#and its not how people used to make videos either its the game itself

[mauv-the-bluest-cat-ever]

tripping balls as i am watching old mcyt videos

[directdogman]

Hi, I hope you're having a decent day! I'm sorry if this is an invasive set of questions - feel free not to answer - but do you still actively like DSaF as your own creation, or is it more of a "it was fun while it lasted but i outgrew it and it's for the best to leave it behind" kind of project? Do you ever regret making the games? If you knew they would get so popular, is there anything you would have changed about them? Is there anywhere I could read more of your writing.

It fluctuates a bit. These last couple of years, I've really just been sorta nostalgic for it. I've seen a lot of people discuss those games being a source of comfort during bad times in their lives, people talking about how much the characters mean to them and it's hard not to smile when you see that.

It's a funny thing for close friends of yours to see people WITH fanmade DSaF merch out in the wild, or to watch a random youtube video and being hit with a DSaF reference outta nowhere. It happens from time to time, even today. On a few occasions, I've even had a person reference my work to me in real life and not realize who they were talking to, believe it or not. It's really fun to play dumb and get someone to explain your work to you like you don't know what it is.

I certainly didn't think any of that would happen when I first made the series, or even during development. I think the normal assumption would be to look at DSaF as it exists now and assume its release was a peak for it, but believe it or not, the official discord only had 30 people in it shortly before 3 dropped! The archive listing of the series (reposted to a single page after the series ended) is now sitting at over 1.1 MILLION downloads.

People kinda assume the true heyday of something is when it's new, when it's fresh and novel. For instance, some people look back at when FNaF itself was new and see that time as its peak because it had a lot of internet cultural relevance as big new indie thing on the block. But, raw numbers don't lie. The series has been continually growing since its conception and that growth has similarly bled over to its fan projects. This explains why DSaF, despite not having a new series release in almost 6 years, seems to be inexplicably growing.

Just recently, I saw someone post footage of a scene from DSaF 2 on Twitter, which got over 16k likes. People praised its writing and largely celebrated the scene. The ironic thing about that particular scene is that I remembered being unsure if it was good or not, so I showed it off in one of the FNaF community hubs. The response was broadly lukewarm to negative. Now, it's held up as one of the best scenes in those games. That's kind of the point I'm trying to make, my thoughts on the series have certainly changed with everyone's else with years of hindsight.

Heh. I'm not sure if I've talked about this in a long time, but y'know, the very first scene I implemented in-game was actually the very first Phone Guy scene in DSaF 1, more or less exactly how it appears in-game today. This was before I'd even written the bulk of the game. I was pretty unfamiliar with visual novels as a whole, pretty unsure if something like this would be palatable to a fandom that was really just used to sit 'n' survive stuff that were far more gameplay than text. I mean, there wasn't any FNaF fangames really LIKE DSaF before that point. Closest was FNaFb, a jokey turn based RPG made in the same engine.

The engine I made the game in is also not exactly fit for VNs out of the box either, and I wasn't 100% sure the idea would actually work. But, the very first time I added the image of the prize corner, Phone Guy, the audio of that iconic cheesy stock track and booted up a test screen, I had a little moment where I said "Oh. I think I'm onto something interesting here." I kinda remembering instantly realizing in that single moment how much potential the idea had. Over 8 years later, I still remember that moment like it was yesterday.

I think lately, that's the sort of stuff I think of when I see people coming to me and asking about the series. Yes, it's really rough around the edges, yes, there's jokes that've aged poorly. But, it is a source of comfort for people and entertains tens of thousands of people each month. And that's gotta count for something, right?

[boxturret]

One Tenth Scale Mata Nui

Mata Nui is a cool place, but did you ever feel that it was a bit...big for what it was?

The official maps put the island at 357 kio long, which if you take to be a stand in for kilometres¹, would make the island 357 kilometres long.

This lines up roughly with what we can see in the concept art: they say that Mata Nui is around the size of Denmark, the real measurement being 368km, and it matches with what we see in the Mata Nui Rising cgi video.

So that's all well and good, Mata Nui is 357km long, the GSR itself is 3300km tall, all hunky-dory, as long as you ignore some guy named Greggory yelling about how the robot is actually much bigger, but its fine to ignore him.

But now, actually consider what this means. Denmark is by no means a small country, it has a population of 6 million and would take hours to drive across by car on modern roads. Now that isn't an issue really, but in most media depicting the island its shown to be a place that can be traversed by foot or on animal back in a reasonable time frame.

But now let us look at this earlier map:

Initially the most interesting thing to me on this map was the 3rd measurement: the height of the Mangai volcano²

Now on the one hand, this was cool, now I know how tall to make the volcano, on the other hand... 23km seems pretty big.

It is. 23km is higher than Olympus Mons, the largest known volcano in the solar system, standing at only 21.9km. So that's pretty big. This made me start thinking about how far various things are apart and how long it would actually take and using some very VERY generous numbers I started plotting out how long it would take to actually get from place to place.

It wasn't very pretty. In the Mata Nui Online Game it would have taken Takua roughly 5 hours to walk from the beach to Ta-Koro, and another 18 to get to Onu-Koro using the highway. Now this would be fine in an epic like Lord of the Rings, but in Bionicle Mata Nui is consistently treated as a place people can pretty quickly get around on.

