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esamastation · 3 years

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Here's a sneak preview of fic I'm currently working. Working title is Loose Ends and it is post AC 3 and post the original Yu-Gi-Oh Duel Monsters manga and anime. I guess spoilers for both. And Ac Valhalla, a tiny bit.

"You know you have to take care of it."

Desmond hesitates, hand stilling over golden threads of probability, glowing in the grey darkness. He hadn't gone over even a fraction of them yet, and there are probably a million things that need taking care of, now that Juno and Minerva aren't here anymore to literally pull the strings, but… he doesn't need to ask which it they're talking about here.

"I will," Desmond says. "...as soon as I find a way in, I will."

Clay scoffs. "You're not looking very hard."

No, he isn't. He'd been distracted by alternate realities, watching Ezio marry Christina and Altaïr enjoy quiet life with Maria and – and there's just a lot of stuff to look at, to see, to be… vaguely jealous of, sure, but –

"You know that time is still passing out there all linear like, right?" Clay points out. "Abstergo is still looking for Isu tech, and anyone with any ancestral memories about it – if they find out that someone figured out how to make the damn things –"

"Juno blurred those genes," Desmond says a little defensively. "They're literally been hidden from me. And everyone else too, so, even if Abstergo knew about them, which they don't –"

"That's not going to work forever and you know it. Minerva's protections already wore down – as soon as Juno dies, and let's hope it won't take her too long, her manipulations will go too. The genes will become visible again – Animus readable. Like a program, restarting backup after shutdown."

Desmond sighs, unable to argue with that. His hand wavers indecisively, and then he lowers it, shaking his head. "I know – I am still looking for a way in. I just don't have any ancestors in the area at that specific time. Do you?"

"Look harder."

Frowning a little, Desmond lets his shoulders sag a bit before shaking his head and looking at the threads of probability instead, where they rise in front of him into a magnificent glowing tree with infinite branches.

Look harder – look where? Into his ancestry? He has, Desmond is so aware of his lineage that it's a bit uncomfortable – had he missed something…?

"Think about it," Clay says, sounding almost bored now. "Juno wouldn't have wanted to give those memories to you, that data, so it's not in your DNA – but you do have some ancestry in the area, don't you? Even if it's the wrong time, you have ancestry everywhere. And this was thousands of years ago, and with your lineage…"

Yeah. Minerva had collected his genes from all over the world, putting Desmond Miles together like a puzzle. He has a wider spread ancestry than the average… so looking for who he isn't related to is almost easier than the opposite. The data must still be there, though. The Isu are hoarders, when it comes to genetic memories – they wouldn't have let something as big as this just die out. So somewhere there is someone with that connection – someone with afoothold in the right time period…

Concentrating, Desmond gathers the threads of his own lineage – and then dismisses them. There would be no connection there, he can't find this information from within. It would be somewhere else, obscured, hidden… He'd looked at some of the lineages in the area, and none of them connected to the right time or location either. It smacks of Minerva's obfuscation, she'd lead the bloodlines elsewhere probably, hiding them in the distance as well as time...

Something tickles at Desmond's fingers, just for a moment – without thinking of it twice, he wraps his hand around the thread and pulls –

– and gets pulled away with it.

The lineage has protections in place, it turns out – there's a trap. Pulling on that thread tweaks Desmond's own probabilities, and for a while he finds himself in a maze of chances and statistics, all of them leading him wrong. It's incredible – almost physical, like an endlessly folded space of million overlapping staircases and doors leading into more mazes, leading nowhere. Whoever wove it wasn't an Isu, can't have been – it's way too imaginative.

It takes Desmond a bit of manoeuvring to get through even some of it. Luck is on his side, though, even with tweaked probability – the trap isn't active anymore. A bit like Minerva's protection, the maze is unravelling at the edges, because probability isn't an easy thing to tame and it doesn't like to sit idle. Still fascinating, though – definitely a learning experience. If he could learn to weave likelihoods like this –

"Hello?" echoes a voice in the maze of false possibilities, and Desmond freezes. "Is – is someone there?"

… what are the chances of that?

Turning, Desmond finds himself in a sort of hall, surrounded on all sides by stairs and doors – facing a... short asian man with a partially bleached spiky hair. He looks a bit like a punk, with ripped up vest and studded bracelets – there's a belt around his neck and everything. Kinda goth punk. Huh.

"Uh," Desmond says, stunned. Definitely didn't expect that. "Hi…?"

"Hi," the other man says, frowning. "Who are you – how did you get in here?"

"How did I – how did you get in here?" Desmond asks. Desmond at least has the excuse of being a disembodied bundle of genetic data – he can just do that, now. This guy is… not that. "Do you know what this place is?"

The Asian guy frowns, looking at him and then glancing around. "Do you?"

Swallowing the urge to say asked you first, Desmond looks the guy up and down, and then peers inside. Or tries to – and it clicks.

"Oh shoot, this is yours – we're in your head?" Desmond asks and glances around with new appreciation. It's like a – a load screen, an Animus headspace. "Aw man, I'm sorry, I didn't think you might be aware – I thought this was all automated, I wouldn't have just barged in like this if I thought it was all in someone's head."

The Asian punk blinks with surprise and then relaxes a little. "Oh. Well, if it wasn't intentional – and you're not here to harm anything, I guess it's alright?"

"No, no harm intended," Desmond assures. "Sorry – hi, I'm Desmond. Desmond Miles."

"Mutou Yugi – or Yugi Mutou, I guess. Yugi is my given name. It's… nice to meet you?" the punk says and clears his throat, looking him up and down. "Um, how do you end up in someone's Soul Room accidentally?"

Have written 2 chapters currently, aiming for the total of 5 or less.

#Fanfiction #Crossover #assassin's creed #Yugioh

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bloodylondonvtm · 3 years

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A city that never sleeps, and when the night sets upon contemporary London, the dead come out to play their games.

Here on this discord Server, we offer you, the players, the chance to immerse yourself within this World of Darkness. Utilizing Vampire: The Masquerade 20th edition rules, we created a living and breathing City designed to provide those willing to uncover its secrets the chance to play VtM in a collaborative writing play-by-post setting.

Here in Bloody London! your motivation, passion and creative input in helping us weave intriguing storylines is valued by the Staff, offering plenty of opportunities to make new friends along the way as we explore a unique cast of characters that are going to call nightly London their home.

This isn’t a tabletop experience, foregoing the rather linear trappings of such a system in favor of player freedom. A sandbox setting, where every character matters, join us in recreating the gothic atmosphere of Vampire: The Masquerade with all its delightfully diverse themes.

The city awaits.

"Many thousands of passionate words have been spoken here tonight. Some of those words I agree with, and some I do not, but all of them clearly come from the heart of the person they issued forth from. As Aedile Fairfax so astutely pointed out, It is clear that every single person that has taken the time to speak up cares deeply for not only the Clan but also for London and the Camarilla. We all want to see them each grow in power and stand for millennia to come. I for one believe that the person that will lead this endeavor is Praetor Harrington, as I have no doubt made clear throughout the evening. While I concede that Aedile von Berlichingen may be a better warrior, something that I think is clear to anyone in this room, I do not believe that she is the better leader. If you think back on the words that she has spoken this evening, and the tone with which she has spoken them, it is clear that there is a great deal of rage within her. That beast within each of us, that thing that calls for blood, is very loud within her. It drives her forward, much like it does all of us, but as we all know it is not a being of logic. It is a being of hate and malice, things that are good on a battle field no doubt, but not in a meeting room. Aedile von Berlichingen is a weapon, and a strong one at that, but we need more than a weapon. We need a skilled hand to wield that weapon effectively, and she can not be both. Her words tonight have not been the words of a leader, but the words of a dictator. She advocates for taking leadership, for taking territory, for crushing any that oppose us. She wants us to put the lower clans in their places, which in her mind places them below our boot."

Edwin pauses and shakes his head before he finishes.

"These are not the words of a King, but those of a Tyrant."

Toering’s Edwin at the Ventrue Board Meeting

System: Vampire the Masquerade, V20 with some homebrew

Time zone: Any time – we have players all over the world, so if you’re in a timezone that doesn’t get much love you’ll likely be able to find something!

Platform: Discord play-by-post

• New Players welcome! Whether you've played V20 for years or not once we'd love to have you.

• Plotlines generated by both players and Storytellers.

• We are primarily a Camarilla Neonate chronicle, but offer some opportunities for all sects.

• Camarilla, Anarch, and Independent factions available immediately.

• Sabbat characters and some bloodlines available after your first character.

• Kindred, Ghouls, Revenants, and Mortals all playable.

Want to know more? Interested in joining our merry band of bloodsuckers? Find the link to our discord and more on our sidebar!

As Gilead and his shamed offspring began to walk toward the forest, Aleksandar put his hand upon his face, as if to shield his eyes from the pathetic spectacle. Yet, if one were able to see through his hand, they would see one single drop of vitae, descending from his eyes. The lone coyote had received enough humiliation, that the pity of an old man would only deepen the wound upon his honor. And though Aleksandar had never exchanged a word, nor knew of his existence before tonight, he decided to keep him in his memory, until the night he would cease to be.

Having wiped this single tear, out from the sight of others, the Hungarian Fiend stared neutrally as the father return without his child. It had to be done. And though filicide had taken place, the night would not end for them. Aleksandar joined the others in the celebration, singing and dancing with all his soul, as they partied the night away. The form of a drowned creature, with a skin fused with the stone, dancing fearlessly around the fire was unremarkable amidst the legion of monsters and fiends that laughed under the red starry night sky.

They were Tzimisce.

They were the uncountable heads of the Dragon. Each representing another aspect of reality.

They were a unique existence, one that could not be fathomed even by their kind.

One that could not be joined.

Though it could dream roaring at the world, and of soaring the sky at their side.

A Wolf could not become a Dragon.

Progidius’ Aleksandar at the Tzimisce’s Kupala’s Night

The keys jangle again as one is brought forth to the lock and pushed in.

It clicks. The knob turns.

The old door, swollen from humidity, sticks in its place before a forceful kick sends it swinging open toward the vampiric intruders. The whistled tune begins anew.

A figure, exact features indistinct in the gloom of the lightless room, stands in the doorway. The whistling promptly stops. With a gasp the figure freezes in place, stock still. The keys drop from their hand, clattering onto the floor.

“Shit!” The curse is hissed under their breath. Hands fumble into pockets. Something is pulled free - thrown - in the direction of the trespassers. It thuds to the ground before anyone can get hit.

A garlic bulb.

The frozen figure springs to life swiftly and attempts to scramble backward. Hands jam into pockets with a quickness and this time a lighter is freed. The flame that billows forth from it is more like a torch than your average lighter, clearly modified in some way. The figure's startled, youthful features are briefly illuminated in the firey glow. Shaking hands hold the lighter out toward the intruders.

In an instant the lighter slips from their grip.

FWOOSH

And the arm of an old nearby chair catches alight.

A wannabe hunter is confronted by a coterie of Kindred.

#vtm #vampire the masquerade #roleplay #play by post #vampires

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thanks-mike-stamford · 3 years

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Fics that inspire my writing - Part II

This is Part II. Read Part I or Part III

Continuing the discussion, I grouped these fics together for something they have in common: author style! It was actually a bit hard choosing them because they are all written by authors who have a distinct style. Something in them that makes you recognise the author right away, that makes you think - oh yes, definitely is a story from this person. When you have a bunch of stories with the same kind of feel, it's hard to choose one to illustrate my point. Tip is: binge read the authors below!

Part II

I Used to Live Alone Before I Knew You by etothepii Back when there wasn't even s2 yet I was already reading stuff from this author. I absolutely love their fics. This one is super interesting, a Good Omens fusion book version - beyond numerous screaming posts on the internet I'm not really familiar with this universe.

Something I like in all their fics and it's worked beautifully in this one is that there's more than it seems under the surface. The characters are not an open book even to the reader, and the narrator (close Sherlock POV) doesn't give all the information. The narrator sometimes doesn't even explain the information we are given. The facts are presented piece by piece, building the layers of a character, making it clear that even if right now, for this story, it's not relevant, this person is a complex human being (or angel. Or demon) that doesn't exist solely for the purpose of the plot. Two factors help with this: the non-linear narrative, that permits we only know a part of someone when it becomes relevant; and the sort of omniscience of Sherlock. I say sort of because yes, he's a demon and he has access to the core of someone. He's able to fish for stuff that happened in someone's life and how they feel about that as a way to build their vulnerability to sin. However, this is not necessarily mind-reading or future prediction. He makes deductions based on the soul, let's put this way. But because he can't use it to predict exactly what is going to happen, he still gets surprised. Because the characters are layered, they are able to be consistent with what we know and yet unexpected, up until the end.

The combination of giving powers to the narrator and using non-linearity is brilliant, working to enhance the themes behind the plot, which are about the complexity of the human soul. I'm working on a WIP that has similar themes and I try to play with these aspects to make it smooth like this story, instead of a philosophical essay using voices of characters. I've tried the non-linear narrative in a published fic, but it didn't have the same level of success in serving the story. Let's see if it goes better when I try again.

What It Is by toyhto This author has two main things going on in their fics: the type of angst that makes you question yourself, and the type of humour that is not really about trying to make you laugh, it's a very weird type of humour. I love weird stuff.

This fic is not Toyhto's best angsty one or best humourous one, but it's one that creates a good mix of both, like a tragicomedy (but without a tragic ending). You have John not knowing how to feel about Sherlock, and Sherlock gambling possibilities on how to fix the situation. It's the narrative that fascinates me. The story keeps its cards close, the reader is often a bit uncomfortable, a bit wrong-footed. You don't know where the story is going (hell, sometimes you don't even know where a scene is going), so you keep hanging up until the end. There's an underlying panic in how characters interact, but it's never hysterical, it's never loud or obnoxious. And then you find yourself snorting in situations that shouldn't have been funny. Life is usually not one genre or the other, so why literature should be? I love that the story never tries to be something (sad, funny, intriguing), and yet it is. It's not easy to pull something like this.

I have a WIP currently on my drive folder where I try to play with this tragicomedy narrative thing. This fic inspires me in trying to keep the reader on their toes all while looking effortless.

Borrowed Ghosts by DiscordantWords DiscordantWords has been out there since 2016 showing how there's more than a way to fix canon. In fact there are multiple ways. This is the author you want to go if you watch the show and think eeh this should have gone a different way. There's probably a story in here which takes the same premise you thought about.

