwise pretty small and sparse. You can get to some using the towers (which launch you like a mile into the air), but some of the more remote ones require you to use the time-reverse ability on pieces of debris that fall from the sky (or if you’re like me and don’t realize this is the intended way until near the end of the game, build a flying bicycle). It’s very pretty up there, with some lovely autumnal foliage and perpetually sunny weather, and you can see the entire map of Hyrule beneath you, which is pretty impressive. There’s a surprising amount of asset reuse among what few islands there are in the Sky, but there’s enough unique content that it again doesn’t bother me that much. It’s the one thing that feels like something truly new for this game, even if it is cribbed from another Zelda. I don’t mind it… it’s nice up there.

What is not nice is the third map, the Depths. The Depths is a massive underground cave that is below Hyrule. It’s huge; the same size as the Hyrule map. In fact, it IS the Hyrule map, for the most part, with the heights inverted (canyons become high ridges and mountains become deep valleys) and anywhere there’s a body of water in Hyrule, it’s represented with a solid wall instead in the Depths. To be clear, I’m almost certain this is meant to be obvious, not, like, some sort of lazy trick. But the entire Depths does feel unbelievably low effort. When you first arrive, the entirety of the Depths is completely pitch black and you have to activate “lightroots” (of which there are 120, located in the same places as the shrines in the overworld) to light the surrounding area and clear the fog of war on the map screen. However, even when the Depths are fully lit, it’s all a dark, gross monochrome turquoise color. The whole thing is riddled with tons of identical copy-pasted spooky trees and roots and rock formations and every single part of it looks the same except for the area under Eldin, which looks the same but also has some lava. Roughly 50% of the floor throughout the entirety of the Depths is covered in “gloom”, which is identical to but distinct from the “malice” from BOTW, which semi-permanently reduces your heart meter if you stand on it too long. Getting around it is a fucking nightmare due to its size and the complete lack of consideration in making it traversible like the overworld. And aside from a Yiga Clan-related questline (which contains the majorly useful Autobuild ability despite being completely optional) and two of the temples, there’s not a whole lot down there besides - get this - all the DLC exclusive and amiibo-activated armor and weapons from the first game (and that reminds me, since I haven’t had a place to mention it elsewhere, there’s only like half a dozen new armor sets in the game, everything else is from BOTW). The other purpose of the Depths is just to be a harvesting area for Zonaite and by proxy Zonai Charges and Crystalized Charges, which act as fuel for Autobuild and for increasing your Zonai Device battery meter (which is all rather poorly explained in game btw). And grinding for that critical shit in this hellhole is misery. God, I hate the Depths. One of my least favorite areas in a game, ever. If you only go down there to fulfill questlines and not to get all the collectibles like I did, though, I guess it might be tolerable. Trying to be at least a little charitable here.

One last thing, and it’s about the story - I won’t be discussing the plot, so no spoilers. BOTW set a weird precedent in that the game itself didn’t really have too much of a story outside of the four Divine Beast quests. All of that game’s “story” happened in the past, and is presented in flashbacks and memories. You wouldn’t think they could (or should) do the same thing in TOTK, but they somehow manage to, which is kind of impressive. The story is more engaging and interesting than BOTW’s imo, and it has some interesting Zelda timeline implications. I don’t really give a shit about the idea of all the Zelda games belonging to a cohesive timeline

I closed out my BOTW review in the Top 20 list by calling it innovative and describing it as Nintendo taking “uncharacteristically huge risks”, and I stand by that. In comparison, Tears of the Kingdom feels like the complete opposite. It’s safe. It does all the same shit again - granted the shit is at least GOOD shit - with very little that’s truly, truly new. I think anyone who disagrees with this is deluding themselves. It’s shockingly un-Nintendo-like. There are a few exceptions (looking at you New Super Mario Bros. U), but Nintendo rarely goes back to the well to quite this degree. The closest thing the Zelda series has had to this is Majora’s Mask reusing most of Ocarina of Time’s assets - but they were used to build a completely new world and narrative. I guess there’s also, like, Super Mario Galaxy 1 and 2, but it’s not as if SMG2 reused half the levels from SMG1 with new stars in them, you know? Also both of those examples came out only two or three years after their predecessors! It’s, frankly, hard to see why this game took six years to come out. This doesn’t feel at all like six years of new work. I mean, I guess games take longer to develop now, and I’m anti-crunch and all that, so if that’s how long it took to make this game, that’s how long it took, but… I just don’t feel it’s really reflected in a final product built so heavily off its predecessor, especially when BOTW itself only took I think 3 or 4 from scratch. I kinda just wish those 6 years were used to develop something more, well, innovative. It almost feels like a replacement for TOTK than even a sequel. If you haven’t played BOTW, there’s almost no reason to now, just watch an hour-long “Breath of the Wild - The Movie” cutscene compilation on YouTube.

Having said all that - and holy shit that’s a lot more “all that” than I expected to say - I did enjoy my time with Tears of the Kingdom quite a bit, and probably would have even more if I hadn’t played BOTW start to finish in the weeks preceding it. I’m sure it’s more of a pleasant homecoming than an overstayed welcome to fans who played it years ago and have been hankering for more of the thing they loved. I don’t regret playing it or anything, and I had a lot of fun with it aside from the godforsaken Depths. Maybe just don’t play both games back to back.

Anyway let’s circle back to that Top 20 list and find a place for Tears of the Kingdom. In a world where BOTW didn’t exist, I think it takes its place at #4, and maybe even overtakes Wind Waker at #3. Yeah, for all my negativity, it’s still undeniably that good. But I don’t know what to do on a list with both BOTW and TOTK on it. TOTK is the better game, but does it lose points for lack of originality? Does it take a higher place and BOTW gets knocked down? I don’t know. Who gives a shit. I just wanted to spend 4 hours ranting about a game I sunk like 200+ hours of my life into. No more Zelda, no more open world games, no more video games, it’s time to join the farming commune.

[riverbendcustombuilders]

Enhance Your Home WITH Professional Home Additions IN Knoxville

Are you considering expanding your living space? Whether you're looking for a new bedroom, a larger kitchen, or an entirely new floor, Home Additions in Knoxville can offer the perfect solution. Riverbend Custom Builders specializes in designing and building custom home additions that seamlessly blend with your existing structure, enhancing both functionality and aesthetic appeal. Our team of experienced professionals is dedicated to delivering top-notch craftsmanship, ensuring that your home addition meets your needs and exceeds your expectations.

Why Choose Home Additions?

Home additions are a great way to increase your home's value and accommodate a growing family or changing lifestyle. Instead of moving to a new home, why not expand the one you already love? A custom home addition gives you the flexibility to design a space that fits your exact needs and tastes. Whether it's a new master suite, a home office, or an expanded living room, Riverbend Custom Builders is here to bring your vision to life. Home Additions Knoxville

Here’s how Home Additions in Knoxville can benefit you:

Personalized Design: Custom home additions allow you to design a space that perfectly fits your family’s needs.

Increased Property Value: Adding extra square footage to your home can significantly boost its resale value.

Cost-Effective Alternative to Moving: Instead of buying a new home, a home addition gives you the extra space you need without the high costs and hassle of moving.

5 Questions About Home Additions Answered

What types of home additions can Riverbend Custom Builders create?

At Riverbend Custom Builders, we offer a wide range of Home Additions in Knoxville, including kitchen expansions, second-story additions, sunrooms, home offices, and more. Our design team works with you to create a space that fits your lifestyle and budget.

How long does a home addition project take?

The timeline for a home addition can vary depending on the size and complexity of the project. On average, a typical home addition takes between 3 to 6 months. We provide a detailed project timeline and keep you updated every step of the way.

How much does a home addition cost?

The cost of a home addition depends on various factors such as the size of the addition, the materials used, and any specific design features. At Riverbend Custom Builders, we offer competitive pricing and work within your budget to deliver the best value for your investment.

Will the addition match the style of my existing home?

Yes! One of the key features of our Home Additions in Knoxville is our ability to seamlessly blend new construction with your existing home. We pay attention to architectural details, materials, and finishes to ensure that the addition looks like a natural extension of your home.

Can I live in my home during the construction of the addition?

In most cases, yes! We work closely with homeowners to minimize disruptions during construction. Our team takes extra care to ensure your family’s safety and comfort while we complete the project. Depending on the scope of the addition, there may be times when you need to relocate temporarily, but we aim to make the process as convenient as possible.

[steelbuildingss]

Commercial Steel Buildings: The Future of Sustainable and Efficient Construction – Steelnuildings.in

In Steel Buildings fast-paced and ever-evolving world, the construction industry is constantly seeking innovative solutions that are not only efficient and cost-effective but also sustainable. One such solution that has gained immense popularity in recent years is the use of commercial steel buildings. These structures, known for their durability, versatility, and eco-friendliness, have become the go-to choice for businesses across various industries. Whether it’s for warehouses, retail spaces, office complexes, or industrial facilities, steel buildings are proving to be a game-changer in the world of construction. we will delve into the various advantages of commercial steel buildings and why they are the preferred choice for modern construction.

Durability and Strength

One of the most significant advantages of commercial steel buildings is their exceptional durability and strength. Steel, as a material, is inherently robust and resistant to many of the challenges that traditional building materials like wood or concrete may face. For instance, steel is highly resistant to fire, pests, rot, and mold, making it an ideal choice for buildings that need to withstand harsh environmental conditions. Furthermore, steel structures are designed to endure extreme weather conditions such as heavy snowfall, strong winds, and even earthquakes. This durability ensures that commercial steel buildings have a longer lifespan, providing businesses with a secure and reliable investment. 

Cost-Effectiveness

Another compelling reason why commercial steel buildings are becoming increasingly popular is their cost-effectiveness. The construction of steel buildings is typically faster than traditional construction methods, which translates to lower labor costs and reduced construction timelines. This efficiency is particularly beneficial for businesses looking to minimize downtime and start operations as quickly as possible. Additionally, steel is a material that can be prefabricated, meaning that much of the construction work is done off-site in a controlled environment. This prefabrication reduces the likelihood of on-site errors and delays, further cutting down on costs. Moreover, steel buildings require minimal maintenance over their lifespan, saving businesses money on repairs and upkeep. 

Versatility and Customization

Commercial steel buildings offer unparalleled versatility and customization options, making them suitable for a wide range of applications. Whether you need a large open space for a warehouse, a multi-story office building, or a retail space with unique design requirements, steel buildings can be tailored to meet your specific needs. The flexibility of steel allows for expansive column-free interiors, giving businesses the freedom to design their spaces without the constraints of load-bearing walls. Additionally, steel buildings can be easily expanded or modified as business needs change, providing a future-proof solution that can adapt to growth and evolving requirements. Sustainability and Eco-FriendlinessIn an era where sustainability is at the forefront of construction, commercial steel buildings stand out as an environmentally friendly choice. Steel is one of the most recycled materials in the world, and it can be recycled indefinitely without losing its properties. This means that steel buildings have a lower environmental impact compared to traditional construction methods. Additionally, the production of steel has become more energy-efficient over the years, further reducing its carbon footprint. For businesses looking to achieve green building certifications or meet stringent environmental regulations, steel buildings offer a viable solution.

 Energy Efficiency

Commercial steel buildings are also known for their energy efficiency. Modern steel buildings can be designed with advanced insulation systems, energy-efficient windows, and reflective roofing materials that help regulate indoor temperatures. These features reduce the need for heating and cooling, leading to significant energy savings over time. Additionally, steel buildings can be easily integrated with renewable energy systems such as solar panels, further enhancing their energy efficiency and reducing reliance on non-renewable energy sources.

 Speed of Construction

Time is money, especially in the commercial world. The speed of construction offered by steel buildings is one of the most appealing aspects for business owners and developers. Because steel components can be prefabricated, much of the assembly process is streamlined, allowing for quicker construction times compared to traditional buildings. This rapid construction process means businesses can start operations sooner, reducing the time to market and providing a competitive edge. Additionally, the reduced construction time minimizes disruption to surrounding areas, which is particularly important in densely populated or busy commercial zones. 