This one is just too incredible. Because it picks up right from a crucial point in canon and said - ok, what if everything still happened, but they actually make sense? For this story consistency is key, and if canon gave us a John Watson making bad decisions while nursing an unreliable brain work, that's what you get. But make it make sense! This is what happens when you are on a roll of bad decisions, this story tells me. This is what happens when you're isolated from what before kept you on track. This is what happens when on top of everything your mind is playing you tricks: they don't just stop because you decided to. That's not how it works. This story acknowledges the bad stuff, but to fix them it doesn't propose miracles, and it definitely doesn't ignore them. We get the consequences but we also get the process of change that is necessary for things to be good once again. Like John says: there's a difference between wishing something happened differently and wishing it hadn't happened at all. But it did happen, so now what?

Make it canon divergence but character consistency and twist it to fix it, it's what inspires me in this fic.

The Ancillus's Tale by Chryse I reiterate that everything by Chryse is a must, but everyone that follows me on twitter had to deal with me constantly gushing about their most recent work for months, so it will be this one here. I just have a lot of feelings about this fic. Oh, yes, omegaverse again, inspired by The Handmaid's Tale.

The one aspect that comes to my mind when I think about Chryse's works is dark themes. If I want to read about fucked up stuff happening, I will go to them. And this particular fix has fucked up stuff from the first to the last chapter. And it's very immersive: you get inside the head of whoever is POV at the moment, Sherlock or John. You get their physical reactions, their thoughts, you know what they know. And the world building is on point: detailed enough that is totally credible, you can see reality becoming that way, but it's not described to exhaustion. We are presented the info about what we need to know, and rest is there, somewhere at your peripheral vision where you know it exists but it doesn't become a nuisance to the plot. But more important than that, it's how the dark themes are treated. It's never on black or white situations, surprisingly, despite the universe setting. The characters especially - they are allowed to have conflicted feelings, they are allowed to misbehave even if they are supposed to be on the good side, they have nuance and complexity. And the cherry on top: just because it has a dark premise, it doesn't mean it can't have a super satisfying happy ending that even brings comfort to the soul after letting it being hurt. We get snippets of comfort, the promise it's going to happen all along the fic, to compensate the extreme suffering the characters are going through. It's glorious.

I have been toying with the idea of writing something on the dark side. In fact my next multi chapter is super fucked up (but as always, with the certainty of a happy ending), and I hope it can see the world soon. I'm writing with this premise in mind: characters are allowed to have conflicted feelings, and they are allowed to misbehave, that won't make them the bad guys.

This was part II! If you missed part I, just click here. Part III is up!

#johnlock #sherlock fanfic #hoverseas talks about fic

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the-iron-orchid · 3 years

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BOOK II: THE HIGH PRIESTESS

Chapter 1: The Seer (~2330 words)

Warnings: None

Back to table of contents

The landscape is desolate, a place of tawny sands and little else. The sky overhead is oppressive, thick with dark, lowering clouds. Where the two meet, the slim line of the horizon pulses with a viridian glow.

My arms hold fast to Asra’s waist, the scent of his hair in my nostrils. Beneath us, I feel the loping stride of a great beast, shaggy and immense. I realize that I must be dreaming... and in dreams, I have made contact.

“Mast -” I stop and swiftly correct myself. “Asra, where are we?” I ask him. It is only then that I notice the path of shining obsidian before us, snaking ahead to the horizon - clear, and yet ever-changing, its reflection of the sky above further confusing the perception.

Asra says that we are far enough away... but for what?

For answers, he says. For clarity. He senses a terrible storm on the horizon; something is changing, and not for the better.

I am instantly reminded of what the Countess said, her dream-visions of a terrible future, which must not come to pass.

Asra tells me that soon we will reach a crossroads, a nexus, a liminal place. He says that I will make a choice, one that changes everything for me... and for others. I feel his hands over mine, squeezing very briefly. But they are trembling, just a little, and he lets go hurriedly - as if the touch might burn him, or me, if held too long.

A chill wind rises around us, bearing the sands up with it in a vortex. It blots out first the landscape, then the horizon… then everything.

The last thing I hear is Asra’s voice: “Rest now, ya albi. I'll be back soon.”

---

I awaken to late morning sunlight slanting through the small windows - rather later than I wanted to sleep, but it seems that the previous night left me exhausted. I stumble into the kitchen, yawning, and rouse the stove salamander so that I might brew a pot of strong tea. He, too, needs to use his abilities regularly, lest they cause him trouble. If I am to be out, he should have a good round of exercise first.

Over my tea and a scone that has seen better days, I consider what I should bring with me to the Palace - a change of clothing, spell components, my current journal… I’m certain that they will be able to provide me with writing instruments...

It keeps my mind off of my strange dream, and its portents. For now.

Fortified with multiple cups of tea (the scone, not especially improved by toasting, was left out on the doorstep for the pigeons), I pack my things. The bag that Heron made for me is very special - it holds much, much more than it appears to. Then I set about readying the shop for my absence. I dust down the counters, and ensure that the stove salamander has a supply of coke to consume.

I go up to the rooftop to water my plants, such as they are. Heron has a lush rooftop garden that provides us both with herbs and vegetables year-round; I have a planter box full of pretty flowering weeds. But the basil is doing very well in its bucket, and the aloe in its large bowl. There is also a forgotten bean that started to sprout, now residing comfortably in an old mug with no handle. Hopefully I won’t be gone so long that they all wither in the midsummer sun… well, the aloe will survive, I am sure.

When I come back downstairs, I must turn away a few customers, hopeful for a reading. Everyone wants to know what the future holds.

If only I could ask the Arcana about the past, everything that came before the last three years. Three years of struggle and pain, of learning to be an adult human all over again, after whatever accident or illness took that part of me forever… for the most part. Once in a while, a dim memory will float by, like a distant iceberg on the sea of my mind. To try and grasp such memories is to invite pain and terror, and so I let them go.

But sometimes, there are things that I know or can do which I did not learn in the last three years with Asra and Heron. I must assume that these come from Before, written so far below the surface of my mind as to escape erasure. I dance fairly well, and I sing better than that. And while Asra and Heron are always cautious in how they teach me, I very often feel that the small, shallow pool of my magic bubbles up from something much deeper, an underground ocean in the caverns of my soul.

It is a place I cannot explore, not even with the seemingly unending patience and help of my teachers. When I have tried, it leaves me bedridden for days, my body unresponsive, my mind a maelstrom of vivid hallucinations. Giants, ghosts, talking animals… a deeper dimension to my relationship with Asra, which is almost certainly wishful thinking on my part.

They tell me that my power springs from something very fundamental and dangerous, the primordial Chaos that underlies creation. By the same token, Heron’s magic springs from the primordial force of Order, and Asra’s from a direct connection to the Magical Realms that lie beyond our own. Each of us is something different, and yet the same.

They both tell me that I’m making wonderful progress, that my power and ability will continue to grow; it simply is not a linear progression. Magic grows in fits and starts and flashes of understanding.

I hope they are right.

As the day wears on, I must be on my way to the Palace. I thoroughly lock up the shop, tracing the wards on the doors (not that this seemed to help against last night’s intruder). As I am doing this, a sudden prickle down the back of my neck causes me to start in alarm - a huge shape has materialized at my side, seemingly from nowhere.

Eldritch energy immediately crackles around my left hand, but I rein it in - they are doing nothing in particular besides looming, so large that they block my access to the side alleyway entirely. Two glinting eyes watch me from within the depths of a rough hood of furs, draped over a massive body that is crossed again and again with ropy scars.

I clear my throat. “Er, excuse me… I need to pass through there.”

For a moment, they simply continue to look at me. Then, they shift their weight, and start moving out of the way. There is a strange muffled clanking, as of chains.

“Thank you.” I nod curtly, settle my bag on my hip, and start walking past the large figure.

“He will return. Though uninvited.” The voice is deep, so deep it’s like the thunder of a waterfall. “He will offer you an escape when you need it most. Turn him down, or you will fall into his hand… just like the rest of us.”

I pause at this apparent prognostication. A teller of fortunes, I know a seer when I hear one.

“Take this, or my warning is for nothing.”

I turn back to the person, curious. The light just barely strikes two glimmers of green from within the hood. Pinched between the huge thumb and forefinger is a little leather pouch on a thin cord. Grudgingly, it seems, the figure holds it out to me. I reach a hand out, palm up, and they drop the item into it, as if unwilling to touch.

And without a further word, they turn and shuffle away. Oddly, no-one seems to take notice of the hooded figure, despite their immense size - normally, people would be gawking, pointing even.

How odd. I scrutinize the tiny bag in my palm with my magical sight. It radiates a faint aura of protective magics. I glance up again - but the figure is gone.

The pouch is well-sealed with complex warding knots, and the leather is inscribed with a sigil. Bringing it to my nose, I smell the warm, woody scent of myrrh resin.

Philosophically, I hang the little pouch around my neck. My magical sight shows nothing malicious in it… and I can use all the protection I can muster, I’m sure.

I step into the flow of traffic and noise as I cut my way through the bustling Market, but I hear little of it; I am lost in my own thoughts. Who is the he spoken of by the seer? Julian tried to give me some warning or other about Asra… but I’m not sure I credit that. He seems to have some personal vendetta. Julian himself, perhaps? What more warning could one need about a wanted criminal?

As I climb the steps that lead into the market plaza, a black shape catches my eye - it’s a large raven, perched on one of the lines of colorful lanterns that crisscross overhead. The bird looks back at me with one beady eye, blacker than my own, then croaks and turns its head. I, too, turn my head, following its gaze.

...and my heart stumbles and skips a beat as I spot Julian Devorak, walking through the crowd as if nothing at all is amiss, his face bare to the world... and unblemished. His temple shows no bruising, no hint of a wound where last night he bled.

He hasn’t seen me yet. Half of me wants to flee, but the other half is intensely curious as to how he can walk about so freely, a fugitive from the law. And how has he healed so quickly?

It is this second half that sends me after him.

Unfortunately, this means I must move against traffic, and I am not large. I also don’t want to form an obvious eddy in the crowd with my movements. Devorak is making his leisurely way along the market stalls, seemingly without a care in the world. Is he looking to get caught? Wanted posters litter the city, and between his height and that profile, it’s not like he is anonymous in any way. An eyepatch only distracts so much.

The raven gives a sudden shriek, and Devorak turns, our eyes locking for a frozen moment through the crowd.

And then a cart passes between us, causing me to step back involuntarily. When it is gone… so is he, vanished as if he had never been there at all.

I pause, traffic flowing around me, and wonder at my own actions. The man is a wanted criminal, maybe even a killer. Why on earth would I put myself in danger by following him around, no matter how curious I am? Shaking my head at myself, I rejoin the foot traffic, resuming my interrupted journey.

Maybe it was Julian that the giant of earlier was warning me about.

A voice cuts through my reverie, a voice I know. It’s Selasi, the baker, whose stall Asra and I often frequent - one of the small handful of merchants who seem unfazed by us. He asks if I’ve eaten, saying that there are spiced pumpkin loaves fresh out of the oven, almost cool enough to eat. He cajoles me to sit and talk with him in the meantime.

A pot of tea isn’t enough to fuel my day. My stomach rumbles to resentful life as the scent of the spiced bread reaches my nose.

“Well… I can’t stay long,” I tell him. “But I am starving!”

Selasi laughs and waves me to the back of the booth, where I seat myself up against the sun-warmed wall of the building behind. An enormous orange fluff of a cat appears from under a table, and rubs itself against my side. Absently, I scratch it between the ears.

The baker offers me a steaming cup of tea, asking after Asra.

“Oh, out on a journey again.”

“Of course! Where to this time?”

“I… don’t know, actually. He didn’t say.”

Selasi frowns slightly. “Really?”

“It seemed really important. Maybe it’s a secret.” I shrug, sipping my mint tea.

The baker folds his arms and shakes his head with a sigh. “Nothing new, I guess. Your Asra on a mysterious journey, that is. But what about you?”

I lift my brows. My Asra, indeed. “What about me?”

He grins widely. “They say that the Countess’s own carriage was spotted here in Center City, late in the night. You can’t miss it, not with all the escorts on horseback. Circling around not far from your shop, even.”

I do my best to cover over my surprise. Selasi loves gossip as much as he loves to bake, and maybe even more. It’s harmless, but I don’t know that the Countess wants her business all over the market.

“Really? I wonder what she was after?” My stomach chooses that moment to let out a long growl, and I laugh. “Me, I’m just after pumpkin bread. I’m a simple creature.”

Selasi laughs, throwing his head back. “Keep your secrets, then, just like your master.” He shakes his head and pulls a fresh loaf from the cooling racks. “One hot for now, and one cool for the road?” he asks, and I nod, giving the cat one last pat before rising and placing my empty cup aside.

Selasi wraps the loaves for me, and I hand over my coin. I place the cooled one into my endless bag before taking a big bite out of the warm loaf. The outer crust has a pleasing bite to it, the inside soft and fluffy, the spices fragrant. “Mmph! Delicioush azh alwayzh! ’ll zhee you lader!” I say around the mouthful of pumpkin bread, waving as I exit the booth.

“Don’t keep the Countess waiting!” he says, almost making me choke on my bite of bread.

I suppose it’s true what they say… the only thing that travels faster than magic is gossip.

#the arcana rewrite #arcana rewrite: tides of chaos #jinana aditya #chekhov's bean sprout lmao

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tokiro07 · 3 years

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Thinkin’ about the term Soulslike again (though I don’t know if I’ve ever talked about it here)

I really dislike the idea of naming genres after specific games on the basis that it leads to stagnation in the development of games and doesn’t actually tell you anything about those games if you aren’t already familiar with the source

Metroidvanias, for example, by and large either try to perfectly mimic Super Metroid or Symphony of the Night to the point where a lot of them will practically use the same upgrades with different visuals or names in my experience, rather than reimagining or refining the core experience of exploration and discovery (some people have called these games Sprawlers, but I like to call them Explorers)

Roguelikes, fortunately, have now boiled down the genre to just two major, generalized mechanics, procedural generation and permadeath, but for some reason have retained the name even though they are nigh unrecognizable as “Rogue” games anymore. Some Roguelikes have even cut down on the permadeath with a persistent upgrade system that have resulted in them being called “Roguelites,” even though they already had nothing in common with Rogue aside from being Procedural games

“Soulslikes” at the moment seem to be leaning towards the former for the most part, though they are slowly but surely drifting away from that. Now, I haven’t played many Soulslikes, but from what I’ve seen, almost all of them have the following:

a limited, slow-use health restoring item

a currency that is dropped upon death (usually retrievable at the point of death)

a checkpoint area designated for the usage of said currency, recovery of the health item, and/or upgrades and customization (these may vary, but there’s usually a combination of these) BUT also restores all of the enemies in an area (if applicable)

enemies with high damage output but consistent predictable and exploitable attack patterns

combat heavily based around animation speed

a dodge or parry mechanic that helps give the player control over the pace of the battle

obscure lore often told through environmental storytelling or vague item descriptions

Dark Souls itself also has several elements that are frequently seen in its clones, but not necessarily all of them, including:

character customization

variable weapon builds

an RPG-style leveling system

a stamina-bar that recovers over time

an item that increases health and allows for a mechanic that makes combat easier at the risk of inviting some form of danger

a semi-open world that encourages familiarity and creates shortcuts over time

With all of these elements, Dark Souls itself is effectively an Exploratory Action RPG, with its world functioning similarly to a Metroidvania and while having a customizable/upgradable character that can perform real-time combat. The question is what Dark Souls does differently within these genres that makes it unique, much like how Rogue differentiated itself from other turn-based RPGs of the time (procedural generation and permadeath)

I think when most people think “Soulslike,” they think games that emulate the look and feel as closely as possible, like The Surge or Nioh for 3D games or Salt and Sanctuary or Hollow Knight for 2D. These all, to my knowledge, use similar kinds of currency systems and combat systems

These systems have led to people like Yahtzee Croshaw labeling Soulslikes as “Recursive games”, on the basis that they encourage one to throw themselves at one challenge again and again until they learn it by heart, often through asking the player to specifically face the thing that defeated them rather than go another way.

While I see the argument here, I think that this definition is actually too broad. A linear platformer will do the exact same thing, but if you die repeatedly to a specific enemy or obstacle in a Mario game and keep trying until you get it, does that make Mario a “Soulslike” game? Not at all, but any video game that has a failure state is, by its very nature, recursive. Not all games do this, but all that do can’t be referred to as “Recursive games”

Dead Cells, for example, inherently lacks this feature. Sure, its procedural nature promotes a “just one more go” mentality, but what you’re doing is inherently different every time. You aren’t facing the same challenges, as enemies and item builds are always different. However, what remains is the combat-style

I’ve always felt that the most important part of something being similar to Dark Souls is the enemy encounters that are dictated by health/stamina management and pace control. Because this is so heavily rooted in Dark Souls’ unique method of combat, I’ve been referring to it as a Precision Combat game, as precise inputs and timing are often necessary for survival, and an understanding of how both the player and the enemies behave is necessary for progression

What muddles this is that we already have terms like “Action” and “Fighting” to define specific genres, and those terms are just too close. Fighting games are, in a sense, Precision Combat games that remove everything extraneous: no level progressions, no upgrade systems, just pure mechanics in typically one-on-one battles against a specific character being used by an opponent. Action games, however, basically mean anything that has some kind of combat encounter in it at all, allowing it to span Platformers, Fighters, Shooters, Brawlers, Puzzlers, anything, so much so that it’s a near pointless concept. One could argue that by calling something a Combat game, it immediately implies a greater focus on the precision of the action, thus making the “Precision” in Precision Combat redundant. We could also call it “Precision Action,” but that comes with its own problems

Many games have had precision action elements since the inception of gaming. The most notable that I can think of from the NES days would be Ninja Gaiden and The Mysterious Murasame Castle, both of which require quick reaction time and strategic attacks, generally not allowing players to simply brute force their way through. However, while these could strictly speaking be called Precision Action games, that doesn’t mean that they are “like Souls,” nor do they resolve the fact that modern games are taking inspiration from Dark Souls’ unique mechanics to spawn a new genre. It just becomes the same problem that Recursive had: it can apply to too many things that already exist rather than honing in on what makes Dark Souls itself unique

A friend of mine called Dark Souls a “Strict” game on the basis that the failure to act in a precise manner is entirely on the player, that Dark Souls is “tough but fair,” but honestly I think that’s just a fancy way of conveying the same idea.

In the same conversation that Recursive was introduced, Yahtzee’s associate Jack Packard suggested that Soulslikes be called Fight-or-Flight games to highlight the decision making process that the player goes through: “do I have the right items for this encounter?” “How far am I from the checkpoint?” “Should I avoid the enemies to preserve health, or fight them to get their drops?” Jack and Yahtzee determined that this couldn’t work because the player can’t run from boss encounters, and thus those moments remove a core gameplay element that Fight-or-Flight would imply. I, however, think they were on the right track

For one, the bosses are the very reason one has to consider whether to fight or flee in the first place; there is always going to be something that the player needs to save their resources for, something that they can’t flee from, so the question is what to do in the moments where that choice is available. However, I think there’s a way to potentially reconcile this issue while retaining the high focus on player choice: Risk/Reward

Now, many games have elements of risk and reward, particularly procedural games where if the player is having a good run, they may want to play more cautiously, but “Soulslike” games have a particular way of baking these sorts of choices into every single moment. Every attack animation is a risk because they’re exploitable by an enemy, every usage of the healing items is a risk because they’re exploitable, every enemy is a threat that can cause the player to lose their precious items, every enemy attack, even from bosses, is exploitable but reacting to them may leave the player open. “Do I attack now?” “Do I heal now?” “Do I fight this enemy?” “Do I run past them?” “Do I use my currency on this upgrade/item, or save it?” These are all ideas that are present in other games, but Dark Souls and its contemporaries utilize it in such a specific way that I think one could make the argument that it’s their defining feature

Risk/Reward also has the benefit of removing the necessity for combat altogether, whereas Fight-or-Flight explicitly states that combat is an element of it. This could allow non-action games to potentially recontextualize Dark Souls’ Risk/Reward mechanics into something else entirely, similarly to how Toki Tori 2 took out Super Metroid’s action-centric upgrade system and replaced it with a consistent moveset used for puzzle-solving, and all “upgrades” were actually moments where the player would discover new ways to use what they already had to progress

I don’t necessarily think Risk/Reward is a perfect solution, as like I said it can technically be applied to a lot of other games (ex: in any turn-based RPG, one can choose to attack, defend, or heal, risking the enemy’s actions), and it’s not the most elegant thing to say (ex: to encompass all that Dark Souls is would require calling it a Risk/Reward Exploratory Action RPG), but I think it’s a step in the right direction

If nothing else, it helps make it clear why a game like Sekiro, which removes nearly all of Dark Souls’ mechanics and even boils the combat down to a single weapon type, can still be considered a “Soulslike;” moving the enemy into a vulnerable position potentially leaves Sekiro vulnerable as well, but the player needs to take that risk to win a fight

I’ve also seen the word “dynamic” used to describe the combat in both Dark Souls and Sekiro, which ties back into what I was saying about controlling the pace of combat. This could also work and may be useful in conveying the idea of decision making, but it may have more difficulty in translating to other genres. That said “Exploratory Dynamic Action RPG” sounds better than that mouthful I said before, even if it’s still a bit long

It may be years before we get a good answer to this question, and it really will be determined by what elements survive the refinement process and remain recognizable, but for now, I think I’m going to start trying to work either “Risk/Reward” or “Dynamic” into my conversations about Dark Souls until I hear something better

#dark souls #soulslike #video games #genres #analysis #my analyses

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conduitandconjurer · 4 years

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(So if you ever wanted to learn how Klaus would be as a parent, please enjoy this snippet from a Discord rp with the OC Ana, written by @blackmxgickwoman !!!! )

Diego Owns My Soul 🗡🗡11/24/2020

She hates this new school. The teachers are boring. The kids are rude. And frankly, Ana would rather be anywhere but there. It's not hard to get out. Permission to go to the bathroom. Phase. Out the wall, off to wherever. Today, she's snagged some snacks from a convenience store and found her way to the local library where she can manage to learn things she's actually interested in. All she has to do is get back to school on time and no one will know. Unfortunately for her, someone's noticed and called her father to let him know that...Ana's disappeared from school. Again.

(っ◔◡◔)っ ♥ Klaus ♥11/25/2020

Klaus is still getting used to having to answer the phone. He's still getting used to accounting for anyone beyond himself, in a world in which he no longer has addiction to fall back upon as an armor, a numbing mechanism, a way to enforce boundaries he's never been granted. He's still getting used to having a preteen daughter who needs him, but, he thinks, when the labyrinthine maze of his brain allows him to think in a linear fashion, he's not doing so badly. This truancy thing, however....that's the bit he can't surmount. Yes, he can find Ana even when she phases, but he knows from experience that a too authoritarian parental hand only produces resentment and further rebellion. So he hangs up his cell--furbished for him by Five, the only real father figure Klaus himself has ever had--sighs, drags his palms down his face, and emits the sort of sound that usually only comes out of a constipated goat. "Fuuuuuuuuuu-CK," he whisper-shrieks, stands and finds his Converse, and goes out into the RUDELY cold November afternoon toward his daughter's usual haunts.

Diego Owns My Soul 🗡🗡11/27/2020

The library is luckily not as busy as normal. Ana prefers it that way. Quiet, empty....it's like her own little world. Tucked away in probably the least visited corner of the library, she's tucked in a dark space reading through medieval building methods, eating hot cheetos and at peace. Every so often, she glances at the clock to check the time and peeps around to make sure no one's coming. It's during one of those times that she spots him coming up the stairs. "Shit...." she whispers under her breath quickly gathering her stuff and scurrying down an aisle opposite his direction. She's just got to keep away from her father and get to the door and she'll have plenty of time to get away. She can do that. Easy. Right?

(っ◔◡◔)っ ♥ Klaus ♥11/30/2020

Klaus's whole lovely fey face scrunches up in to an expression of utter consternation. "ANA!" he scream-whispers, stops and stomps a Converse-clad food. "ANA. Shit...." But he didn't spend every year of his life from 17 on in the streets and in various drug dens without learning how to run very quickly and very erratically. "Scuse me, sorry, nice reading choice...pardon.....scuse me--!" he apologizes profusely while weaving through the stacks and taking a shortcut outside and up the fire escape. "OH, you little SHIT!" he hisses as he books it toward where she ran.

Diego Owns My Soul 🗡🗡11/30/2020

She hears the commotion rather than sees it and doesn’t let up. She does have the advantage that she can run through the bookshelves and takes advantage of that before taking off down the stairs and out the front. Okay, maybe she shouldn’t have ran. Now that she’s outside and thinking, she’s starting to realize that might not have been the best option. But she doesn’t feel like getting in trouble yet or going back to school so....what else was she supposed to do. Looking around, she decides to run across the street to the drugstore. Maybe she can bide her time in there and he’ll leave. If she’s lucky.

(っ◔◡◔)っ ♥ Klaus ♥Today at 4:34 PM

"I CAN STILL SEE YOU!" comes Klaus's exasperated cry, as he spins and gives chase back down the stairs. "HHAHHHH, fuck! And I do cardio, Jesus on a Pogostick!"

Panting, forced to yield simply to her younger age, he gives hot pursuit--and finds himself rolling across the dashboard of a car crossing the street. He hops off. "PLEASE! Go ahead, man, I CRAVE the favor!" he snaps at the bewildered driver, finishing it off with an "up your ass" gesture before limping on across the street. He pauses, hip jutted out, and jiggles a leg while examining the row of shops. What would I do? he ponders, sort of grimly accepting that this is some karmic payback for shit he pulled at Ana's age. Drugstore. Drugstore. . Candy, junk food, cigarettes. Certain otc meds that offer a cheap high. Useless trinkets that bring stupid levels of joy, like hair ties, magazines, and cheap nail polish. Yep. He hops in, on one foot. "Ana," he addresses the entire blinking, confused store, "I'm not gonna yell at you, or anything. Can we just t . . . talk? Sorry. Hi. No, no autographs. No, please. Daughter stuff. Scuse me." He darts down an aisle. "Come on, honey, please. " He blinks at himself. While he's no stranger to giving affectionate terms and pet names, that "honey" slid out so naturally that it alarms him. Paternal instinct? In MY psyche? More likely than you'd think....

Diego Owns My Soul 🗡🗡Today at 4:54 PM

Honestly, all of this has just been....too much for Ana. She hates that she's been forced to change her entire life. She hates her school. She hates all of this and she knows that Klaus is trying to look out for her. Knows he's trying to dad her but honestly....he's not that good at it and she doesn't need a parent. She can look out for herself. She can find for herself. SHe's good. She's fine. Settling in a corner, she pulls out the book she'd swiped to start reading when she hears his voice again. Well, shit. Looking around, she spots the employees only door and knows that there's definitely a back door through there. All she has to do is get from one end to the other without him seeing her. At least, like this, she doesn't think he can actually catch her. She doesn't think he knows how to actually touch a ghost. She hopes he doesn't. Standing, she takes a moment to make sure the coast was clear and starts to sneak in the other direction hoping he doesn't notice her from wherever he is in the store. Maybe it's time for her to just....say okay and face up. She'll have to get in trouble and he's not giving up on her. Sighing, she sneaks up behind him and crosses her arms. "I'm not going to school."

(っ◔◡◔)っ ♥ Klaus ♥Today at 5:15 PM

"HOH, CHR...ist...!" He jumps a mile, thanks PTSD, and slowly pivots to face her.

"...yeah, I figured." Yes, he's bad at it. At consistency, and obligation. But nobody tries harder to love someone in his orbit than Klaus, and hopefully that makes up for some of his failings. "But that's not ......that's not a dealbreaker...for me, okay?" He glances around, at the gathering crowd. God. All through his childhood, there was always a gawking audience of two kinds: the ghosts, and the Academy's unbalanced, devoted fans. Privacy, boundaries, they're unobtainable to him, and therefore, sacred. He pulls out his phone and texts her: [Do you wanna go talk about this somewhere else?]

#ic #blackmxgickwoman #Chip off the Old Block (Ana)

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lexicals · 4 years

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Jfc I am BUZZING what a fucking episode. The first part of this is mostly screaming tbh

I love happy juno but also grumpy juno is my favourite welcome back

I love how firm peter is with him in stopping him from spiralling? It's good

Rita coming into her own!! Learning lessons!! Growing up!! Yes!!!

SO MUCH INFO THOUGH. Dark matters wants the crime family and they want them alive and they don't know anything about two of them but!! Which two!!

You'd presume nureyev is one but..... who knows ahh

This is gonna be mostly screaming I have no time for coherent thought rn

Juno being protective over rita godd

Juno comforting rita while she's panicking ;;

OH HEY FUCK THE NAME? I MEAN LIKE IT WAS ALWAYS A POSSIBILITY BUT RITAAAA

Me thinking no surely he wouldn't have just abandoned them and breathing a sigh of relief when he hadn't only for my boy to DO THIS?? ET TU PETER??