Safety and Security

Safety is a paramount concern in any commercial building, and steel buildings offer superior safety features. Steel does not catch fire or assist in the spreading of fire since it is non-combustible. This property not only protects the building itself but also ensures the safety of occupants and contents within the building. Moreover, steel buildings are designed to meet or exceed building codes and standards for structural integrity, providing peace of mind to business owners and stakeholders. The inherent strength of steel also makes these buildings more secure against break-ins and vandalism, further enhancing their appeal as a safe and secure option for commercial use.

Aesthetics and Modern Design

While functionality and durability are key considerations, aesthetics also play a crucial role in commercial building design. Steel buildings are no longer just utilitarian structures; they can be designed to be visually appealing and architecturally sophisticated. With advances in steel fabrication and construction techniques, steel buildings can feature sleek, modern designs that enhance the overall appearance of commercial properties. Whether it’s a contemporary office complex or a stylish retail space, steel buildings can be customized to reflect the brand and vision of the business.

Conclusion

Commercial steel buildings represent the future of construction, offering a perfect blend of durability, cost-effectiveness, sustainability, and design flexibility. As businesses continue to seek solutions that provide long-term value and meet modern construction demands, steel buildings are poised to lead the way. At SteelBuildings.in, we specialize in providing high-quality steel building solutions tailored to your specific needs. Whether you are looking to build a new facility or expand an existing one, our team of experts is here to help you every step of the way. Explore the endless possibilities of commercial steel buildings and take your business to new heights with SteelBuildings.in.

[stands-pro]

What Are The Benefits Of A Double Decker Exhibition Stands

We are experts in the design and design of Double Decker Exhibition Stands. Our team will collaborate with you to find the best double-decker display stand design that meets your requirements. We provide a wide selection of double-decker booths that come with pre-engineered decks, as well as bridges, accompanied by designs that meet your diverse requirements. It increases your display area and potential for branding. Double-decker exhibition stands provide interesting opportunities for projecting the placement of your advertising displays and increase the possibility of entertaining and engaging your audience. It’s possible to create a massive impact at an event with the double-deck booth.

Double-decker exhibitions come with two different levels. You can use the upper level for meetings of all kinds and quality networking away from the main exhibition and keep the excitement moving in the lower part. Double-decker exhibition stands are an ideal blend of contemporary and fine arts design. We also provide a custom-designed double-deck stand that is tailored to your needs in business. The dimensions of a double-decker exhibition stand layout increase your standing.

Benefits Of Choosing Stands Pro As Your Double Decker Exhibition Stands Builders

Unparalleled Brand Elevation:

As one of the most adept double-decker exhibition stand builders, we build every exhibition stand with a customized method that enhances your brand’s image to new levels. Imagine your logo and message standing out above all other brands that attracted the attention of people and created a lasting impression. Our unique double-decker booth design ensures that your message stands out from all angles, and leaves an unforgettable experience for the people who come to. If you decide to choose Stands Pro, you’re opting for an extremely effective tool for branding that makes you stand out and helps your message to reach its maximum effect.

Maximized Space Utilization:

Do not let limited space limit your imagination. Choose our double-decker exhibit stands. They are an ideal solution to increase the size of your exhibition without sacrificing aesthetics or style. With a large upper deck and well-planned arrangement, you’ll have plenty of space to display your items, interact with visitors and create a memorable experience. Our experience in optimizing space and building double-decker exhibition stands ensures that every square inch is used effectively, giving you the ability to design an engaging setting that tells your brand’s story.

Strategic Engagement Zones: This is a way to increase the engagement of visitors by strategically zoning your exhibitions. As a top double-decker stand builder. Stands Pro offers versatile arrangements that allow you to design distinct zones for displays of your products, demonstrations, meetings and much more. The strategic arrangement that you can create with your Double Decker Exhibition Stands will guide visitors on an individual experience, which maximizes the impact of your brand. We know the art of creating an atmosphere and focal points in your display and ensure that every corner is an opportunity to make effective connections and memorable interactions.

Architectural Brilliance Made Simple:

Our Double Decker Exhibition Stands to showcase architectural splendor with flawless execution. Stands Pro takes care of every aspect, from design to construction, to ensure precision and structural solidity. The simple installation process allows you to concentrate on what is most important – engaging your customers. We offer an amazing blend of form and function that creates an unforgettable architectural impression.

Unmatched Versatility And Flexibility:

Along with Double Decker Exhibition Stands, we strive to make our exhibits as adaptable as they are able to be. No matter what exhibition you’re at As one of the most reliable double-decker exhibit makers We have exhibits that satisfy a range of space and requirements. Stands Pro customizes each design to fit your specific branding and goals. The result? A high-end display that fulfills your needs for exhibiting which makes it a worthwhile long-term investment that will bring impact to every exhibition. Select Stands Pro for Double Decker Exhibition Stands that are redefining the limits of what is possible and ensuring that your company’s image is elevated above other brands.

Excellent Design Opportunities:

With double-decker stands, it is possible to create more creative design ideas to enhance that first impression. such a large space, it is possible to expand your design elements and expand the number of displays available to improve your brand’s message. With a higher size, you can position your display at the top to let customers see your brand from afar. By adjusting the design elements you can create a stand appropriate for events that experience significant commotion.

Boosts ROI: A two-decker table is an investment in the future. It can increase the value of your brand and improve its image. Additionally, it could attract high-value customers and investors. This can help your business grow. Additionally, partnering with professionals will offer you sturdy booth components as well as warehouse services.  By using the services offered, you will be able to easily disassemble the booth to store it and use it again on subsequent occasions. This makes it an investment once in a while with multiple profit opportunities in the coming years.

[santacruzrealestateblog]

How Can I Make My Offer Stand Out in a Competitive Market?

Want to buy the right home but are afraid of the tough competition? A unique deal is very important in today's real estate market. Imagine being able to beat out other buyers and confidently get your dream home. Find out tried-and-true ways to make your deal too good to pass up. Check out our full guide to learn how to win the bidding war!

How to Make an Offer Stand Out

The Seller's Needs

Read the seller's most important things before you make an offer. There are buyers who want the deal to go through quickly and buyers who care more about the price or the details of the deal. Your real estate professional can help you learn as much as possible about the seller's side of the deal. Making sure your deal fits what they want can give you a big edge.

Get Pre-Approved for a Mortgage

If you have a pre-approval letter from a reputable loan, the sellers will know that you are a serious buyer who has the money to close the deal. You can be sure that your funding will work out, which makes your offer more appealing. Because it shows you have done what you need to do to get the money, pre-approval is a better sign of worth.

Offer a Competitive Price

When the market is hot, offering a price at or above the asking price may make your deal more appealing. A good first offer shows the seller that you are serious and ready to pay a fair price for the house. It's important not to take on too much, though.

Increase Your Earnest Money Deposit

That you really want to buy their home is shown by the earnest money you give them. Putting down more cash can show that you mean business with the deal. A bigger down payment can also make the seller feel safer if the deal goes through.

Be Flexible with the Closing Date

It's good to be able to change your mind. Work with the seller's plan if they need to move quickly or have more time to close. This can make your offer more appealing. Talk to your real estate agent about possible closing dates and be ready to change your plans if the seller wants you to.

Minimize Contingencies

You should look out for your own interests, but it's also a good idea to make your deal more appealing by cutting down on the number of events that could happen. Getting money, having a home inspected, and getting an appraisal are all common conditions. Some terms can be waived if you agree. This can lower the seller's risk and make your deal stand out. But you should be very careful with this method because it makes you more vulnerable.

Personal Letters are Not Encouraged                                                                                                                In the highly competitive real estate market, homebuyers have long sought creative ways to make their offers stand out from the crowd. For decades, one popular strategy has been the inclusion of personal touches, such as family photos or heartfelt stories, in the hopes of tugging at the heartstrings of sellers and securing their property. The rationale behind this approach is simple - by humanizing the buyer and providing a glimpse into their lives, they aim to forge an emotional connection that could give their offer an edge. However, this practice has come under increasing scrutiny in recent years, with major real estate associations taking steps to curb its use. The National Association of Realtors, as well as the California Association of Realtors, have issued new regulations that caution against the inclusion of these personal elements, citing concerns that they could inadvertently lead to unlawful discrimination. The worry is that subtle biases, whether conscious or unconscious, could creep into the decision-making process, with sellers potentially favoring buyers who share similar backgrounds, family structures, or other characteristics. As the real estate industry strives to promote fairness and equal opportunity, these regulatory bodies have determined that the potential risks outweigh the potential benefits of such personal touches. Consequently, real estate professionals and their clients are being urged to focus solely on the objective merits of an offer, rather than any subjective, emotion-driven factors, in order to ensure a transparent and equitable home-buying process for all.

Offer to Cover Some Closing Costs

Offering to pay some or all of the closing costs can make your deal more appealing to the seller if they are afraid about how much money you will get. This can save them money and show that you mean business about closing the deal.

Competitive Real Estate Offers

In a competitive real estate market, buyers have to do everything they can to make their deal stand out. When making a fair offer, here are some more things to think about

Consider Non-Monetary Terms

Other than money, terms can sometimes make your deal more appealing. Some of these terms could be letting the seller take the house back for a while after the closing, offering to buy the house as-is, or agreeing to certain seller requests. You can show the seller you're ready to work with them and make your offer stand out by doing these things.

Leverage Local Market Knowledge

You can get ahead if you know how the local business works. Work with a real estate agent who knows the area inside and out and can tell you about the current market conditions, how offers are usually made, and what buyers in the area value most. This knowledge can help you make your offer stand out from the rest. How to Make the Best in Today’s Sellers’ Market in Santa Cruz

Build a Strong Relationship with the Seller’s Agent

It can be helpful to get along well with the seller's agent. If the agent likes and trusts you and your real estate agent, they may be more likely to support your offer to the seller. Being professional and communicating well can have a big effect on the end choice.

Be Willing to Make Concessions

When there is a lot of competition, being ready to give in can help your offer stand out. In this case, you might agree to take the house as it is, be flexible about when you move in, or accept the seller's chosen closing date. Your offer may stand out if you show that you are willing to meet the seller's needs.

How to Win a Bidding War

When people are bidding, it can get very heated and emotional. If you want to win, you need to have a clear plan and keep your eyes on your targets. To win a bidding war, keep these things in mind:

Stay Within Your Budget

People often get caught up in the energy of a bidding war, but it's important to make a budget and stick to it. Figure out how much money you can spend and stick to that amount. If you take on too much, you might end up stressed out about money and regret it later.

Be Prepared to Make a Strong Initial Offer

A good first offer can make a big difference in a bidding war. You might want to set a price that is competitive but not too high. This strategy may sometimes keep other possible buyers from putting in higher bids, which gives you an edge.

Be Ready to Act Quickly

In bidding wars, speed is often very important. Be ready to act quickly when counteroffers and requests for more information are made. Having all of your paperwork and money in order can help you act quickly and effectively.

Consider Using an Escalation Clause

In a bidding war, an escalation clause can be very useful, as we already said. If other bids come in higher than yours, it will automatically raise your offer to a certain ceiling. This rule can help you keep up with the competition without spending too much.

Offer Strategy

Developing a comprehensive offer strategy is essential to navigating a competitive real estate market. Here are some steps to help you create a winning strategy:

Research the Market

Knowing how the market is doing right now is the first step to making a good deal. Look into the average number of days a home stays on the market and the ratio of sale price to list price. This knowledge can help you set a price that is competitive and plan for possible problems.

Define Your Priorities

Make your goals clear before you make an offer. Think about things like the highest price you're ready to pay when you'd like the deal to close and any contingencies, you're okay with including or waiving. Knowing what's most important to you will help you make smart choices and stay focused during the discussion process. Options for a Smooth Transition Between Selling and Moving into Your New Home.

Tailor Your Offer to the Seller

As we already said, making your offer more appealing by making it fit the wants of the seller can help. This could mean giving a higher price, being flexible about the closing date, or meeting certain requests from the seller. If you know what the seller values most, you can make a deal that stands out.

Prepare for Counteroffers

In a market with a lot of competition, counteroffers are normal. Get ready to bargain, and if someone makes a counteroffer, you should react quickly. Make a plan with your real estate agent for how to handle counteroffers and be ready to decide quickly.

Conclusion

A strategic and well-thought-out method is needed to get through a competitive real estate market. You can make an offer that the seller can't refuse if you know what they want, have enough money, and work closely with an experienced real estate agent. Keep your goals in mind and be ready to move quickly. By using these tips, you'll greatly increase your chances of getting your dream home.

Paul Burrowes, CRS, CCEC, SFR, NHCP, LHC, REALTOR® Licensed REALTOR® with over 15 years of experience and expertise.  Commits to being on time and transparent. Acts as your consultant to ensure you make the best decisions to fit your transaction at every step in the process. Negotiates towards a low stress, win-win outcome. Handles all the details for you, ensuring the hundreds of steps in your real estate transaction go smoothly. Proudly serving Silicon Valley, Santa Cruz, Monterey, and Santa Clara Counties!  | DRE# 01955563 | (831) 295-5130 | paul@burrowes.com | About Santa Cruz and Northern California Real Estate

[littjara-mirrorlake]

First, the positives:

I love teamup cards as a concept. Super cute, allows for unlikely character interaction and funky color/mechanic combinations.

More Phyrexian tribal, with cards that name the tribe this time!

Clever application of transforming cards. In particular, I've been wanting flip-to-Phyrexian cards for a long while.

Incubate is a fun tribal mechanic that makes use of Proliferate in a new way.

Enjoyed the Orzhov Phyrexian commander deck, with its flexible commander that could go toward either incubate or poison, as well as the aristocratic theme that's always been present in the tribe.

The flip saga praetors are extremely cool in design, and I love the flavor of them living through immortal legends much like how oil carries memories.

I really enjoyed the character of Realmbreaker and wish that he got more acknowledgement in the cards.

Jace and Vraska's side storyline was good, and I appreciate that they showed how presence of mind is possible despite phyresis and brainwashing.

Giving Chandra and Nissa the canonization and resolution that they deserved, especially after the fiasco that was War of the Spark, was good but also the bare minimum.

Unfortunately, quite a few things detracted from my enjoyment of the set:

As many others have said, the story was packing far too much into too few cards. The storyline should've been at least two sets, preferably three. The block structure would've been perfect for this. Everything felt rushed and truncated.

The storyline suffered from the same issues as ONE (generalizing Phyrexians, wasting the planeswalkers' characters, general one-dimensional storytelling), but worse.

Particularly egregiously, the cards paint a much more anti-Phyrexian story than the text and worldbuilding suggest -- i.e. mentions of Urabrask and his rebels were entirely omitted in flavor text, Wrenn was portrayed as controlling Realmbreaker even though the story made it clear he was a fully willing rebel against Norn, etc. More characterization wasted, more nuance lost.

Once again, barely any Urabrask, only to immediately abandon him to an undignified and implied-to-be-lethal fate. Less than a paragraph dedicated to this.

Every praetor's (presumed) "death" was incredibly anticlimactic and downright insulting to the depth and complexity their characters have and ought to have gotten in the climax of the Phyrexian arc.

Genuinely--do the writers at WotC not realize how much of a fan favorite Urabrask is? He's not set dressing. He's not a random extra to be pulled apart for shock value and never spoken of again. A lot of things were disappointing about MOM, but the treatment of Urabrask is the biggest one for me.

Realmbreaker and Wrenn deserved more time for character development and not immediately being killed off.

The protagonists are never really forced to reckon with their generalization of Phyrexians despite being helped by a group of them this entire time.

Compleation turning out to be quite reversible was disappointing, as I wanted more permanent impacts and characters reckoning with their new states instead of just waving away the problem.

The high number of mechanics and their level of complexity puts me off a little even as an enfranchised player.

Between Incubate and Toxic, Phyrexian tribal is encouraged down two very different routes in consecutive sets. Not always a bad thing for a tribe to have multiple gimmicks of course, but Phyrexian tribal decks feel incoherent sometimes as a result.

Flip cards can be difficult to remember if their sides are very different.

Battles being horizontal really mess with their readability and make it difficult to hide their presence in your hand. The concept could've been pulled off equally well if not better in vertical format.

Feedback on March of the Machine

I’m about to write this year’s “State of Design” article, and I’m interested on your feedback of March of the Machine. What did you like? What did you not like? Tell me all your thoughts. 

[your-brilliant-lady-m]

Part 1 - Basic Concepts of Miraculous Ladybug: Miraculous Jewels

Alright! I promised you meta and now I deliver!

I feel like people mostly watch Miraculous for the romance these days. Shipping is all everyone cares about. I wonder why? Probably because writers themselves don't take their worldbuilding very seriously and because they don't put much effort into making the audience care about something other than Love Square, like the mythology behind the Miraculous, or motivations of the main villain, or some pretty heavy topics for a kid's show that they bring up and then refuse to touch again. You know, all the good things. And this is coming from someone who is a passionate multishipper. I have lived through several shipping wars in different fandoms and came out victorious after all.

I am probably the only person out there who cares about the big picture, the overall storyline and the worldbuilding of Miraculous in addition to all details and implications that could develop into fascinating plotlines relevant to the main story. It is a rather lonely fandom experience, I must confess. But, hey? Who cares? I am here to have fun and bring to the table discussions no one wants to have.

So, let's talk about the basics.

If you, as the writing team, are capable of keeping only 1 thing consistent, then please, I beg you, let it be the basic concepts of your universe. Because in this case, one has to actively put effort into writing characters and conflict resolutions badly. And also because nothing can save bad worldbuilding.

I don't have high worldbuilding standards for Miraculous. They certainly aren't as high as the ones I had for Legend of Korra (which was a badly written trainwreck, that ATLA doesn't deserve as a sequel) or the ones I currently have for Dragon Prince. Therefore I won't be too harsh in my criticisms. Granted, I think that Miraculous has better worldbuilding and lore consistency than Winx Club for example (I haven't seen the reboot yet, so writers might have fixed their worldbuilding at least a little bit). Even though I enjoyed Winx when I was younger and some elements of this story still attract me.

Both serialised and episodic shows as well as movies to the lesser extent must have some flexibility in worldbuilding and plot because you can never be 100% sure where your story is going. Maybe, you'll get money for more seasons, maybe not. However, you must never lose sight of your basic concepts. They have to stay the same no matter what, because rewriting lore and retconning major developments every new season is not and never will be called good writing.

Forgive me for using architectural metaphors, but you need a solid foundation to build any kind of structure. Otherwise, everything falls apart.

I like to apply this logic to writing as well. When designing a world where your story takes place, you must lay a few ground rules. It's especially important if you have a magic system. What kind of ideas absolutely must exist? What kind of conclusion do you want your story to have? Does your magic system has limitations? Where is the grey area? Could you introduce new elements later on?

And I feel like the writing team of Miraculous Ladybug did not ask these questions. This may feel like I am nit-picking canon material and looking for problems that simply aren't there, but I promise that I am not. You see, things that I am about to point out only seem small at first glance. But these details are actually the source of the largest plotholes in the series. And their presence negatively affects character development, conflicts and resolutions of said conflicts.

That doesn't mean that I have nothing good to say about the magic system of the show and its elements. There are a lot of great ideas and concepts. And some of them have the potential to contribute to the delightful story.

Let's dive right into it, shall we?

Camouflage

I have to give credit where it's due because the idea of camouflage and shapeshifting for Miraculouses is brilliant. It seems like Miraculous can't fundamentally change its type of jewellery or accessory. The ring will always be the ring but with a different ornament, colour or shape. This is true most of the time (Monkey Miraculous is an exception since it transformed into earplugs/headphones/headband/circlet) It makes sense and avoids plotholes. Grimoire doesn't have the pictures of each Miraculous in disguise for identity protection. That was very neat too. I have no comments. This concept was very good.

Also, since Marinette wore a nose ring of the Ox in "Kwamibuster" without any problem and Adrien wore Ladybug's earrings in "Reflekdoll", we can assume that you don't need to have piercings to wear a Miraculous. Miraculous just magically passes through your skin.

I'm interested to know the following. Can Kwamis recognise a camouflaged Miraculous on a person? Can the holder order them to confess the identity of this person? This shouldn't be possible for identity protection just like with Kwamis sensing each other. But more on that in later posts.

Power Levels

For a long time, we assume that there are only 7 Miraculouses. Turtle belongs to Master Fu, Gabriel has Butterfly and Peacock, Marinette and Adrien have Ladybug and Black Cat. Everything is pretty straightforward. Then it's revealed that there are more jewels and more boxes. It makes the worldbuilding interesting, but it also majorly complicates things, making them inconsistent.

Their position in the Miracle Box implies their power levels. Creation and destruction are the most powerful forces in existence, therefore they are at the top. Moreover, it makes this Box the most important, the most powerful out of all others. Su Han in "Furious Fu" calls it "Mother Miracle Box". Fox, Turtle, Bee, Butterfly and Peacock have less power than the main pair, but more than the Miraculous of the lower Zodiac tier (since they correspond with animals of the Chinese Zodiac).

1. Ladybug can create anything out of nothing (Lucky Charm, which gives what you need the most at the moment). This Miraculous can resurrect the dead, reverse the effects of the Cataclysm. The power of Miraculous Cure or Miraculous Ladybug can work in several ways:

it simply repairs the damage (puts stuff back together, heals injuries and so on)

it reverses time for the matter, restoring things back to the state they were before the destruction occurred (however, the Cure doesn't erase people's memories of everything that happened unless they were mind-controlled, frozen in place or transformed by Akuma into something else - this is an important point that I'll discuss some other time)

How does Miraculous Cure work when there are no supervillians? In NY Special Marinette just says this.

Excuse me, what? What was that? You can't do anything when the villain is gone? What the hell?

*insert here every scene where Ladybug fixed Paris after destroying akumatized/amokized object (this action causes the Akuma victim to detransform/sentimonster to disappear - villain is gone) and purifying butterfly and feather*

It was such cheap angst. I couldn't even be upset when Adrien gave up his Miraculous, because that whole situation is just stupid. But, never mind. We aren't talking about that today.

Apparently, Lucky Charm and Miraculous Cure only work when summoned to battle a specific villain. What is the point then? Huh? You can't tell me that Ladybug has the power of unlimited creation and then say that she can't repair the damage without a special Lucky Charm that was magically synchronised with specific big bad of the week.

Ladybug also can purify Akumas. It makes sense for Ladybug to have the ability to reverse the magic of less powerful Miraculous. But this power can't be applied universally. How does this power of reversal apply to different situations where there is no evil Butterfly holder? Can Ladybug reverse the magic of any Miraculous?

The unlimited power of creation introduced in season 4 ("Mr. Pidgeon 72") is another fascinating thing. On one hand, it's logical and proves the status of this Miraculous as the most powerful. On the other hand, by introducing this power, you have created a plothole. Look, Marinette can create the charm which repels Akumas. If Ladybug can create anything then what stops her from creating a tool for finding Hawkmoth (like special glasses for discovering identities or a compass)? I mean, the show says that the power of creation is unlimited, it means that the creation of such tool is possible.

2. Black Cat can destroy anything with Cataclysm, even other Miraculous. He can kill living things and turn them into ash, but not himself. This Miraculous is supposed to have other special abilities that we don't see. And they should be equal to powers of Ladybug, both in number and in potency. Unfortunately, after 3 seasons writers didn't give us anything. It makes laughable the idea of balance between Ladybug and Black Cat.