PETER

NUREYEV

DESERVES

BULLIED

I'm not serious but my guy had BETTER have a good reason for this. I would hope it's a long con of some kind or SOMETHING but PETER

Anyway if these people know his name idk if this is either 1. Blackmail or 2. Maybe he didn't get away from brahma all by himself after new kinshasa after all. Maybe he had help and it's finally come back to bite him in the ass. Who knows but I'm fucking 👀 PETER.

MISTER WHO

Also. Robot kisses 🥺

ALSO. Juno just. Picking him up and carrying him out of the room fhshdhdgs

MAMA BUDDY SO ANGRY THOUGH. I thought this would be the case but ooof

LESBIAN WEDDING TIME THOUGHHH Buddy and vespa inventing romance once AGAIN

I mean I'm sad they're retiring (although depending on what nureyev is doing here this "last job" could be UHHHHH DERAILED) but!! Yes!! Married!!

Knife girlfriend will finally be..... knife WIFE

Juno sniffling in the corner like ME TOO BITCH THE FUCK. Secretly a sap as usual though mr steel I love you

I can't remember other things I just. So much happened. I'm gonna need to listen again at least a few times here

AAAAAAAAAAAAAAAAAAAA

Oh FUCK also rita!! "When someone tells you what they want you to call them that's what you call them"!! Penumbra said trans rights once again thank you kabert and also ms jones. Bless

Not a second listen yet but more Thots:

Rly good episode...... and the robot kisses were very cute...... but I had this thought in pt. 1 and again this episode that I'm kinda bummed out that we've kinda just.... skipped over all the relationship development for juno & peter. Like on the one hand it's kind of unavoidable to miss stuff given the series format this time around but on the other it feels like 2 seasons of build up for something that.... just happened offscreen :/ Idk I was hoping for a first kiss back together or Something

On the one hand while it seems like nureyev is being a Snake™ I'm gonna hold back on actually saying he's gonna betray the crew bc he's been so consistently set up as the villain, going back to s1 when juno refused to trust him all the way through to shadows of the ship, and he's never actually proven himself untrustworthy a single time through that? Like, murderous mask has been the only time he's actually fucked anyone over for his own gain, and he went back on that one pretty quick

Plus the fact that he's only claiming to deliver the four items they need, not the curemother itself - it could be that he's planning to wait until after they've stolen the curemother when they no longer have a use for them, or at least I'd like to think so peter I'm fucking Watching You

Another thought: you know how else you might describe a debt? Something you owe to someone because, maybe, they have something of yours? A fucking ransommmmm

Also, why! Did! That! Bot! Not! Self! Destruct! Or at least not straight away. It's almost like someone wanted them to get away in the nick of time. There's a part of me that's wondering if the fact that dark matters is under mysterious new management and the fact that nureyev has made himself what seems like a very powerful enemy are linked, but we'll see. Either way I think someone definitely facilitated their escape, and I wouldn't be surprised if it was whoever is holding peter's debt, using the crew as a tool to get their hands on the four items they want and keeping nureyev as a source on their progress

Looking forward.... other people have said this as well, but I don't think nureyev is ever going to be cast as a villain here. At the very worst, he'll do something well-intentioned but kind of stupid, and it's gonna blow up in his face. Like, it's gonna hurt, but I think he'll come out of the other side better for whatever happens. Currently, my thoughts are on whether or not we'll see a repeat of new kinshasa - a high-stakes choice between someone dear to him, and the choice he feels he has to make, whether that's other people's lives again or something else. Idk, maybe not, I'm just thinking about the theming of the series with the past always coming back to haunt them, the fact that he's been said to be at a crossroads back in man in glass, and the part in tools of rust where the ruby gives jet the opportunity to make the same mistake he did fifteen years ago, and he chooses differently. Tbh as usual I'm just excited to see how things play out however that is

ACTUAL second listen this time:

Rita redacted I love you so much x3 combo. I missed this earlier but it needs to be said

Rita says she found nureyev's name by hacking into buddy's notes on him and comparing them to the outer rim criminal records which leads me to ask the question how much does buddy know? Why would rita be checking outer rim records unless something in buddy's notes pointed her in that direction? I've had my suspicions that she knows more than she's saying for a while but 👀

Nureyev sounds so nervous/scared too...... :(

I had this thought on the first listen but didn't write it down: nureyev is so goddamn smart, like so smart, I don't think he gets enough credit for that. Also him saying "one problem at a time, like [buddy] would say" was - oof. Considering how much time he spends referencing mag's advice in man in glass, even if he's bitter about it, I think that reference is very telling on how he thinks about her

Love the way he skirts around saying they have to move sneakily dhsgjf. Also "only twice" I do love him

Juno joking about his track record on not dying.... oh he's come a long way though

The way that nureyev talks to rita throughout them moving around - he's kind of a natural leader (which, ouch), but also it's clear that he has absolute confidence in her, he doesn't ever doubt for a second that she wouldn't be able to do something. It's obviously a little unempathetic when she's so shaken and doubting herself but also he clearly trusts her almost as much as if not as much as juno, and I do love to hear it

Detective falco? 👀

Juno looking on the bright side! Not blaming himself! Saying maybe it's gonna be okay and believing in her! I cry!

Except for when nureyev is in danger though ): I love that this story never shows recovery in a linear way, that juno is still inclined to beat himself up even if he is better than he used to be. He's growing but it's always gonna be a work in progress!

The fact that dark matters seems to be moving entirely towards remote operation now? Like it makes sense tactically, there's no risk of expending agents in a fight, I'm interested if the writers are gonna dig into that considering the real-world state of drone use in the military and law enforcement

Calling their heist marks "radicals", it seems like dark matters is trying to keep track of or maybe capture rogue (or radical) elements out in the universe - things like the knife and the key, which is probably why they were after m'tendere, they themselves being a radical element. I wonder if this is what brought the crew to their attention in the first place; it's definitely why they want to capture them alive at least, they want information out of them on why they're collecting the same marks

They specifically say two radicals though, and potentially a third, depending on whether the book is counted as the third that might mean they don't know about the map at all, maybe

I mentioned this another time but I'm wondering Again if dark matters was behind the mysterious disappearance of all the theia soul chips except for juno's, esp with what rita said about the interface for the bots being like theia tech - experimental tech like that would deffo be considered a radical element and they definitely could have used it as a basis for these new bots

Peter........ he's in a ROBOT stop being HORNY

"Galaxy-class criminals" huh.

Someone else pointed this out elsewhere idr who but buddy's line that sometimes helping people means trusting them to help themselves despite your concerns, when paired with what's going on with nureyev is.... interesting

WOW buddy is mad though

I'm REALLY wondering how much she knows about what's going on tbh, especially seeing as her pov is probably up next. Aaaaa I'm gonna be yelling for the next however many weeksss

Jet sounds so happy about the ruby being fixed aw

Vespa so nervous about making her announcement AW

Buddy sounds so HAPPY AW

Peter starts laughing right at the end when vespa starts threatening juno which,, oh boy ): I rly hope everything turns out okay ;;

Rita saying that sometimes trying to help someone in pain is being selfish because you just don't want to look at the hurt is a really interesting thing to come from her considering her long-standing relationship with juno, huh

“Before the year is out” is a very vague timeframe, once again thinking that nureyev’s plan may well be to only hand the items over once the heist is done

Anyway once again AAAAA

#wastepaper basket #tpp #tpp s3 #tpp spoilers #tpp s3 spoilers #tpp meta tag

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raven-wraith · 4 years

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A Completely Subjective (Objective) List of Titles to Examine (Purchase), Play Through (Waste Your Life), and Enjoy (Enjoy) During Quarantine (Part 1)

We know what’s happening. It’s April 1st, but the joke has been going on for far too long. Trapped in our homes with Covid-19 actively shooting people in the streets outside, we have to find a way to pass the time. As an avid gamer and professional uncooked cookie dough eater, I have compiled a list of games, both multiplayer and singleplayer that anyone and everyone should play for an enthralling experience. These games range from the newest releases to golden classics, so be warned if, I don’t know, Halo Reach appears. By the way, Halo Reach is appearing.

Single Player Games:

Darkest Dungeon

As our first game on the list, I can only reserve it for the front so at least all of you that don’t read the whole list know about this game. On the surface, Darkest Dungeon looks to be another turn-based, number-crunching, party-building slaughter fest. That’s because it is. But, at the same time, it is so much more than that. Past the Steam reviews that just say, “This game is hard,” or “This game is dope,” nothing can even explain the absolute depth that Darkest Dungeon has to offer.

Red Hook and Klei Entertainment take a unique approach to party building and world crafting. While usual party crafter games like Final Fantasy drive their quests and dialogue to carry the story, it is far more subtle but interesting in the way it is told through Darkest Dungeon. In fact, it is so subtle, that by the time my girlfriend and I had beaten the game and watched the last few moments of the last cutscenes, I didn’t even realize I was, in fact, making all of those decisions and choices to shape the story as it was told.

Darkest Dungeon revolves around making smart but very hard choices that cannot be delayed for later. The greatest part is that these choices are not presented to you in the usual press-one-of-two-buttons-for-a-different-ending format that games of choice are so used to giving. Instead, it is on a far more personal level. Choices like thinking of inventory space for gold or supplies, whether or not to starve the party for just one more room to rest at a fire, who will be drinking and who will be gambling to forget about the horrors of the quests they’ve had to endure.

The greatest part is that the game even embellished the idea of loss after choice, emphasizing to not be torn up over a stressful situation, a difficult obstacle, or even a hero’s death because the game still has so much to go, there is no time to cry like a bitch, There is only time to look forward and time to still cry like a bitch.

I recommend this title to anyone who enjoys perfect indie games(1), those that really break through the barrier of creativity and deliver a totally unique experience.

DOOM (2016)

Doom. Baby, holy SHIT. I was reading a thread where a user simply put that “Doom is the only game where the boss music is for you.” And never in my life have I agreed so much with one singular sentence. The first entry in the Doom rebooted series is beyond comprehending complex stories and intensive strategy. Instead, it emphasizes brutal encounters and visceral gameplay mechanics.

Id has outdone themselves with this title. While the Wolfenstein games from MachineGames have been refreshing, none of them have even come close to touching the near cathartic execution of this game. Doom is a game that is centered around moving fast and hitting hard. Your character, the Doom Slayer (or Doom Guy), is not hindered by the multitude of weapons they carry. He is also an armored definition of brute force. Not a single word leaves our protagonist's mouth, but his actions speak volumes and his purpose in the game is clear right from the beginning. Rip and tear. In that order.

A first person shooter that doesn’t hold back, I was surprised to see lots of mechanics and gameplay choices from the very first Doom had made a return. Ammo and health pickups, rooms filled to the brim with demons to slaughter, and an unforgettable soundtrack produced by Mick Gordon that even pays homage to the original’s. These are the cornerstones of Doom (2016) and I wholeheartedly recommend this to gamers who don’t even enjoy first person shooters as there comes a point in the chaos where it is almost calming for the player.

Infamous Second Son

From the very first time I could even have a conscious thought, I wanted a game where I could not only be a superhero, but I could be a superhero voiced by Troy Baker. When I saw that we were in no shortage of games like that(2), I asked again, but this time specifying that I wanted a kick-ass superhero game where I would inevitably be voiced by Troy Baker. That is when Infamous Second Son was announced in 2013 and my infant child teenage brain literally melted.

Infamous Second Son released only a few months after the PS4 dropped, showing off it’s specifications and hardware to such a grand degree, I still know the very grains of sand that rendered it on the beach of Seattle. The game is exactly how I’ve asked. A superhero story of a kid that uses his powers to fight an evil villain. As the villain explains their goals and the hero becomes stronger and more powerful, Seattle only becomes that much more of a diverse playground to fly around, jump and punch, and at one point even start to level whole buildings.

Being the powerful hero only gets more fun as the game progresses as the number of abilities expand from simple smoke tricks to straight up lazers. Delsin, our main character, is also clever, witty, and likeable. I can only emphasize his features in the PS4’s rendering technologies, but you just have to play it yourself.

The game also includes moral choices. While these choices are far more linear to be bad or good, the outcomes are not only very different, but the entire balance of gameplay changes as morally exclusive powers are unlocked for your character. This game demands you play it over again just to see how the other missions, powers, and endings even feel, let alone look. A memorable title, I would recommend this to anyone with a PS4, 100%

Salt & Sanctuary

Now before we go off the deep end, I am going to stomp all questions and rumors now. Yes, this is a difficult game. Yes, it has no online support but can still be 2-player couch co-op. Yes, it is made by two people, husband and wife. Now before we turn away, I would like to share that Salt & Sanctuary is the very testament that hand-crafted games from independent companies will always be in competition with AAA titles.

The game has a massive world, sprawling with bosses and enemies that are never the same throughout the whole game. The enemies, almost immediately, take the spotlight for me, tied only to the landscapes. You go from fighting hatchet throwing bandits to fighting golems the size of buildings only one area apart. If Pyramid Head from the Silent Hill series and Mr. Krabs had a baby, it's an enemy. There are flying gremlins, evil pirates, Cthulhu daemons, skeleton wizards, lightning-breathing parrot lizards, unicorns (fuck those guys by the way), a demonic fart, short jesters, tall jesters, and more crazy amalgamations of pain.

The design of the world is to behold. It is apparent that inspiration from other titles that loop back on each other are apparent here. Things like the first Dark Souls come to mind, where the player would loop back to the main hubs by progress and exploration, shortcuts to home could be made. It seems that Salt & Sanctuary takes this on a global level, which is perfectly done. Please, I beg of you, if you find nothing else on this list, get this game.

Marvel’s Spider-Man

Fucking Spider-Man. Be Spider-Man. That’s the game. 10/10.

(1) *cough* *cough* Castle Crashers *cough* Bloons Tower Defense 4 *cough*

(2) Batman Arkham Knight as Robin, Resident Evil 6 as Jake, LEGO Batman 2: DC Super Heroes as fucken everyone, Bioshock Infinite as Booker, Injustice: Gods Among Us as I’m realizing that DC might own this guy, Saints Row IV as The President, and more

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avoutput · 4 years

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Final Fantasy VII Legacy || Nomura, Complex?

This is the 3rd out of 3 articles. Find the second here.

It’s time to get down to mythril tacks. At this point, I have talked about what this game meant to me when it was released and how it’s newest installment fared as a game. Finally, it’s time to talk about the impact the Remake has on what has unexpectedly become a robust and diverse universe. What does this mean for us at large, the players? This is a no-holds-barred SPOILER frenzy about anything and everything in the Squaresoft/Square-Enix pantheon. This means not just the games in the orbit of Final Fantasy VII, but the entire catalog at Square-Enix. To be honest, this is just the introduction, I don’t know if I even have an intent of going so far beyond the purview of the Remake, but in the spirit of the Final Fantasy gatekeeper, Tetsuya Nomura, I refuse to limit myself.

It’s been almost exactly a month since I started writing this article. It took so long to come back to this because I kept finding more and more content related to Final Fantasy 7 that I either forgot about or didn’t even know existed. On my own shelf sits Advent Children, Dirge of Cerberus, and Crisis Core. I decided to watch Advent Children immediately after beating Remake. As a movie fan and amateur critic, the film is littered with terrible film decisions and was clearly the work of people who spend much of their time penning and creating video game stories. It’s a series of cutscenes without a controller attached and at a certain point, you realize Advent Children was never meant for film fans, but for fans of the game. Specifically for fans desiring an epilogue and more directly fans of Cloud, Tifa, and Sephiroth. The story is almost unintelligible because there is tons of connective tissue left to be assumed by the viewer. It is at once too far removed from FF7 in both linear real time and in-game universe time to be recognizable, and simultaneously inexplicable in what has transpired and why. It takes a crack at explaining it from moment to moment, but largely, it looks like they were looking for excuses to push the characters to act. I am not trying to review the film but rather my intent is to create a modus opendai for the gatekeeper, Mr. Nomura. The more I learned about the world of FF7 that was being created over the years, the more it seemed to lean on the stylings of this one man. In a way, Nomura launched Squaresoft and himself into a whole new stratosphere of fame and broke all expectations. In my first article, I mentioned that for a certain generation of fans, it was the perfect storm, but I would later find out the cause of the storm was Nomura breaking open lightning in a bottle, releasing his brand of design on the world with a multi-million dollar international company backing him.

If I may, let me take a parallel series by the same creator infested by the meta of his own other original creations, namely Kingdom Hearts. In its inception, it looks like two producers at Square were trying to make a 3-D adventure platformer game with characters as popular as Mario, but only the biggest brand on earth, Disney, could possibly beat the king of platformers. Nomura was… walking by and pushed himself into the conversation, and they decided if they could do it, they would let him direct. (Read more here) Yada yada yada, Kingdom Hearts was created. While I can’t seem to find (and didn’t look too hard to find) proof, I can only imagine that with KH having a tenuous new relationship with big-corp Disney, they focused more on a simple game that was straightforward. KH is very much a disney product with a little bit of artificial Nomura sweetener. With its unbridled success, Nomura was unleashed. Kingdom Hearts 2 would go on to be, in my opinion, one of the most unintelligible video game stories ever inscribed to plastic discs. But the power of Nomura’s story-telling is that we all understand it differently. He creates bedrocks, little story islands of unshakable facts that are connected via a salty sea of undefinable liquid moments. Cast out to sea, rudderless and deprived, you try to bring to your mouth this brine only to be dehydrated faster than if you had just sailed the sea and died in the sun between fact islands or lived long enough to tell the tale. And that metaphor is my tribute to Nomura. Long, winding, hard to remember, and just clear enough that you think you got it, but you still have problems with its construction.

It has now been over two months since I have last visited this article. What is keeping me from continuing? The incomplete nature of my knowledge of Final Fantasy VII lore. Unlike the Kingdom Hearts sea, VII is like a series of interconnected caves, and the more you unearth the more you learn. And therein lies the problem. The Nomura-verse is composed of both his methods and his circumstances. His methods, we have discussed, but his circumstance is game development. Unlike movies or books, games obviously have an interactive capability, but they also have a variable development cycle. Some titles come out quickly, others span decades. They also consist of different teams, story writers, directors, and a myriad of producers. This in turn can make it much harder to make a solid universe, especially when new additions start off in a place where a continuous story was never meant to exist. Nomura is at once hindered and strengthened by his circumstances. He can’t tell a better story because the development cycle of his vision is variable, and success is based on sales and popularity. Without success, he can’t create a new addition, and often in games, the end is meant to tie the whole thing up. Were there to be a sequel, a whole new story is thought up and tacked on wherever it fits. Gamers are pretty forgiving of this concept. Still, at the same time, Nomura probably wouldn’t make a concise story because it's not his style. For comparison, see the Dark Souls series. A game that both has deep lore and an involving story, but at the same time, the game doesn’t require you to know a single point to continue moving forward. This is almost the antithesis of Nomura’s style. In Souls, they let the player decide to explore its story caves, but doesn’t confront them with it to continue advancing. This is a strength of video games. A strength that Nomura keeps using to his disadvantage.

Yet, Final Fantasy VII still excelled to unparalleled heights. It engages you in the same way all of the previous games in the series have, but with a slight departure on the strict fantasy theme, instead a merger with steampunk or semi-future. The series was changed forever, and so was gaming. Instead of doing the Dragon Quest method, expanding on the same universe design with different stories, Final Fantasy was emboldened to try completely random approaches with vector entries like VIII and X. For longtime fans, or fans of their original design, Every future title, MMO or Single Player, would go on to be successful, but not fully realized in their original context. Even the return to form in IX was much more playful than any of the original six entries. Gaming franchises have since become playgrounds for developers. Once they are accepted by fans, developers are emboldened and experiment with what would normally be a new IP, but instead use the financial shield of the famous namesake to move forward with new ideas. And in the case of Final Fantasy, when this concept of change works, it means that every numbered game becomes a wildcard. It’s a double edged sword for a gaming franchise that dates back to the 8-bit era. It has fans over 40 years old by this point and they may be willing to buy anything new. But this isn’t new to you and it isn’t a revelation for me. Final Fantasy VII Remake causes me to reckon with these demons I had buried years ago. It rips off a scab I thought had healed. I had given up on the past, a past where I was excited for a singular story, contained in a single universe, in a single title. I had given up on the glory years of Final Fantasy, but the Remake took me back and said, what if we told you everything you remember about the original was true, and everything we added after that was also true, even though you probably didn’t play it or even know it existed. Even if you do your very best, you probably won’t be able to track the story or interconnected characters if you aren’t in the know. It’s like joining a group of long time friends that are constantly referencing inside jokes, all of them just winking at each other, nudging you in the ribs and asking, “Do ya get it?” Truly, the Remake series thus far makes me feel lost at sea when what I wanted to feel like was coming home.

This retrospective has left me feeling broken. Based on the end of the FFVIIR, I sought out to reconcile all of the loose ends to all the connected media. However, spending time with the prequel Crisis Core for over around 40 hours, I realized this was a crapshoot. None of it mattered. It didn’t enrich the characters, it only made the story longer. It just added wibbly-wobbly, timey-whimey “facts” to an otherwise complete(ish) origin point. The FFVII universe can’t handle the weight that is put on it. It’s a faulty bridge over a treacherous pass. On the other hand, that same bridge for some is a point of excitement. You tread the boards, one by one, testing your weight, hoping to get to the other side intact. And I think that is why we keep trying these games and why they keep getting made. We don’t want the fun to end, despite the fact that it has nothing left for us to be excited by. It’s a closed loop that we keep looking for something new in. By the end of the Remake, we are somewhere between ⅓ or ½ way across the faulty bridge, dangling between where we have been and where it is taking us. At this point, I am too mentally exhausted from trying to make sense of it all. Yet I am incapable of not enjoying it, the mental somersaults one does to understand the interconnected mess that is Final Fantasy VII. It’s too dear to me. I got on the bridge for so many reasons, but the biggest one is to be on the other side with all of the other fans who dared to play and dared to complete the game. To be in the know, to wink across the room. I want to be in that hyper-critical utopia where we all have one thing in common: We played Final Fantasy VII in 1997. And we all have something to say about it.

#Article #Final Fantasy VII #Final Fantasy 7 #Final Fantasy VII Remake #Final Fantasy 7 Remake #Tetsuya Nomura #Yoshitaka Amano #Cloud #Tifa #Aerith #Nostalgia #Gaming #Kingdom Hearts #Squaresoft #Enix

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gamesception · 4 years

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@retphienix said:

I gotta thank ya for the @ because I struggle to keep tabs on tumblr with all the updates bricking my addons etc x.x Not that I was particularly on top of things before that lol.

god, same, yeah. no problem.

Also thank you for reminding me that Hollow exists, downloading now because I’m more or less juggling games to see which I intend to sit down and marathon a lot of and that’s a good idea for a title!

I really cannot recommend it enough. Easily the game I’ve played the most over the last couple years, and probably the game I’ve enjoyed the most since Undertale. That includes Dark Souls, which I first played during that period, and I *really* liked Dark Souls.

I would love to hear your take on it, when and if you end up getting around to it. It’s also nice to recommend a game to you that isn’t, like, bad in more ways than it’s good, with the great aspects that do peek out at you through the jank only serving to taunt you with the actually great game that might have been.

I do maintain that a game that’s bad in interesting ways can be a more compelling experience, and make for more interesting analysis, than a game that’s just good, but Hollow Knight isn’t *just* good. It’s fantastic, in a dizzying myriad of compelling ways that are all interesting to discuss, from the way it builds its tone and atmosphere to the way it highlights the best of what the classic 2d metroidvania has to offer while also sidestepping a lot of the genre’s pitfalls.

I don’t know what it is lately with various games I enjoy or try to keep tabs on suddenly and arbitrarily making difficulty spikes that don’t fit the game? I mean, it’s hollowknight, it’s a souls like and all that jazz, but you’d know better than me in this scenario since YOU PLAYED IT

It’s not all that bad, since it really is quite overtly segregated from the rest of the main game, and isn’t necessary to get what otherwise feels very much like the actual canon ending. Honestly, though, I think there was maybe an over reaction on Team Cherry’s part to what seemed to be a relatively common complaint about the base game, one that I would have shared honestly, in that it didn’t feel like there were enough difficult late game bosses to take advantage of the knights full move set.

This is something of a natural consequence of the open design of the game. It starts out pretty linear, but once you get a couple movement abilities virtually the entire map opens up and you can go almost anywhere, finding meaningful progression pretty much wherever you go. As a result, though, the devs are almost never sure of what upgrades you already have when you reach a boss, so they couldn’t really include any in the main game progression that required you to have particular upgrades to effectively fight them.

I think the trade off in favor of exploration is worth it, but it does leave a bit of a gap in difficulty for those who are old hats at 2d platformy action games.

But it seems like what the devs heard was “Hollow Knight is a baby game for little children”, and their response was basically

The first three content pack updates added several new and much harder endgame bosses, most of which are a ton of fun and have fantastic presentations. They even went back and ramped up the difficulty of some of the lackluster bosses in the base game, in particular one boss in one of the few late game areas that does need more of the knight’s move set to reach now calls on the use of those abilities in the fight itself.

And people loved it! All these expansions went over great. People loved the Grimm Troupe in particular, in part because of the legendary difficulty of its final boss. So it’s perhaps not surprising that the devs pushed even further in that direction for the final DLC, one that revolved entirely around bosses, and it’s not surprising that they ended up overshooting the mark for a fair portion of the audience. And given that there are many players super invested in the lore of the game that found themselves gated out of new endings by an absolutely brutal slog of an overlong boss rush capped off by a much more difficult version of the one boss in the main game that most players already thought was impressively hard?

I really do think the Godmaster DLC is worth trying even for those who go in content that they’ll never beat it. Some of the fights that can be accessed much earlier in the DLC are really cool and worth experiencing in their own right, but I have nothing against anyone who takes one look at it and just nopes the heck out, and I can’t disagree with those who point to it as one of the few noticeable flaws in what is otherwise a truly majestic game overall.

Some of it probably comes down to that “souls like” moniker. Hollow Knight really isn’t a souls like. Its a classic 2d metroidvania action-platformer, that just happens to have a similar tone, story structure, and method of lore delivery that are all heavily inspired by Dark Souls specifically. And the game really benefits from that influence. But where the game tries to parrot souls-like mechanics, whether in super hard bosses that the player is meant to throw themselves at repeatedly until they ‘click’, or in the corpse run mechanic, which is overly punishing in the early game when money is hard to come by and some progression paths are gated behind expensive purchases, but means nothing at all in the late game since HK doesn’t have a leveling system like DS does, so once you’ve purchased the stuff you want there really isn’t any cost to losing your cash on hand any more? That doesn’t work so well.

Worse, it’s actively detrimental to the idea of exploring wherever you like, by pointing the player back in the same direction every time they die, when players in the early mid game might be better served by taking death as an indication that maybe they stumbled into an area that’s a bit much for them right now and they might be better served by trying another path first.

There’s one clear example early on of a particularly tough optional boss fight against multiple opponents. If the player dies to this boss, the game even puts a friendly npc on the path back who heavily implies that the boss is maybe too tough for them, and the player should look for a way to upgrade their weapon before coming back. But that npc shows up /before/ the player reaches their corpse, which happens much closer to the boss itself, and by the time you get there to get your money back - again, this is still relatively early game so loss of your money really stings - and by the time you reach your corpse you’re right outside the boss door, and taking another crack at it can feel less daunting than climbing all the way back out of the area.

If you do beat the boss, ... actually, no I wrote a fair bit but no, cut that. I've got more to chatter on about that but I don’t want to spoil more than I already have. The point is, while it’s really cool you can beat this boss and the area behind it “early”, and I love that the game lets you do that, the corpse run mechanic pushes players who are less comfortable with the game mechanics to keep throwing themselves at the fight when they might be better served by trying another progression path.

monhun

I haven’t played the the new Taroth or however that’s spelled. Heck, I haven’t fought master rank jiva either. The most recent thing I’ve tried is the raging brachy. I actually found that fight pretty fun. Reminded me why I like Monster Hunter. But after seven runs in a row without getting a single reactor drop it also reminded me why I don’t like Monster Hunter nearly as much as you & Bard do.

Still, we should do a few runs together again at some point.

Man, what a thing to type when discussing a souls like, asking to martyr myself mentioning difficulty spikes or difficulty modes/options heh.

Honestly, I kind of share the criticism some people have made of the souls-like genre overemphasizing difficulty. Mechanical challenge is a key aspect of the games, but Dark Souls 1 in particular is really Not That Hard. It’s obtuse more than anything else, but once you know what the stats mean, know how to upgrade your weapons, and have a feel for the mechanics, it’s not that bad. Especially if you take advantage of the summoning / multiplayer mechanics. I know purists can get uppity about getting help, but those mechanics are part of the game for a reason. Dark Souls is probably the easiest of the souls-like games I’ve played so far once you know how it works. I’d also say it’s probably my favorite, and I don’t think that’s a coincidence.