Now, to the second tier. These Miraculouses have a singular ability, but they need a second one to keep the power balanced between Zodiac and the main pair.

3. Butterfly creates champions with different superpowers. But how does the time limit of children work for Butterfly? In theory, the countdown should start right after the creation of the Akuma since for Ladybug and Chat Noir countdown starts after activation of their powers even if they don't use them. However, if the countdown of the Butterfly begins after Akuma creation then there's no point because the holder has to stay transformed to guide their champion. The charged butterfly won't have time to even grant powers before the transformation of the child-holder drops. This issue is never explored because Gabriel doesn't have a time limit. However, I feel like it should be addressed in flashbacks of past Butterfly holders for example.

This Miraculous should be less powerful than Ladybug and Black Cat. It's often not. Some Akumas are too overpowered. Stormy Weather can move the Earth away from the Sun, Timetagger can send people through time and jump through time as well, Chat Blanc destroyed the world with a single energy blast, Miraculer could steal powers of those more powerful than her by default. These are the most notable examples. One could argue that Chat Blanc was a different case. Hawkmoth simply gave the most powerful Miraculous a boost. However, we know that even without a holder (the wildest and the most powerful form of uncontrolled Miraculous magic) Plagg's Cataclysm can't destroy the universe just like that (he presumably wiped out dinosaurs and sunk Atlantis on his own without a holder). I think that the less powerful Miraculous (Butterfly) shouldn't be able to increase the power of destruction to such a degree and give Black Cat the power to destroy celestial bodies and galaxies.

Writers want us to see Hawkmoth as the formidable villain. But it's not easy because he is less powerful than your main heroes by default of your worldbuilding. Sometimes writers make the Butterfly more powerful than creation and destruction to raise the stakes, breaking the laws of their magic system. So, how do you solve this? Let Ladybug and Black Cat keep their status as the most powerful and instead of giving Hawkmoth more magical power, make him smarter, more cunning, inventive. Gabriel is a fashion designer, whose creativity makes him a very good Butterfly holder. He has a life full of experience, he knows much more about things than the main teenage characters. Catalyst was very interesting for this very reason. Gabriel sort of discovered a cheat code to boost his powers. Show us how he experiments with his powers, how he analyses his past Akumas and tries to find the most effective ones. Maybe Gabriel tries to design Akumas that can specifically neutralise Ladybug and Chat Noir. This exploration could also give writers an opportunity to explain how the powers of Butterfly work. Can he control the type of powers he grants? Can he control the appearance of Akumas? There are many things to be explored.

4. Peacock creates sentimonsters. I remember that fans were very disappointed when the power of the Peacock was revealed at the end of season 2. I was one of them. The concept of Amoks is far too similar to akumatized butterflies. Other Miraculouses have unique abilities and keywords for their powers, while Peacock just looks like Butterfly 2.0. That glowing mask effect just adds insult to injury.

You have to start by figuring out the powers of the Peacock in a normal situation. If a holder is a good person, then how does their power work? For example, make them related to sight (because of the "eye" pattern on feathers). Maybe, Peacock grants the ability to see the several possibilities of the future, but only a few minutes ahead. Maybe, this Miraculous gives you the ability to see through someone's eyes for a few minutes (and the victim is completely unaware of the intrusion). Perhaps, Peacock allows the holder to use feathers (or tiny peacocks) as cameras one at a time and be all-seeing. These feather-spies can be destroyed by the holder or disappear on their own after some time. Such power could be devastating when used against heroes in canon.

5. Bee can paralyze. This power is pretty straightforward. Once I read a fanfiction focused on very vell done Chloe Redemption, where she fights alongside Ladybug and Chat Noir. Eventually, she grows and becomes a better person. This fic ends with an Akuma battle, where LB and CN are trapped and Akuma is ready to kill them. But Chloe uses a second power of the Bee on the villain - Miraculous Stinger. It's deadly both for the holder and for the victim (because bees die when they sting someone). Chloe kills the Akuma with a Stinger before it can get LB and CN, but she too dies making the ultimate irreversible sacrifice. I will add a link if I find it again.

6. Turtle can create a shield. I don't have much to say on this either. It feels underpowered compared to others in the second tier. Maybe Turtle can also slow down opponents (because turtles aren't the fasters animals out there).

7. Fox creates illusions and acts as their puppeteer. In order to create a balance between other powers, these illusions must hold for as long as the holder needs them to. I propose this mostly because we see that Venom of the Bee lasts very long, the shield of the Turtle lasts either until it's destroyed or the holder wants to remove it, same goes for Akumas and sentimonsters who disappear only when the holder wants them to or their affected object is destroyed.

Let's talk about Zodiac tier. Miraculous of the third tier shouldn't have the second ability like more powerful ones. These powers are the most inconsistent. Even if we haven't seen all of them yet.

8. Mouse can create many small clones of the holder. It is unclear how these clones communicate with each other and how many of them this Miraculous can create. The holder can control the number of clones. This power was very convenient in "Kwamibuster" and it makes sense symbolically for the mouse. What activates the time-limit for children? Marinette didn't have any problems with it when she became Multimouse.

9. Snake can create a 5-minute time loop and has the ability to come back in time. This Miraculous feels a bit overpowered for the Miraculous of the Zodiac Tier. The holder can reset the time as many times as he/she needs to. It's was a good source of drama and trauma in "Desperada". I was honestly surprised that Adrien was capable of fighting after spending months in a loop. But this doesn't change the fact that Snake is overpowered. You can give this Miraculous the power to hypnotise or keep the time ability but place a limit on the number of resets. How does the lyre work as a weapon? Who knows? No one!

10. Dragon can shapeshift into elements: water, wind and lightning. It has the coolest transformation words hands down (Bring the Storm and Open Sky). Apparently this Miraculous doesn't have the time limit.

11. Rabbit can time travel or jump through alternative realities, even writers aren't sure. Time-travel in this show is so badly written it gives me a headache. This Miraculous shouldn't exist just like its powers. Snake belongs to the same tier, but 5 minutes and whole centuries of time jumps aren't comparable in power levels. They are not and this is the hill I will die on. Give the Rabbit powers related to its symbolism in China like an ability to de-age people, heal them or give them a speed boost in contrast with Turtle who might have the ability to slow down.

This Miraculous is so special that its Kwami - Fluff can live separately from his Miraculous in a Miracle Box for millennia (Fluff lives in the Box in "Sandboy", but his Miraculous, pocket watch, was passed down for generations in Alix's family). This is a discussion for a separate post, however. There's a lot to unpack. We'll do that some other time. You will suffer with me but at a later date.

12. Horse can create portals. They could lead anywhere, which is pretty cool. On the other hand, this power is not very useful in direct combat, especially when it's used by a child since we can have only one portal per transformation.

13. Monkey can cause a malfunction in powers of other people. What is the point of this? This power was specifically created by writers to defeat Akuma in "Party Crasher". That's it. What if your target is not magical? How does this Miraculous work in different circumstances?

14. Pig shows people their greatest desire. Both the holder and the recipient of this power can see this desire. Chat Noir wasn't impressed in "Guiltrip" and neither was I. It's underpowered compared to other Miraculous in this tier. Also, why does the tambourine can shoot energy beams? Why?

That's all I have to say on the matter. I'll update the power analysis as needed.

[thedangerfloofhasreturned]

Writing Tips - The Art of Character Shipping

*Please note that this is a writing tutorial only, using formulas drawn from familiar story tropes already frequently used in the modern literary field.  It is not meant to be interpreted as an ultimatum for actual lifestyle or relationship advice.

Ah, romance––where would we be without it?  While this subject will delight some readers and leave others feeling squeamish or annoyed, a balanced story usually contains at least a little.  But yes, this phenomenon is in fact an art, and as an art it comes with a few formulas of structure.  How you ship your characters depends largely on the genre your story is following, your target audience, your story's main theme, the natures of your characters themselves, etc.; however, the most crucial point for literary shipping is whether or not your characters can be identified as a good fit for one another.  Believe it or not, a key element to good quality romance in your literature is if your target audience isn't completely blindsided by whomever you decide to ship––i. e. your coupling methods are somewhat predictable.  Whether or not this is how reality works (I wouldn't know), for literature, it's important to understand which formulas you're using.

Character Types: What Counts as a "Good Fit"?

The definition of a "good fit" will usually vary with your target audience.  Depending on how much effort you really want to put into this portion of your work (as well as how widespread and accessible you expect your publications to be), never can the divisions between Eastern and Western cultures be seen so well as they can over this particular subject.  Interpretations of marriage and symbolisms aside, when you don't throw in a little fluff from time to time, your story will likely be taken as either a cautionary allegory for something or the author's coping mechanism for past trauma, neither of which garners as strongly to the interests of a reader who wants to read a story, not "learn a moral."  One of the most notable differences between the stories in which the main character's True Love figure represents an ideal or concept and the ones where it's just two people awkwardly blundering around each other is the extent of sweet, silly humor employed; the grand ideal is more often than not setting itself up for some kind of disillusionment, while the other will probably manage just fine as long as the comfortable hilarity stays intact.

Here are some of the classic archetypes of character shipping that can be recognized throughout most of modern literature:

1) The Noble and the Fool

    This ship type can be found in plenty of today's YA literature.  Its central theme is like its title says: Bungling Idiot Meets Beautiful Gem.  This is a spin on an older stereotype of how nice guys act towards the girl they like, often seen in stereotypical teenaged school settings; it is also a strong favorite of teenaged school girls, who find it a useful method of how to identify their ideal of genuinely nice guys.  While gender is a flexible factor, the overtone still carries heavy shades of the “goofball guy and Princess Charming” vibe, and has come to be a popular media favorite; awkward flirting is a key tipoff for this type, as are sweet gestures of kindness that result in either dismal failure or complete disruption.  Depending on how you want your romance to play out, it’s also possible to give each member of the ship their own doofy characteristics, thus dispersing the adorkable humor more evenly instead of leaving all the awkwardness on one side.  Examples of this type include Bernard/Bianca from The Rescuers, Amity/Luz from Owl House, and just about any romantic coupling Ryan Reynolds has performed in.

2) Love/Hate but Not Really

    This is one of the most well known classical ship types, its formula structure in Western literature dating back over 500 years, and probably more.  Shakespeare's Much Ado About Nothing gives one of the clearest depictions of how this ship works, as well as demonstrating why it's so funny to watch it play out.  The staunch refusal to either publicly acknowledge or lie about having a crush is what gives this type its unique flavor, and also guarantees a good supply of entertainment for the rest of the characters; they're free to snigger in their sleeves about these friends who carry the potential to (and often outright do) work themselves into an existential crisis over leaving the issue unresolved.  Examples of this ship include Han/Leia from Star Wars, the Potterverse Ron/Hermione, and Elizabeth/Darcy from Pride and Prejudice.

3) When Sparks Fly

    Some types of ships kick off well from the get-go, which is perfectly fine; the obvious indicator is when both characters operate on the "same frequency" (a mutual understanding).  This usually happens with well-grounded characters who know themselves and one another and what they both want well enough to be able to work as an "Us" unit.  While intensity varies from couple to couple, you can always see an element of warmth, be it more like a flaming inferno or more of a gentle glowing candle; either way, this ship will carry its own variant of “the Smolder.”  Many examples of this ship type can be found in (of all places) classic children's literature, such as Mr. and Mrs. Darling in Peter Pan, Fred/Scrooge's niece from A Christmas Carol, and Jim-Dear/Darling in Lady and the Tramp, as it often carries as a large part of the preset expectations of what a healthy marriage looks like to children.  In a shocking parallel, Bojack Horseman also gives several practical examples (more in the final season than elsewhere) of some of the factors such relationships naturally entail.