The over-emphasis on difficulty alone when people discuss souls games can get in the way of enjoying them. For instance, it leads to situations like new players trying dark souls for the first time bumping into the skeletons at the start of the game and thinking “wow, dark souls really IS as hard as they say” instead of “these guys are clearly too tough, I must be going the wrong way”. It can also lead to developers focusing too much on challenge, and on a particular /kind/ of challenge, and missing out on the other compelling aspects of Demon’s Souls and Dark Souls, including the way Demon’s Souls in particular emphasized delivering a variety of game play scenarios, or how it understood that a well placed deliberate anti-climax of a boss can sometimes be more engaging than yet another straight forward test of reaction time and pattern recognition.

>final achievement BIG CONGRATS, THAT’S SICK! I know what going over the edge on a game renown for challenging gameplay can do to ya, and that’s quite the darn accomplishment!

Thanks! I’m quite proud of myself, even if there are harder things that I still haven’t done in the game yet, and probably won’t ever. Stuff not tied to explicit achievements, but that still have little in game rewards or markers that you’ve done them. I certainly wouldn’t say I’ve mastered the game. But I’ve probably gone as far as I’m going to go, and I’m quite content with how far that turned out to be.

Not that I’m done with the game. I’ve played it all the way through three times already, and I can already tell it’s a game I’ll be coming back to replay fairly regularly.

>no thanks, I think I’m good I’m probably projecting since I’ve said the same thing 100 times (or thought to) on this very blog, but I ‘assume and apologize if I’m wrong in doing so’ you say this because you feel some sense of guilt like you didn’t ACTUALLY do all you could and you must put on airs for the blog and let me say, screw that noise.

Oh, no, not at all. Yes, there’s stuff left that I’m not able to do, and there’s people WAY better at the game than I am, but going by steam achievement records less than 3% of the people who beat the first boss go on to beat the final pantheon, so by that metric I’m in the top 97% of rattatas Hollow Knight players.

So yeah, I feel pretty chuffed with myself.

>Can’t promise it’ll suddenly be my next game, and even if it was it wouldn’t sadly get much showing I suspect because my pc is more or less down. I DID get replacement equipment so MAYBE? But I haven’t sat down and attempted to get my old setup running again.

So it goes. Again, if and when you do play it, I’d love to hear your thoughts on it. Even if I can’t, like, watch you stream it or whatever. Honestly, I’d like to be able to just blather on about it to you at more length without feeling like I’m spoiling stuff.

#retphienix #redphienix #hollow knight #hollow knight spoilers

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mrslittletall · 4 years

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Don’t tell me where to go. Earlier I watched a video about the flaws in Pokémon Sun/Moon. One of them I heavily agreed with, that annoying red flag that indicates where you should go next. In an already very linear game. Imo, it is just unneccessary. I barely am able to explore the world and even when I am allowed to go exploring, sooner or later I have to go back to the part where the latest roadblock was. I probably haven’t forgotten about it, because I am stuck in a small area. Also, Rotom Dex is reminding me constantly where to go anyway. So why is there this red flag on the map? It’s pointless. Thinking about this, I started Trials of Mana to get the last spirit. The remake, not the original. And just like in Pokémon Sun/Moon, I got annoyed. There is always that glowing big star on the map, telling me where to go even though this game is as linear as Sun/Moon! The elfin elder told me to go the mana goddess statue in the northwest of the forest, I can press on minus and see a map with this exact same statue on it and still, a shiny glowing star points on it! It is unneccessary! I played the original, the original didn’t had a map, the map was also divided in screens because old game and guess what? I still was able to found this mana statue! In fact, even just two weeks ago because I like to play the original with my husband. Why are games so adamant to tell you where to go? Heck, even one of my favourite games, Okami, did it. Not often, but at a few points, mostly when you have to hurry (but actually have all the time in the world), a glowing red arrow shows in which direction you should run. This actually gets me out of the immersion. That giant red arrow doesn’t make any sense, especially when Okami normally never tells you where to go with a marker, you just can look into your log and normally get Issuns latest hint where to go, but you have to find out yourself just how to get there. And mostly, in this “hurry to a location” events you already know where the location is, because you have to run back to it! I am getting more and more annoyed by this... do the game developer think we gamers are stupid? That we can’t find our way? That we have trouble when there isn’t a giant marker on the map, especially in linear games? Alright, now let’s talk about Open World games. One example I play atm is Death Stranding. That game actually TELLS me where I need to go, BUT, while I know where I need to head, the way to the location isn’t clear at all. Often you can’t just cross in a straight line, the world is in your way and you are just a basic human without any superpowers (ok outside of the whole BT sensing thing and not being able to die thing), but you get the gist. The thing is, you have to go from point A to point B and have to figure out HOW you get there. Do you pack a bunch of ladders to scale the mountains in your way? Do you try to find a way around the mountains? Do you pack weapons to take out the MULE camp in your way or do you try to sneak through it? Do you try to avoid the timefall and the BTs or do you take them head on? You have a lot of choices in this game how to handle the situation and it is beautiful. Moreso, the game profits from its online features. When you are alone, you can see and use structures of other players, you can see signs that warn you and you can see footpathes that have been created by other players. It really makes it fun to reconnect the world and connect with the other players you never see but know are there. Alright, different game. Zelda Breath of the Wild. That game has a huge world. You are in a tutorial arena in the beginning, but after you got all your shieka stone apps, you are free to leave. And that is meant literally. Once you are done with the tutorial, BotW lets you do WHATEVER you want. You can literally go straight to Hyrule Castle and defeat Ganon and it is a common speedrunner thing. But you don’t have to defeat Ganon. The game gives you several objectives, like tame the titans or find the shrines or the memories. Now, the only thing that downright points to where to go are the titans and they are actually pretty easy to spot from a hight point, because they are HUGE. Everything else? Find it on your own. You get a sensor for shrine and you get quests for them. Nothing ever points to them with a marker, you have to solve the hints and find the shrine yourself. The same for the sidequest of the game. You get pointed to who gave you the quest, which is a good thing because it isn’t easy to remember where they were, but the actual quest? Read the text and figure out where to go. Normally it is near the quest giver, so just exploring a bit will help. And the memories! You have twelve photos and have to find the places they got shot at. So how do you find the needle in the haystack? There is this painter in each main town and a few stables and you can show him the photos, he then gives you a hint just where to search! I pretty much found every memory with his hints, I just needed to look up the last memory that wasn’t on the shieka stone because it had been three years since I visited that area and I forgot where it was (I still remembered that it existed, so iconic did it look). BotW gets praised a lot for his sense of freeness and I totally get why. Ok, now let me talk about the last games for now... Dark Souls, Bloodborne and Sekiro. When I started Dark Souls, I was really upset. Why? Not because the asylum demon crushed my sorry ass five times, not because I thought I had to beat him with the sword hilt, not because of the boulder trap that killed me. That game had no map! I would get so lost! I am HELPLESS without a map! To my surprise... I was completely fine without the map. Sure, in the beginning I got awfully lost and stumbled to the skeletons, but then I found the Undead Burg. I fought myself through it, explored, remembered where which enemy was when I was running back to Taurus the 20th time (I really struggled, ok?) and the gameworld... just made sense. It became a really aha-moment when the shortcuts clicked into place. Granted, the shortcuts aren’t a big part of the game anymore after the lordvessel, but the first half is beautifully done! Finding the shortcut back to Firelink, finding the back exit out of Blighttown, seeing how Anor Londo opens up, the shortcut in Sen’s Fortress, beautiful. That was what let me thought about Dark Souls as Metroidvania. That game is a Metroidvania. Sadly, Dark Souls 2 and 3 don’t have it as much anymore, especially Dark Souls 3 is a lot more linear, but still has loads of optional stuff to do for me and most importantly, never tells me where to go. Bloodborne is a lot like the first Dark Souls and also different. Bloodborne has a lot more areas that are disembodied, but they have that beauty of the Metroidvania in them. One of the most mind baffling things was finding the back entrance to Iosefka’s clinic... coming from the Forbidden Woods! And the finding out, HEY, that is that gate I saw at the start of the game and couldn’t open! Slowly, you open up Yharnam and even the other areas like the nightmares have cool shortcuts to find. It feels like your exploring got rewarded, that you don’t have to fight through all this enemies anymore, only a few, to get back to the boss. Now let me talk about the last game... Sekiro. This game opens up at a certain plot point and your only hints? You talk with Kuro and Emma and they tell you a few things they found out about. I was SO confused. I had no idea what they were talking about and where to go. So I decided to check the areas out they talked about and try to make sense of the riddles they told me. I couldn’t find a lot at first and went back often to listen to their riddles, until I just went full risque and jumped into a pit only to find out that this indeed had been the right solution! One by one, I found out how to find the other locations. The game never pointed them out for me, I followed the hints and found them myself. So, to conclude. Video games, please don’t tell me where to go.

#long post #gaming #video games

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phoenotopia · 5 years

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2019 August Update

"Shoot for the moon. Even if you miss, you'll land among the clouds." That's a quote ... that I think succinctly captures what transpired these past 2 months. A lot of progress... but the game is still not done >_<

(extra note: actual quote is land among the "stars", but stars seems like a higher goal was achieved, so I modified the quote).

Anywho, here are some of the things we have accomplished in the past 2 months.

--- ALBUM ART ---

With the sound track essentially done, Will requested some album art. So Pirate and I compiled a bunch of album art that we liked from other games, and from that Pirate made a bunch of concepts - and then we narrowed it down from there, with the 3 of us interjecting our opinions throughout the process, and Pirate doing all the heavy lifting. The album art will be revealed later. For now, here's a teaser of our initial brainstorm process.

(round 1 : brainstorming and concepts)

(round 2 : Survivors from round 1 progress a little more)

--- NEW BOSS ENCOUNTER ---

I thought the scope of what needed to be done for the game was settled, but while writing out the new ending sequence, one part started to drag. There was too much exposition, so after brainstorming a bunch of ways for how this new ending sequence could flow better, it became clear... There needs to be another boss encounter! This boss would really help the pacing of the scene, and it made nice thematic sense and tied up the game's whole story arc in a more satisfying manner. To avoid spoilers, I won't talk it too much, but here's a little silhouette teaser.

(hint: it's not a bat)

--- WRITING ---

Writing doesn't happen linearly since I'll skip around fairly often. It's a delicate balancing act - if I force myself to stick in one area before I move on, progress will grind to a halt, snagged on those last few unscripted lines due to writer's block. But if I skip around too much, the context switch takes some time in itself, and the game can't be enjoyed by playtesters. So for that reason, the beginning and ending sequences are now finished (excluding the credits roll...). But there's still a lot of middle parts to fill in and plenty of side quests still.

For example, there are ~90 NPCs in just Atai town. And each one will talk about 4 text boxes of dialogue (some more, some less). A bunch of NPC dialogue will also change when a big event occurs in the story. So there needs to be a healthy mix of NPCs that push the important story bits, NPCs that push side quest hints, NPCs that talk about geography or history, NPCs that are just for fun, etc. So there's a lot of variables to keep track of.

I've started thinking of better ways to manage it all. One of my new workflows is to use a spreadsheet.

Topics to cover exist in a column on the left. Lines to be spoken by NPCs are stacked to the right. A cursory glance at the spreadsheet lets me see which conversational topics could use more coverage, and so on.

I even took on new writing help in a young Mr. Cody. Taking on a new writer has been a process because it is not as simple as tossing them some NPCs and letting them run loose. There has to be a ramp-up period for the writer to become familiar with the lore and writing style. There are also unspoken rules about Phoenotopia's universe I implicitly understood and never had to think about. But now that I'm cooperating with someone, I've had to think about verbalizing what those rules are. It takes up more time, but in a weird way, having an outside perspective also helps me understand Phoenotopia more. I also find that I can push through my writer's block more easily when coming from a corrective angle.

I've been quite the strict taskmaster to the new writer, but he's been very resilient and teachable. He's also a great ideas guy. So look forward to Cody's contributions in the finished game!

--- PLAYTESTING ---

The long road of playtesting begins! As mentioned in my previous blog, my goal was to have my brother playtest the finished game during our trip. He didn't get to playtest the *finished* game, but he did get to playtest through a good 40% of it. The game is pretty complete in a linear fashion up until the 40% mark - after that, the rest of the game world exists but the NPCs have placeholder dialogue, and the cutscenes to connect the story events together are still unscripted.

But that wasn't too big a limitation because my brother only reached the 40% mark during the tailend of our trip. My brother preferred to play in 1-2 hour chunks throughout the trip (no marathon session on the plane as originally planned). I think it took him about ~15 hours to get through the game's first 2 chapters and a little extra - unfortunately, the game's timer bugged out so I don't have an exact figure.

Tons of useful information came out from his play test. I wrote down *127* things to fix based on his playthrough - some were small things, like adding more signposting. Others were big issues - a boss stage needed to be redesigned, a needed change to the control scheme, item dupe bugs, etc. I'll speak on some of the ones I've fixed so far here:

A. Warehouse Visibility Low

For some reason, when starting out my brother completely missed the warehouse where you'd find the starter weapon. He ran past it a few times. Upon inquiring him about it, he said he didn't think it was interactive. Sure enough, all the doors on the left start open, so I see how the misconception could form. When players experience a game for the first time, they're developing a mental image of the game's rules - what's interactive and what isn't. And this early on, the language for doors is still unclear. Per his suggestions, I made this door start open, and moved the camera's edge left a bit to make it less likely to be missed.

B. Eating instructions unclear

Another thing that didn't go as planned was the food eating tutorial. Early in the game, an NPC gifts the player a potato and asks the player to eat it there. After doing so, the NPC gives the player additional tips regarding food. But my brother actually just ran away with the potato so the rest of the tutorial didn't occur. But now with an additional subtle dialogue box, the player is more likely to behave as desired.

(If you design it right, the player won't know you're holding their hand at all)

C. Gear Ring Too Sensitive

youtube

One of the game's new features is what I now call the "Gear Ring". The player can equip 8 items to it and quick-access items/tools with a flick of the right control stick. My brother HATED this feature since it was too easy to flick it accidentally when reaching for the regular face buttons. I've now guarded the quick-equip behind an addition RIGHT-CLICK press. Add in a few more FX, and it now works and feels better!

D. Wrecker Too Hard

(In the old boss arena - the 3D printer on the ceiling just made the fight more confusing)

The game's difficulty to players is a big blind spot for me. My brother's no slouch when it comes to gaming. He's beaten all the Dark Souls games and he loves a challenge! So to see him get pulverized in 10 seconds (literally) was a clear sign that the boss was too hard. The boss is able to easily corner the player and there’s no clear opportunity to escape. So I've decided to rearrange the arena - get rid of the 3D printer above and add 2 platforms to the battlefield's edges. This makes the fight more manageable (for the first encounter).