4) Taming the Beast––or "Pruning"

    What's not to appreciate about the classic Beauty and the Beast/Taming of the Shrew trope?  This ship usually plays into a redemption arc of one or more of the characters, where an unexpected love interest will change bad habits into good ones, occasionally culminating into a "final sacrifice" moment.  Depending on the theme, one member of the couple is usually either coming from a dark place in life or from a position of pompous arrogance left unchecked for too long.  In the humbling process for pompous arrogance, while the extent of severity of the reality check that must be given varies, many story themes favor a harsher one than "experts" would recommend, thus leading the character out of the pompous arrogance into the dark place in life; however, it is possible to not traumatize your character into better behavior and simply humble them through the discovery of true love.  Either way, the central pillar of this ship is, "You make me a better person."  Classic literary examples outside of the obvious Beauty and the Beast are James/Lily from the Potterverse, Dulcinea/Don Quixote from Man of La Mancha, Eliza/Henry from Pygmalion, and, one of the most extreme demonstrations (and possibly the most readily misinterpreted), Jesus and the Church.

Toxic Ships: What Defines Toxicity?

Whether intentionally or otherwise, most readers' expectations of romance will be shaped by what they read, regardless of its accuracy; readers will also make outside interpretations about whether or not a certain ship is toxic, regardless of any indicators to the contrary.  I will not be analyzing what should or should not count as Stockholm Syndrome here; this is purely meant as an outline for helping determine and understand your story’s plot direction.  For at least much of Western culture, the main problem lies in today's interpretation of what a "toxic" relationship incorporates––what it looks like, what the expectations for it are, how bad it has to get before it's “officially” toxic, etc.  Many writers have made desperate efforts to elaborate and illuminate the differences, but the results are so widely diverse and far apart from each other that almost no solid  knowledge can be gleaned from it other than that each one stems from that individual's understanding and experiences.  The simple fact is that there is almost no set of rules that determines what makes a relationship toxic other than the most obvious: possessiveness, stripping of freedoms, controlling activities, etc.  For all observers, if the "beloved" has to escape from the "lover" in order to survive, it's a toxic relationship.  Original intentions of the authors aside, there are many types of ships that have been labeled "toxic" when they are actually not, while other types of ships get a long way before anyone identifies them as being toxic at all.  Here's a few things to keep in mind when crafting a ship for your story:

A healthy ship can happen well naturally.

A healthy ship can stand independently of its setting.

A healthy ship is designed to protect and unify.

A healthy ship has clear boundaries and expectations.

A healthy ship includes teamwork.

A healthy ship is never self absorbed.

This is where cultural differences split East and West in the definitions of what makes a healthy relationship.  Being more community oriented, many Eastern cultures often disregard certain factors in a relationship in favor of other priorities––money, political standing, basic survival needs, etc.––but that is not to say that the emotional experiences are completely disregarded for their “lack of good judgement."  The standards which many of these cultures hold marriage by are fairly serious, as the origins of marriage itself are fairly serious, but the chief priority for most Eastern societies is having children and continuing the family line.  For some social groups, this aim takes precedent over the euphoria of "being in love," but many others make efforts to form matches that already show good romantic potential.

On the other side of the issue, Western culture takes what many other cultures have taken to be a hedonistic approach; most ships in pop culture are based on feeling, and end whenever that feeling runs out or an obstacle appears.  Fortunately, this is not always the real-life norm; plenty of couples who understand the limitations of emotional overflow by itself can retain solid, harmonious relationships that share a common understanding of what is expected by each member.  The central problem in the Western interpretation of romance seems to stem more from lack of self control rather than malicious intent.  Notice how this factor doesn't alter the initial definition of relationship toxicity, nor is that definition itself dependent on Western or Eastern cultural interpretations.  Depending on your audience, as long as you formulate your story clearly enough that the reader can easily tell what's going on and why, they should understand whatever meaning you choose to supply it with.

Fluff vs. Erotica

For vanilla readers (like me), erotica is generally something we try to skim through as quickly as possible; if it's not relevant to the main plot line, there's no need to have to read it in detail.  The term "smut" is used specifically for fanfictions, while "erotica" is more generic, but both essentially mean the same thing: porn, but with words instead of pictures.  I will neither endorse nor condemn such writing here; the only thing I caution you to do is to clarify your content very expressly and meticulously.  You have to let people know exactly the kind of book they're picking up and what it will entail, and it is possible to do this without giving away key plot components.  The YA genre is especially prone to this writing style, as it contains most of the coming-of-age and disillusionment story themes that frequently contain explicit connotations.  Do not let your more sensitive readers get sprung with an unpleasant surprise, especially when it is, or even looks like it is, largely unnecessary to the main plot of your work.

Believe it or not, there are methods of writing erotica that will not immediately brand your work as sex fuel for the vulgar in the eyes of lighter readers.  Depending on your writing style, the amount of poetic license you include in your story on the whole can help mitigate the connotation your scenes will naturally carry; if it looks more like art and flows as smoothly and gracefully as honey, you will have entered the writer's equivalent of the "tasteful nude."  This style does not alter, eradicate, or adjust the facts, but leaves the obvious muted by placing the reader's perspective more in the background of your scene.  By drawing more attention to the shadows than the action (in this context I mean figuratively), it will give the scene a sensual illusiveness that leads the reader far enough to get the basic principle, but "leaves them wanting more."  In this way, readers who are not interested in erotica can easily skim through the section without losing their appetite for the story itself.  Another element that can help the reader wash down the erotic is by including the traumatically graphic––not necessarily anything vibrantly ugly, but something truly tragic that renders the tone of the story in a new light.  Once again, it is important to notify your readers of the kind of content they're picking up; without it, if your work ends up in the wrong genre, you risk losing a valuable audience segment.

[nonnui]

Title: Game of Khans

Genre: Empire simulator

Intrusiveness: 4/5.  It suggested buying things, but not in a way that was aesthetically disconnected from the rest of the game or very much in my face.  Ad-watching was always voluntary and compensated, and no core mechanics depended on purchases or ads.  You can skip most repetitive animations, though sometimes you have to skip a lot of them in a row.

Generosity: 4/5.  There are a lot of kinds of resources flying around, different kinds of tokens and money and promotion materials and event keys and exploration stamina and suchlike, but I usually had enough of everything coming in that I could make progress, even if it slowed down after some exponentiation had occurred.

Aesthetic: 5/5.  Basically everything in the game is nice to look at; the character designs aren't all to my taste, but they're all well-drawn, and they're lightly animated in an inexpensive but charming style.  Since the game's appeal in large part runs on provoking thirst for your burgeoning harem, this is a sensible expenditure of budget on their part.  The harem is very pretty.  (The combat scenes aren't very pretty, but they're skippable and I didn't feel they were worth docking a full point.)

Writing: 3/5.  There are typos, and even factoring that out the writing isn't exactly strong, but it's good enough to give the characters distinct traits and make the story not feel like a total waste of time to read.  They make some effort to, in spite of your character being a khan who spends all his time fighting land wars in Asia to add to his conquest resume, put a veneer of excusability over the fights he starts, which I rather appreciated.  (It does have to be a he, all the appearance choices are male.)  You get some minor roleplaying choices which have small local effects, which is all they budgeted for and all they claim to have going on in that department, not pretending to be more than it is.

Interface: 4/5.  There was a learning curve but I picked everything up in time to make use of it.  There are instructions in most game sections in case something is especially confusing.  It was easy to get around from section to section.

Coherence: 5/5.  The structure of the game is fighting them here - there's a lot of stuff going on - but they keep it firmly on-theme.  Things feed into other things in a mostly predictable way.

Gestalt Experience: 5/5.  I liked this one, and found myself slowing down as I approached my final monetary milestone, wistful about imaginary women I would not marry and imaginary lands I would not conquer.

Game of Khans is a good stupid phone game.  If you want to play a stupid phone game and this sounds like your genre, you should get it.  In particular, you should get it and should NOT get Game of Sultans, which is as similar as possible in every way that doesn't prevent it from being dramatically worse across the board.  It's just really incredible how the same company made two games that are basically mechanically identical under the hood, but for one they hired a good artist and someone who has ever read a book, and for the other they threatened a mediocre artist at gunpoint and hired from within by inviting the office coffee machine to try its hand at story-writing.  I will probably review Sultans separately in more detail later but mostly what you need to know is that it's worse.

There's a rotation of various minigames in Game of Khans, usually a couple active at a time.  Some of them I liked a lot (the fruit one, the archery one) and some I wasn't into (the horde battle thing I never really got into, when I stopped playing they'd just added a new one I didn't really care for) but there's plenty of flexibility about which ones you invest in playing more for their prizes and which ones you mostly pass on to save up your diamonds, though I found myself pressured to spend more time on PVP-enabled "feasting" than I liked.

Apart from the minigames, your time is mostly spent conquering and managing your conquests to extract resources from them, and traveling the world to get random event swag such as wives.  You also raise your heirs (a process independent of the passage of time and accelerated by candy) from plump babies into fur-clad children and teenagers, whereupon you can marry them off.  In order to reap the rewards of having married all your wives (babies, sexy yet PG-13 animation behavior) you have to pay attention to them, though much of the time you can only do this by picking randomly which one, which is weird.  You also collect pets and the albino ones are better for some reason.

[graham-cheshire]

Studies & Theories of the Tricar

Hello once again dear readers. For those among you who haven’t heard of @starr-fall-knight-rise I suggest giving them a visit and reading their stories, as they're some of my favorite sci-fi stories, they provide entertaining perspectives on humanity from the viewpoint of aliens, form the basis of this post, and have evolved into an engaging series.

I'm happy to once again be writing another addition to this little series, the reveal of the Tricar was the perfect opportunity as the other species written of by starr-fall had been described with great detail & left little reason to cover them with a Studies & Theories.

As usual I shall start by providing confirmed facts and information about the physical appearance of the Tricar from their debut story 'Humans are Space Orcs, "From the Stars." ‘ by starr-fall, then I shall list what information we can infer from other provided details, and wrap up with my own theories regarding what I think is most plausible for their appearance.

Regarding the Tricar, the most notable fact about them is that their homeworld has an average temperature in the subzero range, and the story is told from their point-of-view, with several descriptions about humans from their perspective.

Before starting here are the usual disclaimers= First: I want to thank starr-fall-knight-rise for allowing me to do this & for receiving my previous speculations positively, I in no way own the Tricar or make any claim to such & I want to say that I'm doing this simply because I love starr-fall’s stories & wish to contribute in some way to the fandom. Secondly: I'm by no means a biologist & most of my research comes from the internet, if I am wrong in my information please don't bash me and simply provide clarification in the comments. Thirdly: I'll use reference images to help describe my thinking and theories and I in no way own or take credit for these images

The Confirmed Appearance Details

"gloved fingers"

"slamming the flat of her palm against the side"

"bright blue eyes"

"placed a hand on his arm"

"she kicked at it with her back feet"

"front of her jacket, splitting it open, so that thick clumps of her white/grey fur poked through."

"watching the yellow orange of her blood spill into the tube"

"tail tucked nervously up against one of her legs"

"brows knitted together over his snout"

The Inferred Appearance Details

"stepped up to the interior door & shouldered it open", "landed hard on her back", "rolling onto her stomach" = From here I believe we can safely assume the Tricar possess a human-like torso with shoulders, back, & front.

"its legs impossibly long, its arms the same, & a small head perched atop it all." = This bit is referring to a human viewed from the view of a Tricar. From this we can infer that their legs and arms are much shorter than a human's, and while we could also assume they have smaller heads it should be noted that they have snouts as mentioned earlier so that should factor into size.

"they weren't her footprints, far too large" = In proportion to the shorter legs it follows that they'd have smaller feet, though this will also be touched on later.

"her ears twitched", "ears leaning back against her head" = With these we can infer that they don’t have ears like a human & I think it would be safe to infer that they have ears similar to an animal's, which I will touch on later in the Theories section.

"dropping down to crouch on with her hands" = This one is a little more of a wild shot, but we could infer that they may have a body structure that could allow for "knuckle-walking" the form of quadrupedal walking used by gorillas, chimpanzees, anteaters, and platypuses.

"placing its long thin fingers on her friend's neck" = This is another bit referring to a human, with it we can infer that a Tricar’s fingers are both shorter and thicker in proportion to a humans, stubby in another word or possibility.

"she could hear the movement of its joints" = Here we could infer with the information about ears from earlier that the Tricar have better hearing than humans, however it can’t be ignored that they character referenced is a human known to occasionally wear an exoskeleton with joints that could also be responsible for the noise.

"she went to her knees" = This bit can be used to infer that the Tricar are bipedal in some sense, with a leg structure that uses knees.

"its fleshy hairless face" = Another bit referring to a human, we can use this to infer that the Tricar, in addition to the fur mentioned earlier on their bodies that their faces are also covered.

"its lips were thick" = The final bit we’ll use that references humans, we can infer at least that their lips are thin, possibly even non-expressive in combination with the snout mentioned from earlier.

"live on an icy planet prone to blizzards & storms" = Using this bit of info we can infer that the Tricar will need some physical traits that will make living on such a planet plausible, their fur and potential enhanced hearing would fall into this area but I’ll cover more in the next section.

"live in elaborate ice caves & surface buildings made of insulated metal" = This bit we could use to infer that the species possible inhabited caves before developing the technology for building, with the necessary traits for living in such conditions, to be touched on it the Theories section.

"average temperature on their planet is around -20 Fahrenheit to -28 Celsius" = This is a major bit of info we’ll need to use, as it infers that the Tricar need the physical capability to survive in subzero temperatures, even if their dwellings would protect them from such conditions.

The Theorized Appearance Details

Starting off this section lets confirm that the presence of fur on the Tricar means that they are almost certainly mammals, and because of that I shall draw most of my theories regarding their appearance from mammals on Earth that can survive in subzero conditions, a big trait of the Tricar.

Let’s start with their fur, which we know that is thick, which makes absolute sense but it’s likely it covers the entirety of their body in order to minimize heat loss and provide insulation to trap a layer of air and preserve body heat, a trait used by snow leopards, arctic hares, & arctic foxes.

Next let’s cover their appendages, meaning hands, feet, and tail. 

As earlier stated we can confirm that they have the basic human-like hand structure with a palm and fingers, but the fingers are shorter and thicker than a humans but also are shown dexterous enough to use doors and microscopes. I’ll theorize here from the bit stated earlier that the Tricar have traits evolved from living in caves that they might have long strong claws like an arctic hare’s for digging and expanding such ice caves or carving them out for themselves, as well as aiding in traversal over ice and snow.

For feet let’s remember that they are smaller than a human’s, but as for their shape and appearance I’d theorize they’re like the hind feet of the snowshoe hare, which can spread their toes to act like snowshoes & help them walk on the surface of deep snow without falling through. The furry soles would also help with walking easily on ice and snow.

Now so far it’d be fair to assume that the Tricar could look like bipedal arctic hares, however their tails do provide a large difference. Stated earlier where a Tricar’s tail tucked against their leg due to nerves we can assume that they have some amount of length as well as at least having some instinctual movements. Now we could simply theorize that they have a tail like an arctic fox.

However I think an other interesting theory we could use is that they have tails like a snow leopard. These tails are long and flexible, which would help a bipedal species with keeping balance, but they are also thick and contain a large amount of fat that would be perfect to keep the tail warm. 

Also as another note snow leopards use these tails similarly to a blanket to protect their faces while sleeping, something also done by squirrels who’ll wrap their tails around their bodies during snow storms, a useful trait the Tricar might have used before the evolved to be bipedal, or might even still use.

Moving on to the rest of the body we know that the Tricar have shorter arms and legs than human’s, the legs likely being strong for moving on the snow and  digitigrade to support the foot structure from earlier. Their bodies are also likely stocky to reduce body surface area & minimize heat loss. For visualization I’d theorize the shape might be similar to an otter’s but with slightly longer arms and legs.

As stated before the Tricar have snouts that likely don’t expressive lips, so their head shape I’d theorize is less like the arctic hare and more like the snow leopard or arctic fox, both of which have short snouts that reduce body surface area and consequently exposure to extreme cold. Also note that we know the Tricar have expressive brows.

Next let’s discuss the ears, which we know the Tricar have ears that twitch and can fold back against their heads. We can’t simply theorize they have long &/or big ears as their environment means that large ears would suffer from the extreme cold, this can be seen on Earth where the arctic hare has small ears compared to the black-tailed jackrabbit who uses it’s ears to cool down. 

However since it’s likely the Tricar have good hearing I would theorize the shape and appearance of their ears would be similar to the arctic hare over the snow leopard and arctic fox.

Regarding the hearing I’m inclined to theorize that the Tricar do have better hearing than humans as this would be advantageous for their environment. The blizzards & storms mentioned as being common on their homeworld means high winds and low visibility, so the Tricar would need good hearing, especially as snowy places tend to receive less sunlight & thus mean things are likely dark, even with artificial lighting in both their caves and surface buildings. 

Expanding on this I’d theorize that the Tricar’s homeworld does not get much sunlight, if rarely, due to the bright blue eyes mentioned earlier. While it’s entirely possible that the Tricar could have as wide a variety of eye color as humans, blue eyes contain less melanin than green, hazel or brown eyes. Melanin in the iris of the eye appears to help protect the back of the eye from damage caused by UV radiation and high-energy visible “blue” light from sunlight and artificial sources of these rays, so melanin would be very useful in an snowy environment were sunlight would reflect directly off the snow and has been known to cause blindness after prolonged exposure (for more information look up Photokeratitis).

Further theories could be made if we knew more about the Tricar regarding their culture and diet but I will make one final theory regarding their blood, which is mentioned as being yellow orange in color. It is known that some fish blood contains special proteins in their blood that act like antifreeze, binding to ice crystals & keeping them small to prevent widespread crystallization, so this is something that could be present in Tricar blood to keep them from freezing. As for the color, it’s possible that their blood cells could contain Coboglobin instead of Hemoglobin. Hemoglobin is the protein molecule in human red blood cells that carries oxygen from the lungs to the body's tissues and returns carbon dioxide from the tissues back to the lungs. Hemoglobin contains iron which is responsible for the red color of human blood. Coboglobin however is currently a synthetic protein developed on Earth that functions like hemoglobin but uses cobalt in place of iron, and would cause the blood to be amber yellow.

With that I believe we’re finished with the theories regarding the Tricar. I hope that these theories hit close to the appearance starr-fall visualized when creating the Tricar but regardless it was fun to once again do another post like this. If you enjoyed this post you can find my previous ones in this series down below. If any readers have tips on where I can improve my writing please comment below and I hope I can do another one of these posts in the future. 

Studies and Theories for the Gnar’lak

Studies and Theories for the Finnari

Studies and Theories for the Gromm

[lethesomething]

Ghost of Tsushima and the Hands of Fate

I see we're still trying to prove that games are an art form by making everyone feel bad.

For the record, Ghost of Tsushima is one of my favourite games in a very long time. It is extremely pretty, the aesthetic and general … polish is *cheff's kiss*. You can pet foxes and backstab people. The fighting mechanic is decent and there are just So Many Hats.

But also, it has the kind of story that pulls you in to the point where you have to drop the controller to hide behind your fingers going 'ohgodno'.

It is an absolute bastard of a game, is what i'm saying.

So let's talk about that, and specifically about Straw Hat Ryuzo and how I feel bad for him.

I am, by the way, going to be talking about the narrative structure of a video game about medieval samurai, so expect like, a bunch of spoilers.

The narrative is one of the big draws in Ghost of Tsushima. Like yes, it's an open world rpg with fighting and flower picking and all the important stuff, and also yes, some of the bits are sloppily written (looking at you, specifically, 'Ending to Norio's Arc'), but the game definitely sets out to Tell a Story.

And because this is a Serious Game that openly bases itself on samurai movies like Kurosawa's, it is a Drama.

In many ways it is an utterly brutal Bildungsroman, a narrative in which a young man finds his identity.

I have joked with friends about the clear intent for this game to make Important Stories, in that it actually tries to tick all the boxes of hotbutton subjects: childhood trauma? Obviously. Gay relationships?  Yup. Survivor's guilt and PTSD? Oh yes. Domestic abuse? Several. Suggested pedophilia? Damn, even that.

The foxes are there to soothe the soul

It's interesting to note that from a writing point of view, this bildungsroman is even Very Classically Structured. It goes so far as to be a three acter, with a pretty standard build-up.

 Jin Sakai, traumatized man that he is, spends the first act slowly getting to grips with the bit where you don't fight an army by yourself by  just walking up to them and challenging them With Honour, like he has been taught his entire life. Instead of getting stabbed repeatedly in the chest and set on fire, he  discovers guerilla warfare and creates this persona of the Ghost, a literal vengeful spirit seeking justice for the island of Tsushima.

It gets him some big wins and in the second act he slowly embraces this identity until things get to a head where he clashes with his entire old life. The third act starts at the hero's lowest point and is utterly gut wrenching (i am Still Not Over the horse, game), forcing him to pull himself together for an ending that is, well…fitting for the narrative. It's an ending that is needed, but perhaps not what Jin deserves.

 But anyway, this is about Ryuzo, and how until that ending, I was very upset about his role.

You see, this story is told in part through the lives of Important Npc's, who contribute to Jin's journey of self-discovery. This is pretty obvious with someone like Yuna, who is the one to introduce him to the Stealth Life and who is a driving force behind the marketing of the Ghost.

Someone like Masako, meanwhile, portrays vengeance and self discipline, but Jin also kinda tries to make her fill the mother-shaped hole in his heart.

Lord Shimura, meanwhile, is an Obvious Father figure but also stands for Jin's past. He's rigid and ineffective, which pushes Jin to further look for alternatives.

Ishikawa, that other mentor figure, is more moderate and flexible, but he also represents a possible unwanted future. He literally warns Jin at one point not to become like him.

Norio, then, is as mentioned not the best written, but he too is a person that searches for his destiny and tries to become like his hero, while only barely holding on to his sanity. 

Kenji, I'm sorry, I love you but you're just comic relief, that's all you do. It's an imporant job in the story, because god does it need it, but you're not teaching Jin anything other than how to make different 'resigned sigh' noises.

So what about Ryuzo? From the very beginning, Ryuzo's story didn't really sit right with me. There's the obvious class issue: he's one of the few important npc's that are poor, and he's an Antagonist.

It has always rubbed me the wrong way that his original intentions were good, depending on how you read it. He's trying to feed his men. He essentially made the decision that this one man's life (even if it is an old friend) is worth the price for the lives of his band of ronin.

It's a lot more complex than that, of course. Ryuzo partly blames Jin for his predicament in life, and he also knows that samurai treat their soldiers as chattel, which the game goes out of its way to show you they DO.

  Essentially, he's a complicated character who makes bad decisions for arguably good reasons.

Ryuzo did everything he could to save the lives of the people he cared about. He went so far as to abandon his honor and his childhood friends, to try to make this happen.

Does that ring any bells?

It kinda clicked for me at the very end of the game.

Jin, being the protag in an assassin game, does a lot of killing. But some of these deaths are given more meaning than others. Some of them are there to make you feel like shit (the Horse Again, but you lose several friends along the way), others serve a more defining purpose.

You see, there's a fair amount of what i'd like to call 'intimate violence' in Ghost of Tsushima. It's an old trope. The 'if someone was gonna kill me, it had to be you' kinda scene that hails from a worldview in which some deaths are better than others, sure, but some deaths are better even than living. It's a worldview in which life itself is less valuable than your legacy. You die for your place in history. For your clan, for your family, for your honor.

Bushido is full of that sort of thing, so it makes sense that a game building on that worldview, would use the heck out of that trope.