E. Aerial Attacks Too Hard

(Each hit fills the meter at the bottom. Hit the speed bag 10 times in quick succession to win a prize!)

I love the current aerial attack system but there's a steep learning curve to it. Gail takes time to wind up her aerial swing so the player has to time it so that Gail's jump trajectory and swing coincide with the target. Swinging the bat too close to the ground will result in Gail not only failing to attack, she'll be punished with a short "landing lag" recovery state. So aerial attacks are hard it seems. Instead of revamping the system, which I'm still fond of, I've introduced an aerial training course disguised as a mini-game.

So that's a small snippet of some issues I'll sort through with playtesting. Once the game is further scripted, my plan is to do another round of playtesting, followed by fixing. Then rinse and repeat until the whole game is all polished. It seems there's still a long road ahead... So I apologize if I've gotten your hopes up!

--- FANART ---

Three new fan arts popped up in the last 2 months.

The first one is thanks to Cody. G, who's made many fanart submissions before. He continues to improve - really interesting choice of angle and great water effects!

The next two are thanks to Shafiyahh on reddit. Both depictions are of Gale in 2 different art styles and angles. I really like the sparkling effects! Gale also has 2 different eye colors. Which do you think is more fitting?

That's all for now. We'll continue working diligently, and be back with another update come end of September.

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melforbes · 5 years

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what's been your favorite part of writing seaglass blue? is there a part in particular that you couldn't wait to write? is there one you were avoiding?

to be honest i am 100% flying by the seat of my pants with this which right now is out of character so i haven’t exactly gotten to the dreaded parts yet lmao

i have an ending in mind (and a final line) that i really like but that i have a gut feeling no one else will like but i’m not compromising with it and i’m a little nervous to post that eventually. i’m not nervous about writing it but i don’t think it will necessarily come across well. Like it feels a little end of the sopranos but also it’s not like that at all but it’s the same existential vibe if that makes sense. which it doesn’t at all. but still

i actively avoid dialogue because it’s not my strong suit. i also can’t get the Mulder Voice right (deadpan snark etc) and then throwing in Big Feelings i’m just so out of my element

so far i shockingly haven’t dreaded writing any part of it. i did end up blocked with this last chapter because i hadn’t entirely decided what to do with the plot and the plot i’d thought through and didn’t actually use (and lmao have since forgotten!) just was not working at all so i didn’t write and instead did the whole running in circles thinking it through thing that isn’t writing (i recommend reading atomic habits by james clear ahaha! that running in circles motion gets a massive drag in there) that ultimately was never fruitful AND EITHER WAY i started a new drug for the other side of my life and it gave me wicked insomnia and at two am everything righted itself so i finally figured out where i was going. But that being said i never really dreaded it even though i oftentimes dread a scene or two in most chapters i write and i think the lack of dread comes from how it’s all set up in a very cozy way and it’s hard to dread something like that

i couldn’t wait to write the wedding which is why i dive into it so quickly. And i really wanted to interject parts of their “wedding night” or afternoon or whatever because those were my favorite moments to visualize. there’s another part down the line that i can’t wait to write but i also can’t spoil that haha. i think like...the most anticipated stuff i have coming up for the next chapter (or maybe the one after that depending on how the wordcount shakes out) is a specific conversation about specific things that happens in the dark. and uh i will not elaborate beyond that aldskjasldkjfdalsgj

my favorite part of writing it. this answer is so disjointed i’m sorry. i’ll put the rest of this under a cut because i’m rambling ahaha

my favorite part of writing it has been like...i think this is a multitude of things which is why i wrote msr again after a long unintentional break from it. idk if i ever really mentioned this (or at least if i mentioned it recently) but i started writing msr here in mid 2016 to rekindle my passion for writing while i was very very ill long term, and that culminated in the “everyday msr” archive i have on my ao3, which thus was a log of self-comfort in hard times as well as (unintentionally) documentation of how i neurologically healed during that treatment. so, bizarre. i was in a hard place back then and writing helped me keep my head screwed on straight, and luckily with msr you can write the shittiest things and someone will still be genuinely happy to read it and will look past any lack of talent or training or experience or anything and instead see you, someone having an idea and offering it to others, sharing something for the sake of feeling something good together. that (combined with my own personal gratification of having done something) really helped me emotionally during that time. like when you can’t be of service to anyone in the world, barely even to yourself, it’s really reassuring to hear “i was having a hard day today and this small thing you did eased me” and know that they didn’t need quality or exceptional talent; they just needed you to show up. i’m getting off topic but all of this is a roundabout way to say that i’m essentially back in that same place right now and have been for the past little over a year and like. It’s bullshit ahaha. like it’s absolute bullshit. But it’s strangely valuable to have this like...same connection as i had last time, just in a bit of a different way. it’s still msr, it’s still a kind of Happy Place for me, but there’s an overarching plot, i have other stuff that i write too, etc. but still, i appreciate being able to go back to an original comfort and form that comfort in the same way. the “everyday msr” stuff was intended to be just extended written-out headcanons about domestic msr post iwtb or post revival #1 that i could write in one sitting, and this isn’t entirely different from that; it’s just that the domesticity has a twist and a different era. but it’s the same stuff as before - pictures of misty places, gentle music, living based on the season, being a homebody, cooking for your lover, natural beauty. it’s nice to return to that place right now

another favorite part of writing this is that maine was an important part of my childhood. my family spent a week of vacation there each year (outside of bar harbor, not on mdi but right outside of it) and i kind of associate that purity with it. it feels like one of the only elements of childhood that i haven’t found adulthood corrupting. like we learn that disneyland is just a capitalist hellhole and whatnot when we’re older but maine hasn’t been ruined for me yet and i treasure that. And having them there feels special as a result. i very much on purpose didn’t label a town they’re in (or even base where they are on a real one lol all of that is glossed over enough anyway that i’m not worried about it) but it felt important and right for them to be in maine. it feels special to tap into the very brief time that i shared with the show while i was still a part of its cultural landscape. that sentence makes no sense. in other words i was born in 1997 ahaha. but either way like...i get to people this place that is already special to me and give them love and safety within it and that feels good in a way that i’m struggling to describe. And also i could go on some stupid rant about how Cell Phones Hurt Our Social Circles or whatever but i do genuinely miss rental houses that got 10 blurry channels on rabbit-eared tin foil televisions in a day and age when you normally got way more than that, all while you’re in an era in which boredom is still normal enough that all of that means “well, no tv for this week i guess!” and then you play a board game instead. it feels good to voluntarily create a place like that, then ask in my own life, why don’t i just live like this? And then to struggle through plotting something because there’s no digital numbing with television and smartphones and whatnot, and to understand my own hesitation, and to explore that a little more whether or not it’s in writing

another favorite part (yes i will in fact keep going!) is that the writing style is a little bit atypical from my current norm which allows me certain freedoms that i haven’t really opted for in a while. on the off chance that anyone has read any of my other recent stuff (though this is...a very small chance ahaha) it’s clear that these chapters are much shorter and less prose-heavy than my other stuff is, and that’s really helpful in that editing it is much simpler and writing it happens much quicker. if life were predictable and i had better self-discipline (and better health! can’t discount that one haha) then i could easily get a chapter out every weeks, in comparison to other stuff that i updated once every three months. i’m trying to keep each chapter to being about 3k in length (which they seem to naturally tend toward anyways, i didn’t create that metric so much as just went along with it) and there aren’t frequent “flashback sequences” (there are callbacks and past things brought up, but they’re not significant portions of chapters that go back and forth in timelines and make a nonlinear plot, the linear plot dominates and each scene is more or less in chronological order even if there are callbacks) so i’m not too worried about pacing or structure or anything like that. i never set out to make it “simple” i think it reads better this way and i appreciate that a lot because i can take a break from other stuff that’s a bit more jagged and just do this instead. it’s also nice to write something that i feel is more on the readable side than other things. i think my biggest inspirations for this (which i realized accidentally with the “he wants to brush her hair” line ahaha) were our souls at night and the sunlit night, both of which have a kind of dainty prose style and are a little low on long descriptions but can say a lot with one simple sentence. recently i’ve focused a lot more about darker subject matter and uglier parts of humanity so it’s nice to be able to focus on something that i feel like matters and has a more readable quality to it without actually sacrificing anything in the process or trying to dumb something down

so i think that’s it! that’s my thoughts! this is too long and far too personal! haha!

#Anonymous

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superseraphim7 · 6 years

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CURRENT COSMIC ENERGY UPDATE: Mass Exodus & Changing Dimensions 3/11/2019 Tuning into the Cosmic Energies and Varying Collectives occurring, as a part of the Grand/Great Awakening Processes, in varying stages, phases and vibrational frequencies (bandwidths), with each bandwidth "playing out" their relative roles..... As each collective awakens, through the activation of Photonic Light, which occurs on a cellular level within each's body (LightBody), each dimensional body (carbon based, crystalline, plasma), experiences "REAL"ity very differently..... I started a sharing/writing last year that I never completed (it had to take a back seat to our other service roles here), which broke down each dimensions LightBody, starting with the 3rd. Until each becomes fully aware of how all works (from inside), then everything is speculation/supposition and so not understood.... because of how each "measures" and "sees" is still through fractals/old parameters of "what reality is".... For this sharing/article, I will break it down a different way and at some point, complete that article/writing and release it/provide it for those it may assist.... Right now, we have a MASS EXITING occurring... from the "Group Think Mind" of "mind control". Now, I do not use these words to support "I'm a victim", yet the opposite... of the POWER THAT EACH TRULY HOLDS when their own deep inner sacred connection is the POWERFUL FORCE within their own reality and each functions from this place/space inside. Re-establishing our own deep inner-connection with PURE SOURCE CONSCIOUSNESS, will take on many "forms" along the way. As each moves through each Lightbody DNA upgrade/phase, more awareness, more information, more understanding of HOW ALL COMES TO BE CREATED becomes visible... yet at first, without this VISIBILITY (ability to see multi-dimensionally), the version of the "truth" is still a bit "slanted", based upon "individual stories" vs. the much bigger picture that doesn't involve "I was a victim" anymore.... As each AWAKENS to their own SUPREME POWER inside... to the awareness, realization and understanding that they were deep asleep and living deeply embedded in realities that were blanketed in "untruths", held together by "fears", an illusion we all "bought", because it's a part of the "being deep asleep process", which is also a part of "breaking out of that prison/programs/conditioned beliefs (hell)" and deciding to shift perceptions, shift beliefs, shift "alliances" and eventually "shift versions of Earth's we live on".... (from Old Earth to NEW). Many are unaware there's totally different Versions of Earths all running simultaneously, at the same time and for each to "shift" over to a different/alternate/higher consciousness version, each must open their hearts to allow PURITY LOVE CONSCIOUSNESS to EMERGE from within.... and "how each gets here" is not what anyone "thinks" or is "typical". This is the most "untypical, un-orthadox, un-conforming, illogical process" (to the human aspect), because HOW isn't a linear process and the "ways" are not typical or "normal" or available in "one video or book"..... At first, "leaving" or "going against" everything one has been told, conditioned to believe and "thought", it's scary as hell... (which is the point), as the conditioning was meant to "keep" everyone in a reality SO SCARED to GO AGAINST... that the programming becomes the belief which then dictates the physical reality.... of how all "lived". Because each's WHOLE LIFE was built upon a facade.... built upon fears and beliefs so drilled in, so deeply embedded, so "marketed" as true, with books, education and entire societies/communities/cities constructed to uphold this "illusion", to make "unconsciousness" easy... when it's time to emerge from the illusion, from the deep state/sleep/slumber/amnesia of what IS REALLY REAL... CONFUSION, fear, anger and blame are the "first parts of this awakening" process... because each "feels duped", yet this is a part of the illusion too. RIGHT NOW, we are in Mass Exiting (once again), as the "next collective" (a much larger one) emerges from the illusions, emerges from the deeeeeeeeep deeeeeeeeep sleep, where illusions and distortions ruled.... and due to "acceptance", were allowed to have control, because FEAR is the ENERGY THAT HELD ALL THERE.... yet.... These COSMIC RAYS AND CONTINUALLY ACCELERATING SOLAR (SOULar) Activity, the increase in ULTRA HIGH FREQUENCIES do many things, all important in this mass awakening/ascension process for all on "this planet" (and beyond). These ultra-high photonic, sonic, gamma, (and so much more) frequencies GO STRAIGHT to the cellular body/DNA, straight to the program, go straight to the constructs, straight to the SOURCE of where all was "housed" (within the body), to activate, stimulate and create a disruption in the old frequencies that kept each "bound" to that dimension/density/reality.... These Cosmic/SOULar Frequencies are LIGHT ENCODEMENTS that disrupt the old "signals" that held the old illusions in place. They go straight to where EACH'S DNA is "waiting" to be activated to AWAKEN FULLY, yet the human aspect is unaware of all still, because there are so many programs, mentalities, beliefs, illusions, distortions to clear in order for one's PHYSICAL BODY/LIGHTBODY to awaken enough through CONSCIOUSNESS to clear the heavy-duty density held within.... This is as much a physical process as it is an energetic one. This is an immense emotional process for awhile, clearing all the hurt, betrayal, inner-pain, anger, hate and distrust, blame, shame, guilt and so much more.... and the process "takes as long as it needs to take", which is often years, because not only must the emotions clear/cleanse the body, the thoughts, the physical density, the beliefs, the resistance and the HOLD THAT EACH'S EGO HAS... every bit has to be "reworked" vibrationally, literally.... in every way. All while the physical reality is being aligned too. Every compromise, every acceptance of anything not PURE, every suppression, every avoidance, every linear thing created/held, every attachment, every lack (power, love, inner-connection), must not only BE REVERSED... all new everything must be created to replace the old.... NEW UNDERSTANDINGS, new access, new ways... of doing things, of thinking, of acting, of living.... our entire lives have to be re-built, re-aligned and re-configured to align on a Universal/Soul/Cosmic Level... which is not an easy task, because "outside" isn't where we go to get our answers (except at first, when we seek/utilize guides to point us inwards to find our own truths/answers, which is the opposite of giving our power away to anyone else)..... Part of the process, for awhile, when collectives are EXITING the old ways, when one has not fully come into their own deep-sacred connection/power within, they will seek outside for "others" to tell them what to do.... because the old way was "rely on others, rely on someone else to think for me", because each doesn't yet "know how" to "think" for themselves... this will create another distortion/parallel experience, if you will, if there are any impurities within the seeker, any compromise of soul/self, any "hand my power over to others", then the cycle of "repeating" an experience to learn WHAT NOT TO DO/BE will occur, as it's a part of each's "learning process" here. There's often alot of drama when this happens, because of the depth of the emotions each still holds and the depth of DEPENDENCY ON OUTSIDE vs. SOVEREIGNTY, which is a part of the transition out of 3D/4D into 5D/NEW Earth Realities.... Let's talk about NEW EARTH for a moment... because I see so many that still don't understand. NEW EARTH IS A VIBRATIONAL REALITY that operates at the FREQUENCY OF SOUL LOVE, where each awakens to beauty, magic, magnificence and a profound sense of PEACE, HOME, bliss, magic and all of this JOY and AMAZINGNESS that we all disconnected from/forgot/were disconnected from, while living beneath the veils (within). As we sleep, as we rest, as we reconnect with nature, as we all go through our own "Dark Nights" (Ego Dissolution/Death), what AWAKENS/EMERGES within US is OUR OWN LIGHT.... is our CONNECTION WITH/AS PURE SOURCE CONSCIOUSNESS, where OUR WHOLE LIFE CHANGES, because we've REMEMBERED the ABUNDANCE, we've REMEMBERED the FREEDOM, we've REMEMBERED THE PURITY and the brilliance and our own INNOCENCE, without the distortions/separation/programs... and then it's a process of re-structuring, re-building, creating, re-aligning EVERYTHING WITHIN US and OUT THERE with these "new understandings" (realizations/awarenesses) that DON'T CONFORM TO THE OLD..... This is a process, years and years and years of linear "time", yet because we don't "live" from the linearity anymore, because we function from ZERO POINT, PURE PRESENCE, every dimension/reality/possibility opens up.... through our LIGHTBODIES and our SOURCE CONSCIOUSNESS DNA activating 24/7, as linear goes out the window, our bodies have to continually go through an immense re-writing process through the INTEGRATION OF LIGHT(CODES) that re-do everything FOR US.... and because we function from an "EGO SURRENDERED STATE" our ACTions are PURE... which can be "read" energetically by all tuning into this... OUR LOVE, on a SOUL LEVEL, on a Cosmic Level, on a Galactic Level, every level... can be felt.... this is our ENERGY SIGNATURE that CONNECTS US ALL as PURE SOURCE LOVE CONSCIOUSNESS here.... For each one of us to come to LIVE FROM THIS PLACE/SPACE fully, we all had to be "faced" with everything "not pure". It's a part of the process of CHOOSING and re-aligning all of our realities, which is what collapses/dissolves the old unconscious dimensions, as they were all held in place by each one of us, because we believed "that", because we conformed, because we allowed, because we became submissive... without any awareness that we were... AWAKENING CHANGES ALL --- First, there's each's AWAKENING, THEN ASCENSION BEGINS... this is a totally different PART/PHASE of the whole process... where each RETURNS to a Christed/Pure State of Consciousness, through DIVINE SOUL UNION WITHIN.... this is where everything starts to become VISIBLE ON A WHOLE NEW LEVEL, one that's not personal in any way, one where there are no victims or perpetrators, because "access" starts to return.... NEW EARTH IS ASCENDED EARTH...which means each LIVES AS THEIR ASCENDED ASPECTS, as pure love, as Conscious Light BEings, yet there are varying levels of this too, as this accelerates all new phases relative to various LightBody phases, as each EMBODY'S FULLY and re-aligns their whole life too..... This is not an "easy" process of re-constructing our entire reality according to all new "codes", because the more unconscious and deeply embedded/asleep we were, the more we go through to awaken and 're-do". NEW EARTH IS EXPERIENCED FROM DEEP INSIDE. IT'S OUR PURE LOVE and OUR DEEP SACRED CONNECTION, IT'S A FULLY REMEMBERED STATE where our bodies and physical realities are constantly shifting into much higher states of consciousness than before, yet the oscillation rate of these cycles INCREASE to be so "fast", that all linearity goes and we live from a fully Quantum State of Consciousness that doesn't' function like linear/dense realities did. We all gain the abilities to TUNE OUR CONSCIOUSNESS to varying levels and frequency bandwidths, which open up portals, gateways, passageways to varying dimensional realities that already exist (because all has already occurred) and we function from 'THOSE', while we "do" our every day, which is very different than the old ways, in every way. How we move through all, how we see, how we do all... becomes very simple, because the density (slowness which is relative to processing speeds/light) is very different too.... NEW EARTH IS WHERE WE LIVE INSIDE, as Photonic Light BEings, as Soul-Star-Light BEings, with photonic/plasma access and realities that are fluid, synchronized with a Cosmic Rhythm and Harmony that's always "in-tune". When it's not, we know it and we honor this, yet our capabilities are different, because of the PEACE, LOVE, HARMONY WE HOLD WITHIN.... We treat everyone with immense kindness, we truly care, we are able to maintain our own Deep Sacred Connection with all, so we never shift out of pure gratitude, appreciation and living from an abundant state, which means that we don't hold the conditioning, programming and limits of the old. We share, we support, we inspire, we uplift, we live from PURE JOY and recognize all... We see everything, without the blinders/cords/illusions of before. We see PURITY and we SEE lack.... which gives us the ability to assist/guide others who are open to accessing/achieving this within themselves fully too, yet we have no desire to take on the responsibility of others energetically saying they are not ready to do what it takes to live PURITY CONSCIOUSNESS from within themselves yet. We understand what compromise creates, we understand how we each have to choose, because in the choosing, we take responsibility and are saying WE ARE READY TOO. The responsibility we speak of is not like the old ways.... it's a very different responsibility (many argue this, yet that's ego matrixes too). Our RESPONSIBILITY is to HOLD THE HIGHEST STATES OF CONSCIOUSNESS AS LOVE HERE and to SHOW THE WAY, LIGHT THE PATH and BE THE ONES/THE CHANGE and to create the space and hold it for all others to choose this fully too. NEW EARTH IS AN ENTIRELY NEW MATRIX SYSTEM, YET IT'S NOTHING LIKE THE OLD It's a Crystalline/Christed "matrix" that is connected and woven through LIGHT. It's a NEW SYSTEM that we all CREATE AND LIVE as Ascended (Returned/Remembered) Light BEings here. It's us inner-connected, us as ONE, it's WE CONSCIOUSNESS through UNITY and PURITY and UNITING to BE NEW EARTHERS here. WE Shine Light, WE Share as Light, WE affect all as LOVE and we hold the "new" in place... as the "new" is not "new"... it's what we all "lost"/disconnected from/forgot, while living beneath the veils.... THE VEILS ARE INSIDE, IT'S THE SEPARATION ALL HOLDS, IT'S PHYSICAL MATTER/DENSITY as well as immense unconscious programming represented by suppressed/repressed emotions/thoughts, beliefs/mentalities of less, lack, fear, judgement and the ABSENCE of PURE DIVINE LOVE. NEW EARTH .... you/we BECOME and ARE NEW EARTH... WE, as multi-dimensionals can see/experience all from a multi-dimensional level and choose from a multi-dimensional level too. One cannot just "say the words" that sound intelligent or pretty or cool... HERE ALL HAVE TO LIVE IT, BE IT and our ENERGY SPEAKS FOR US.... as all is VISIBLE HERE.... because we live as ENERGETIC BEINGS, WE READ ENERGY, WE COMMUNICATE ENERGETICALLY and words are only use to describe, teach, explain and bring into a higher state of consciousness, what "isn't yet". In the beginning, NEW Earth isn't even real. Then it becomes a place we see in our sleep or waking state DREAMS.... then we start to experience it through subtle inner-actions that are silent, connected and peaceful, pure and innocent... yet then the process begins of "HOW TO LIVE THIS ALL OF THE TIME", which is where all of our parts come in.... We sleep/dream ourselves awake and anchor dreams from our "dream state" into/through our physical here. THESE COSMIC FREQUENCIES and PHOTONIC LIGHT assist with transitioning from parallel to parallel to alternate realities and clearing distorted ones.... these photonic frequencies do everything only understood as/after we go through it all... as the KNOWLEDGE FOR HOW comes through our own actual experiences here, otherwise it's just regurgitation, just like old earth realities were.... A fully SOUL ALIGNED REALITY is SIMPLE and not creating fractals/parallels to experience (learn from) anymore. As each come to TRULY UNDERSTAND that there's not just ONE VERSION OF EARTH RUNNING ANYMORE..... it makes it easier for each to "choose" a much higher dimensional version than before. As each truly come to understand (get it deep within), that NEW EARTH IS OUR PHYSICAL REALITY EXPERIENCES that are a VIBRATIONAL MATCH TO US... (as is old earth, yet focusing on NEW EARTH right now)..... EACH STARTS TO PAY ATTENTION to what they are holding, transmitting, allowing, believing, calling forth and surrendering to, understanding that it's OUR OWN ENERGY and HOW WE SHOW UP/ACT that determines the experiences we all have here. We've reached another nexus point, a turning point if you will, another one, because these are always occurring as we all continually up-shift, while anchoring/integrating/holding higher states of consciousness from within us and radiating this out to affect, shift, recode all..... When I awoke to the words "Mass Exodus", I had to go look up Exodus to see what it meant. If everyone drops the "linear" and looks at the energy/metaphor... it relates to masses exiting the "slavery of humanity" phase, which correlates to the "survival mode" where enough hearts have opened fully for more to transition through higher awareness, instead of living by the old conditioning held in place by "fear". Yes, clearing fear, judgement, lack is an immense process, because it means going deep within. We are going to see the most intense DARK NIGHT for many collectives going through their own "exit"/transition processes of resolving separation/duality within, so that their own LIGHT CAN BURST THROUGH and be their own Guiding Light too... The process of RE-CONNECTION and REMEMBERING and ONENESS occurs within each one of us as we are ready and our hearts open enough, as our walls of Armour/protection come down, as our own distortions come up for us to see/clear and as WE DO THIS OURSELVES... We can be guided, we can be assisted... along the way, yet no one can do these parts for us, we have to do them ourselves... and the human ego aspect has been convinced/convinced itself it's not able/capable/can't and "needs" something/someone else to "help". Yes, we have to open up to this, if we were so strong we wouldn't allow ourselves to be vulnerable, open and "seen", yet there's a huge difference in opening to that softness and relying on others, which is just "displacing our own POWER" again.... NEW EARTH.... all are Sovereign and not playing out lack games, not blaming others, not taking on others stuff and clearing the immense DISTORTIONS OF LOVE. OUR LOVE IS PURE.... and through this purity we will hold all to a place of Sovereignty, because we don't see the lack. We see the stories, the BS, the games that the ego plays, yet we see the beauty, the purity and the magnificence of EACH when all are LIVING AS PURE SOURCE CONSCIOUSNESS LIGHT too... A NEW EARTH EXISTENCE means that you live free from the old distortions, free from the lack, free from the programming/CONDITIONING and you live from your Quantum State too.... It means that you show up, you hold your own, you are kind and you "get it all" with your whole being and you don't bring your lack to the table, because that's all the old BS programming and illusion that we all see beyond. NEW EARTH is YOU LIVING AS A NEW EARTHER... you living as LOVE... you fulfilling your highest roles/purposes/missing, without "needing" anything... because you've cleared your own akash, because you've REMEMBERED and you are excited to share, excited to uplift, excited for all to UNITE, to create, to strengthen the NETWORK of all of us who are RECONNECTED on an ENERGETIC LEVEL with Gaia, Universally, Cosmically.... NEW EARTH IS YOUR "CREATION", it's you LIVING YOUR MAGIC AND JOY... and it's you being visible, open, honest, REAL and not making an apology for not conforming to the old lack systems of old earth anymore.... because you've TRANSCENDED THE BELIEFS, the programming, the mentalities and the ENERGY of SEPARATION from deep within you too... you are not projecting your "stuff" and you are not taking on "others" "stuff".... that was the old ways too... IT'S ALSO you/all of us fulling higher service roles. NEW EARTH is you respecting all... from the DEEPEST MOST SACRED AND CONNECTED PLACE WITHIN YOU... living from this DEEP SACRED RESPECT with your every act, with your every breath and not accepting any less ever again.... because you don't have to, because you woke up and YOU'VE REMEMBERED YOURSELF AS PURE SOURCE CONSCIOUSNESS too. Drop the ego games, drop the "fronting", drop the "pretending", drop the "stories", drop it all.... as THAT is your DIS-EMPOWERED and DIS-CONNECTED STATE of Consciousness.... IF YOU TRULY OPEN YOUR HEART AND MIND AND WHOLE BEING and UNIFY TO/FROM/AT your absolute highest FREQUENCY OF PURE LOVE and you walk as this throughout your day, you live as this with your every ACTion, you breathe this as your ONLY REALITY then it's guaranteed that your "REAL"ity will "change". This is because YOU ARE BEING LOVE and you are treating others with kindness, consideration, respect, compassion and taking all into CONSIDERATION - BEFORE you allow your old programming to enter back in. WHEN YOU HOLD THIS EXPANDED STATE ABOVE ALL AND YOU LIVE IT FULLY.... NEW EARTH WILL BECOME YOUR ONLY REALITY TOO. Location will not matter, the people won't matter... because the LIGHT YOU HOLD DICTATES....and once you are able to hold this fully "no matter what", then your physical will start to take new shape, open up new opportunities, open up new possibilities and "take you in new directions", because you changed your whole vibration to a whole new dimension, so the next steps are to move your body to the new physical dimension or to experience the new physical dimension as it arrives for you! ♥ As you LIVE FROM NEW EARTH INSIDE OF YOU.... NEW EARTH WILL "APPEAR" (MATERIALIZE) OUTSIDE as a vibrational/energetic response to you.... This is how we all do/did it. This is how we "know". ♫ Happy magical everything. "How long is up to you". "When" is too... as time is not linear, it's vibrational and relative to the amount of LIGHT HELD... as we go "up" in vibration and "expand" out.... to experience the vastness of multiple dimensions all simultaneously, which is how MULTI-DIMENSIONAL EARTH IS EXPERIENCED for all of us here. ♦ NEW EARTH IS WHERE WE ARE RE-BIRTHED THROUGH/TO EXPERIENCE/LIVE... HEAVEN ON EARTH BECOMES OUR NEW HOME (INSIDE AND OUT), BECAUSE WE LIVE FROM HEAVEN WITHIN... WE DON'T CHOOSE/ALLOW HELL ANYMORE. THAT WAS A PART OF THE OLD ILLUSORY PROGRAMS HELD WITHIN US ALL TOO. Lisa Transcendence Brown ☼ www.AwakeningToRemembering.com

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