  The first is Ryuzo's death. You fight him in a duel, in which he tries to plead for some resolution. You could let him go, come up with some story. But Ryuzo is a traitor, so Jin ultimately defeats him and sends him off in what would be a touching moment of bro friendship if it wasn't for the blood and my 21st century sensibilities.

You grant him a warrior's death, is what I'm saying.

  It happens again with Shimura. The game actually gives you a choice here, but if you go through with it, the scene almost perfectly mirrors Ryuzo's.

You fight in a duel, and Jin tries to get his uncle to just let him go, come to some kind of resolution. But Jin has been branded a traitor, and the only way for Shimura to restore his honour and clan, is to take his life;

This being a game in which you have the power of bamboo strikes and also save games behind you, Jin ultimately wins the duel, and has the option of granting Shimura a warrior's death.

It is utterly heart wrenching and that whole scene has no business being as pretty as it is. The swelling music? The fucking strings? The anguished yell?

Fuck.

  But anyway.

That's about where it clicked with me, that Jin never had a choice.

Ryuzo's whole role wasn't fair, but this is one of those stories where life itself is just not fair at all.

Both him and Shimura are there to show us Jin's path.

  What if, the game says, Jin had listened? What if he'd taken one of several offers the Khan made and surrendered?

What if he'd cooperated?

Well, we see in Graphic Detail what would happen. He would get pushed into doing horrific things. He gets manipulated, again and again, until there is no way out anymore. At some point it becomes clear to him that he's on the wrong side but whenever he tries to devise some plan to turn things around, things go Badly. He's firmly stuck in Khotun's web and the only way out is death.

But what if, the game says, Jin had stayed true to his honour? What if he had listened to his uncle, not defied him, if he had dropped the Ghost before it was too late?  If he'd gone full bushido and repented for the shogun and done all the groveling and the proper stuff.

Samuraihood is just another straightjacket, says Shimura's fate. The tenets are so rigorous you would take your loved ones life, while fucking bawling your eyes out. Shimura knows damn well it's unfair but he also has no way to leave this path. It's a ride he cannot, and will not, get off alive.

  Jin never had a choice.

There was only ever one way for him to go.

Like let's be real: pretty much everyone in this story was dealt a bad hand. It's a narrative about resilience in the face of utter horror, of reinventing yourself and giving up entire structures of faith. People like Masako, Yuna, Norio are finding peace in dealing with huge levels of trauma and regret.

The goal isn't to start a family and live happily ever after, it's to Survive.

Submitting to the mongols would have killed Jin's spirit. Standing tall and rigid as he was taught to do would have, ultimately, killed him as well.

  "I've given up everything to save these people", he says near the end. "And I would do it again."

That's someone who has no regrets.

Jin never could have taken another path and he knows it.

And this is why Ryuzo needed a fate as shitty as his. He fell, so Jin could walk.

I'm sorry, it's still not fair.

This game needs some comfort fic.

[shenlongshao]

GGStrive Redesign Analysis: Ramlethal Valentine

Welcome to the continuation of the redesign analysis series! This time, the returning character is Ramlethal Valentine, who was first introduced in GG XRD Sign. This will be another long post, so I hope you enjoy reading! RAMLETHAL VALENTINE ------------------------------------- There’s been many positive and shocked reactions when she was revealed. “Whoa! I didn’t think she would make it!”  “Yes! She’s here! She looks cute, yet commanding at the same time.” and etc. was said(the best reaction is seeing my friend @valentinecult reaction~).  I think it was a nice surprise seeing her after most of the legacy characters were revealed. Next is examining her previous look.

Out of all the characters introduced in Xrd Sign, Ramlethal’s design perfectly fits the mixture of cool and unorthodox in Guilty Gear. First is her black and white hat in shape of a wide V or “cat ears”. It has four black buttons in pairs of 2 on the frontal sides while there’s a mint-green, four-leaf clover on the upper right side. There’s a white buckle strap around the lower sides of the hat, and the cap has a wide, circular shape instead of a narrow one. Next is her sentient cape with the inside akin to gums and the helms with razor-sharp teeth. The high shoulder pads shares the color scheme of white with black trim and yellow buttons. While the cape it mainly white, there is lime-green within the collar and the upper part with black trim. Underneath her cape is a white leather, tube strap top with a round, golden yellow buckle in the center between her boobs. Similarly designed straps are on her upper thighs, and the wrist straps close to her elbows. On her lower body is short-shorts akin to swimwear and on her feat is just foot guards colored in white with thick, black trim with a hint of green in the middle.  What I think is amazing about this design is how it perfectly conveys what she is; unique. There’s the essence of a powerful, commanding presence and intimidating(you can see it in her animations like her entrance, in Story Mode, and some of her winning poses). While there’s some sex appeal from what she’s wearing underneath her cape, the aspect of it is really about athleticism. It conveys how Ramlethal is capable of fighting hand-to-hand, even if it isn’t the main way she fights. There’s a hint of cuteness too with the four-leaf clover and focusing on Ramlethal’s facial features. Since her main colors are white, green, and black, it’s time to examine how it relates to her personality! Color Personality and Meaning of White: https://www.empower-yourself-with-color-psychology.com/personality-color-white.html You are well-balanced, sensible, discreet and wise. You tend to have a great deal of self control. You are confident, poised and self-assured when at your most positive, but can also be very choosy and fastidious when the mood strikes. You can be very critical of yourself and others (in your need for perfection) - but you try to be fair and impartial as well.  The challenge for you is to be open-minded and flexible and to communicate your needs and desires. White is totally reflective, awakening openness, growth and creativity. You can't hide behind it as it amplifies everything in its way. While there are very few negative connotations to white, particularly in western culture, too much white can be cold, isolating and empty. It implies a feeling of sterility, detachment and disinterest, providing little stimulation for the senses. White may indicate the completion of a cycle in your life - you may find you have a desire for white clothing or white in your surroundings at a time when you are moving in a new direction in your life - for example, planning an overseas trip for the first time, or moving house after a long time in one place, or in seeking a new relationship or a new career direction. Many people use white as a recall of their youth and innocence. It reminds them of a time when their lives were easier and less complicated. Too much white can cause feelings of isolation and emptiness Color Personality and Meaning of Green: https://www.empower-yourself-with-color-psychology.com/personality-color-green.html You are stable and well balanced or are striving for balance - in seeking this balance, you can at times become unsettled and anxious. Having a personality color green means you are kind, generous and compassionate - good to have around during a crisis as you remain calm and take control of the situation until it is resolved. You are intelligent and love to learn - you are quick to understand new concepts. You have high moral standards and doing the right thing is important to you. You like to be accepted, appreciated and admired for the good you do in the community as well as in your family life. You are a loyal friend and a faithful partner, gentle but not passionate.  Having a personality color green means you are strong-willed and do not like to be told what to do by others. The color green relates to balance and harmony. From a color psychology perspective, it is the great balancer of the heart and the emotions, creating equilibrium between the head and the heart. From a meaning of colors perspective, green is also the color of growth, the color of spring, of renewal and rebirth. It renews and restores depleted energy. It is the sanctuary away from the stresses of modern living, restoring us back to a sense of well being. This is why there is so much of this relaxing color on the earth, and why we need to keep it that way. Being a combination of yellow and blue, green encompasses the mental clarity and optimism of yellow with the emotional calm and insight of blue, inspiring hope and a generosity of spirit not available from other colors. This is a color that has a strong sense of right or wrong, inviting good judgment. It sees both sides of the equation, weighs them up, and then usually takes the moral stand in making appropriate decisions. On the negative side, it can be judgmental and over-cautious. This color relates to stability and endurance, giving us persistence and the strength to cope with adversity. Color Personality and Meaning of Black: https://www.empower-yourself-with-color-psychology.com/personality-color-black.html You are independent, strong-willed and determined and like to be in control of yourself and situations. With black as your personality color, you may be too serious for your own good - bring some colour into your life to lighten you up - life should be fun. You like to keep people at a distance, guarding your emotions and creating an impenetrable barrier between yourself and others. With a personality color black, you may be looking for protection from any negativity that surrounds you. You may be going through a stage of self-denial, not allowing pleasure and joy into your life. You hold things inside and are not good at sharing yourself with others, possibly out of fear. You are methodical in your work, making sure everything is completed as required, down to the last detail .It may be a color of comfort to you, allowing you to retreat and hide from the real world. You may be a teenager or young adult hiding behind black while searching for your own identity or your own true colors. You may be rebelling against society or your family. You may have lost sight of your direction in life and are going through a very negative phase. You may be suppressing your own desires and aspirations. The color black relates to the hidden, the secretive and the unknown, and as a result it creates an air of mystery. It keeps things bottled up inside, hidden from the world .In color psychology this color gives protection from external emotional stress. It creates a barrier between itself and the outside world, providing comfort while protecting its emotions and feelings, and hiding its vulnerabilities, insecurities and lack of self confidence. Black implies self-control and discipline, independence and a strong will, and giving an impression of authority and power. Teenagers often have a psychological need to wear black during the stage of transition from the innocence of childhood to the sophistication of adulthood. It signifies the ending of one part of their life and the beginning of another, allowing them to hide from the world while they discover their own unique identity. In beginning, Ramlethal is seemingly just a stoic person who’s structured to following the orders of her mother(Ariels a.k.a. Universal Will) and seeing herself as just a tool. But throughout the story of XRD Sign, there’s glimpses of her having emotions and her own thoughts, which is highlighted more due to interacting with Sin and Bedman. The colors of white, green, and black definitely shows this aspect along with how she developed. Even though she is a Valentine, I notice she doesn’t fully follow the convention of being based on Aria like Elphelt, Jack-O, and the original Valentine. Ramlethal is more based on Justice; one of the things is observing how Sol reacts to her in comparison. Ramlethal not only gained emotions, but understanding and accepting her own identity; giving her the needed confidence to follow her own path. This leads to her being redesigned for GG Strive!

The general concept of Ramlethal’s design is kept while also being new. First is examining the aspects that are the same or similar to her previous look. Her sentient cape is mostly the same, except it seems to look a bit more polished. There’s no lime-green detail on the upper part of her cape, and the yellow buttons on its high-color is gone. Black button-like detail are within the second part of the collar and around the chest area. There’s also a large, leather buckle strap wrapped around her along with little ones that are left unfasten. And lastly, the teeth at the helms of the cape, but this time it’s covered with black, metal guards with a green cross. The straps around her upper thighs has extra detail with light gray buckle within it. Her foot guards are also the same, but there’s no black trim or green color on it. Her white short-shorts is another thing kept from her previous design. The interesting part is adding the bandages to her from when she survived the explosion(Raven healed her). In Revelator, the bandages were gray, but for Strive, they’re red. Time to look at what this color means for Ramlethal~ Meaning of Red: https://www.empower-yourself-with-color-psychology.com/color-red.html Red is energizing. It excites the emotions and motivates us to take action. It signifies a pioneering spirit and leadership qualities, promoting ambition and determination. It is also strong-willed and can give confidence to those who are shy or lacking in will power. Being the color of physical movement, the color red awakens our physical life force. Next is looking at what’s different starting with her hat. The shape and style is obviously of a military general, which makes sense due to it’s stated Ramlethal is a brigadier now. Let’s take a closer look!

On lower sides of her hat and center, there’s the detail of four-leaf clovers, which I circled. There’s also something written on the silver plating part in the front, but unfortunately it’s hard to tell at the moment. And now for the rest of the hat.

Other Guilty Gear fans have already mentioned this, but the frontal part of Ramlethal’s hat the golden cross; the same one seen from Illyrian government such as the army, the 3 Kings(like Leo Whitefang), etc. The aspect of the four-leaf clover on her hat is kept, but the shade of green is different. It’s a vibrant shade of emerald, symbolizing her growth and likely feeling more inspired.  The second biggest change is she no longer has a tube-strap underneath her cape. Instead, she has a sleeveless, white vest with a layered black shirt with emerald green trim. It’s more formal, but still her own style because of how it exposes her midriff. And the last new part of her design...

Is the white fingerless glove with black trim on her right hand. It adds to Ramlethal’s toughness and accentuates the essence of the design. I really love the upgrade from the previous design, which I thought her older look was cool enough. It emphasizes the commanding presence she has, but also the essence of someone who others can depend on. It does make curious if the bandages are even the same ones from Revelator, or are they new ones put on her?  This is another design that I think is done well! Rating: S++++++++++(Join the Army!XD)

[fictionalcharactermbti]

Schitt’s Creek MBTI

David Rose INFP “The Dreamer”

INFPs are often wry, and if they’re comfortable, they’ll contribute a running patter of perceptive remarks and observations. Thus, it surprises people when the INFP abruptly winds down and wants to be alone. These types have high romantic ideals, and express this aspect of their personality somewhat tentatively. 

INFPs have a hard time articulating who they are inside, and they keep hoping the objective of the situation will give them enough reference points to express themselves in a way that feels true and right. Indeed, INFPs can have a hard time figuring out what they’re called to do in life. 

When INFPs stop using Intuition to defend themselves, their first instinct is to assert the importance of Feeling goals. They challenge people, question the aspects of a situation that strikes them as problematic. This “feels” like Extraverted behavior, but it isn’t. Extraversion moves us to take the objective world for granted. It’s Introversion that strives to adapt the objective situation to itself. 

Source: Lenore Thomson

Alexis Rose ESTP “The Doer”

ESTPs are usually charismatic, often charming. Because they rely on firsthand experience for what they know, they are entertaining and tell a good story--about things they’ve done, people they’ve met, interesting events they’ve seen, any kind of tangible reality that will further their connection with their listeners. 

ESTPs seem alert to nuance because they are so aware of another’s reactions, but in truth, they may not be seeing much beyond a person’s ability to embody the traits that culture associates with a desirable partner. Once they’ve made a commitment, they’re true to it in their fashion, but save for the initial thrill of attraction and challenge, they may believe that most relationships are interchangeable. 

Romantic gestures are likely to strike them as a courting game. Far more persuasive are experiences for sensory excitement--a flare of anger, a dangerous liaison, an unexpected fright, a heart-pumping adventure, even an intense argument. 

Source: Lenore Thomson

Moira Rose ESFP “The Performer”

ESFPs are inclined to surrender themselves to the moment without restraint. Whatever they’re in, they’re in wholeheartedly, and if they’re not interested, they’re likely to escape or create a humorous diversion. Thus, ESFPs may strike people as not taking life seriously enough, not caring enough about the consequences of their actions. 

These types are usually ambitious and want to be admired and respected, but they don’t make plans the way Judging types do; they don’t think in step-by-step terms. They think perceptually, alert to opportunities life offers them. 

Most ESFPs are engaging talkers. They like an audience, and they may have some talent for entertaining. 

They don’t like unpleasantness that can’t be handled with immediate action. If they get trapped in a situation they don’t want to be in, they will generally go along only until escape becomes possible.

Source: Lenore Thomson

David Rose ESTJ “The Guardian”

ESTJs generally want their abilities to be useful to others. They’re like ISJs in this respect. However, they don’t have ISJ’s self experience as a rescuer or caretaker. ESTJs see themselves more as advocates--people whose position and knowledge permit them to represent a system and to negotiate its structure to others. 

ESTJs are probably most comfortable in relationship when they’re sharing their knowledge or using it on behalf of another. They may relate best to their children, for example, when they’re helping them with homework, showing them how to do things, or clearing a path for and supporting their career ambitions. 

The ESTJ’s systematic approach is of inestimable value in the impersonal realm, particularly when an enterprise requires that nothing important be left to chance. The type can run into problems, however, when others’ priorities are in conflict with the ones they’ve established. 

Source: Lenore Thomson

Roland Schitt ENFP “The Champion”

ENFPs are warm, enthusiastic people, typically very bright and full of potential. They live in the world of possibilities, and can become very passionate and excited about things. Their enthusiasm lends them the ability to inspire and motivate others, more so than we see in other types.

ENFPs almost always have a strong need to be liked. Sometimes, especially at a younger age, an ENFP will tend to be "gushy" and insincere, and generally "overdo" in an effort to win acceptance. However, once an ENFP has learned to balance their need to be true to themselves with their need for acceptance, they excel at bringing out the best in others, and are typically well-liked.

ENFPs sometimes make serious errors in judgment. They have an amazing ability to intuitively perceive the truth about a person or situation, but when they apply judgment to their perception, they may jump to the wrong conclusions.

Source: Personality Page

Jocelyn Schitt ESFJ “The Supporter”

ESFJs are the people we usually describe as “wearing many hats.” Popular magazines are filled with articles advising them to take time for themselves, but ESFJs know who they are, quite literally, by way of their relationships, and they thrive on their multiple roles and responsibilities.

These types have a natural sense of community, and it informs everything they do. Whether they’re part of a household, a religious group, a work-place, a team, or a car pool, they’re quick to assume the responsibility that marks them as supportive and contributing members.

ESFJs reason personally, in terms of their relationships, so their identity derives from the roles they play in people’s lives.

Source: Lenore Thomson

Ted Mullins ISFJ “The Defender”

ISFJs are most comfortable with facts and information about concrete reality. However, ISFJs relate to the outer world in a decidedly personal way, with Extraverted Feeling. ISFJs are highly alert to behaviors and gestures that suggest another’s emotional attitude, needs, or expectations, and they generally acquire knowledge that allows them to be of service--preferably one person at a time.

ISFJs are so focused on others’ goals and expectations that they can seem literally selfless, without a full personality of their own. 

ISFJs are more subjective in their motivations. Their behavior is dictated not by their social role but by their self experience as a helper, rescuer, or nurturer. Most ISFJs find they are drawn to or attract individuals who need them wherever they go. 

ISFJs are more likely to be wounded by an unsympathetic response, and they’re inclined o conclude that their opinions aren’t good enough or worth voicing. 

Source: Lenore Thomson

Patrick Brewer ISTJ “The Inspector”

ISTJs are very loyal, faithful, and dependable. They place great importance on honesty and integrity. They are "good citizens" who can be depended on to do the right thing for their families and communities. While they generally take things very seriously, they also usually have an offbeat sense of humor and can be a lot of fun - especially at family or work-related gatherings. Source: Personality Page

Beneath their apparent detachment, ISTJs can be badly hurt by criticism and rejection. They have a strong need to feel useful, appreciated, and valued. 

ISTJs take no pleasure in losing control and they don’t like to be caught off guard by what they feel. They want to be able to master a situation by way of knowledge and practical expertise.

When these types accept their genuine individuality, they work hard to adapt their strengths and ideas to social reality as it exists, and they can sometimes move mountains. 

Source: Lenore Thomson

Stevie Budd INTP “The Thinker”

INTPs do not like to lead or control people. They're very tolerant and flexible in most situations, unless one of their firmly held beliefs has been violated or challenged, in which case they may take a very rigid stance. 

The INTP is likely to be very shy when it comes to meeting new people. On the other hand, the INTP is very self-confident and gregarious around people they know well, or when discussing theories which they fully understand.

They strive constantly to achieve logical conclusions to problems, and don't understand the importance or relevance of applying subjective emotional considerations to decisions. For this reason, INTPs are usually not in-tune with how people are feeling, and are not naturally well-equipped to meet the emotional needs of others.

If the INTP doesn't realize the value of attending to other people's feelings, he or she may become overly critical and sarcastic with others. If the INTP is not able to find a place for themselves which supports the use of their strongest abilities, they may become generally negative and cynical. 

Source: Personality Page

Twyla Sands ISFP “The Artist”

ISFPs tend to be quiet and reserved, and difficult to get to know well. They hold back their ideas and opinions except from those who they are closest to. 

They are likely to be kind, gentle and sensitive in their dealings with others. They are interested in contributing to people's sense of well-being and happiness, and will put a great deal of effort and energy into tasks which they believe in.

ISFPs are warm and sympathetic. They genuinely care about people, and are strongly service-oriented in their desire to please. They have an unusually deep well of caring for those who are close to them, and are likely to show their love through actions, rather than words.

The ISFP is likely to not give themselves enough credit for the things which they do extremely well. Their strong value systems can lead them to be intensely perfectionist, and cause them to judge themselves with unnecessary harshness.

Source: Personality Page

[anettrolikova]

In 1960s the computers were called the new LSD. The fantasy of computers is that they will be tools for transformation of consciousness.

Computers gives us ability to connect people through online systems and building new infrastructure around them.

Information is good, it empowers people. Google by providing information to people keeps them in the loop.

Google provides information and creates a lopp where what’s good for people is good for Google and vice versa.

Which is a challenging space to live in

Burning Man is to the tech world what the nineteenth-century Protestant church was to the factory.

John Perry Barlow and Kevin Kelly and the other folks who popularized the notion of the internet as an “electronic frontier.

The communalists were engaged with cybernetics in a big way. They bought deeply into the hope that through LSD, they would attend to new psychological frontiers and build new social frontiers.

One of the ironies of the Valley is that the NDAs do prevent the transmission of stories from the Valley to Washington, New York, Boston, and elsewhere. But within the Valley, everybody knows everybody, more or less, so the NDA doesn’t apply.

Our society tends to give permission to younger people to do certain kinds of experimenting that also happen to be really valuable inside the tech world. So, for example, we give our young people permission not to get married or have kids until they’re in their mid-thirties. That gives you your whole twenties to live in tech dorms, to try stuff out, to do things that my grandmother would have considered screwing up.

If your vision of the progress of life includes a long hiatus for your twenties, that’s great for tech firms. If you stay all night at Google, that’s great for Google. They can bring you the barber. They can bring you the restaurant. You can have your love life at the firm. Have multiple partners, they don’t care. As long as you are super flexible and committed to the firm.

The possibility of push-button sexuality is very much alive in the Valley.

the challenge for those of us who want a different world is not to simply trust that the expressive variety that the internet permits is the key to freedom. Rather, we need to seek a kind of freedom that involves people not like us, that builds institutions that support people not like us—not just ones that help gratify our desires to find new partners or build better micro-worlds.

If we could just build a better micro-world, we could live by example to create a better world for the whole. I think that’s wrong. Our challenge is to build a world that takes responsibility for people not like ourselves. And it’s a challenge we won’t meet by enhancing our expressive abilities, or improving the technologies of expressive connection.

It means several different things. First, it involves the recognition that the built environment, whether it’s built out of tarmac or concrete or code, has political effects. I was joking earlier about reshaping the Forum, but I shouldn’t have joked quite so much, because the fact that the Forum was round encouraged one kind of debate.

Think about an auditorium where someone sits onstage and the audience watches, versus a Quaker meeting where everyone sits in a circle. They’re very different.

So, structure matters. Design is absolutely critical. Design is the process by which the politics of one world become the constraints on another. How are those constraints built? What are its effects on political life?

To study the politics of infrastructure is to study the political ideas that get built into the design process, and the infrastructure’s impact on the political possibilities of the communities that engage it.

When I went to Burning Man, that’s what struck me: I am in the desert. The desert of Israel, from the Bible, under the eye of heaven, and everything I do shall be meaningful. That’s a Protestant idea, a Puritan idea, a tech idea, and a commune idea. All of those come together at Burning Man and that’s one of the reasons I’m fascinated by the place.

Burning Man has many problems, of course, and I am distressed by many pieces of it. However, there was a moment I had during my first visit when I went two miles out in the desert and I looked back at the city and there was a sign that looked just like a gas station sign and it was turning, the way gas station signs do. It could’ve been a Gulf or Citgo sign, but it wasn’t. It was a giant pink heart. And for just a moment, I got to imagine that my suburbs back in Silicon Valley were ruled over not by Gulf and Citgo, but by love.

The communalists were engaged with cybernetics in a big way. They bought deeply into the hope that through LSD, they would attend to new psychological frontiers and build new social frontiers.