The Toa are running all over the place and bumping in to each other. Kopaka getting in to the Caldera at the top of the Mangai volcano isn't the equivalent of climbing 3 Mt Everests in a row, its just something he does [correction: It wasn't the caldera, but a lava pool half way up the mountain, so just 1.5 Mt Everests]. Takua travels all over the island in a pretty small amount of time, unless we're supposed to insert day long journeys in between every screen transition.

But then I noticed something. Something very interesting.

Now lets look at the two keys for the sizes on the released and the early map:

Seems pretty consistent, the sizes of the island are the same, a Toa is 1.6 bio on both (incidentally a real Toa figure is approximately 16cm tall), everything seems to match.

But then I counted the zeroes.

The old map has a kio being not 1000 bio, but 100!

You can even see it on the other version of the map.

Now this is incredibly interesting! This shrinks Mata Nui to 1/10th of its commonly accepted size! It goes from being the size of Denmark to being the size of the Isle of Man.

Which....really works a lot better! This turns Takua's trip from the beach from a 5 hour hike to a short half hour walk. This turns the cable car to Mt Ihu from a massive 70km mega structure to something that's dwarfed by real world constructions.

I don't think this is a mistake either, looking at the details of the map.

You have much finer details, such as these ice shelves collapsing in to small icebergs, whereas on the full sized map some of the larger chunks of ice are kilometres across.

One of the major things it includes are the mesas that can bee seen in many of the promotional renders set in Le-Wahi which are nowhere to be seen on the final map. At this 1/10 scale the plateaus seen would match up well with the massive mesas seen in monument valley in terms of size, but with the final size they would be absolutely massive (10 times as big if you can believe it!)

So suffice to say, I don't think this is just a case of a zero being dropped, it really seems to line up with the level of detail on this earlier map.

But what does this do to the GSR? I hear you cry, well it varies. Going by the earlier numbers it would simply be 1/10th the size, so 330km tall instead of 3300km, so still very large, but depending on the size relationship between the robot and the island it could be as "small" as 180km

The island in this picture is roughly the same size as normal, just covers more of the GSR. The final GSR's head is so proportionately tiny compared to its body that the Mata Nui island had to be very small to cover it. But in any case, a robot "only" 180km tall standing up is still going to tower over anything, its many times higher than airplanes fly, its taller than most clouds, really it would be quite consistent with this render:

So, in conclusion, an earlier concept of the island of Mata Nui has it being 1/10 of the size of the final, and that size seems to work better with what we see in various media from the time, and works better with the story.

Personally this is what I'll be going with in terms of the scale of the island going forward, as it really fits with my vision of the setting and works well with all the story and media from that time.

¹-I don't care about someone saying a bio is 4.375966487787¾ feet, feet aren't real and neither are you. ²-Mt Ihu is NOT the highest point on the island, the GSR isn't Pinocchio with a big pointy nose, this has never been reflected in any visual media.

thank you for reading/have a nice day

Update: I have made a companion post with many renders of George visiting places on the island to hopefully better illustrate the scale.

[mareastrorum]

These are just initial thoughts, and perhaps I’ll learn something that changes my mind on it, but I’m glad to see Critical Role making the leap to their own subscription service with Beacon.

As a lead in: I’m an attorney that has some background in IP law, though it isn’t what I practice currently. I’ve kept in contact with several active practitioners, particularly those that represent small-time creators either in their own independent practice or via nonprofits. I do not have an extensive Rolodex of IP peers, nor do I spend the money to keep up on IP CLEs. I’m just someone who used to know a ton because I did heavy research and work in that space, and that hasn’t been the case for years.

So here’s my thoughts a bit on the IP angle:

The primary reason I’m happy to see this leap is that CR is taking active steps to keep control over its IP. It’s a boring thing to most people, but when I start paying attention to a specific creator (authors, directors, companies, etc.), I tend to be very attentive to how they use their IP. How freely do they license their marks to partner with other creators to make merch? How often do they allow others to make adaptations or derivatives of their copyrights? What is the quality of those products? What is the supply chain like? Are those third parties objectionable in some way? Were the other parties faithful to the original works or marks? Was this a cash grab or an earnest effort to make something worth the price tag?

Honestly, I like how CR run their business. They have a history of tapping fans and fellow small businesses when making new merch or spinoffs. They embrace the culture of fan-made derivative works, both by featuring fanart/cosplay and by sharing their success. Do you know how rare it is for a company to pay fan artists for their already-made and freely posted work and then sell books of it? Let me be clear: CR bought a limited license from each artist so they could print and sell each work in a physical book, then paid the cost of publishing that book with no guarantee that CR would make that money back, let alone profit. I have a copy of the collector’s edition art books: they’re actually very well made and the packaging definitely cost a pretty penny. That’s not a rainmaker idea, that’s genuinely risking financial loss to sell something people could access for free if they wanted to.

The art books aren’t a one-off either. Darrington Press is CR’s separate LLC for tabletop games. (It’s good business practice to split off companies that handle products in different industries.) CR has also made shows based on those games, and the Candela Obscura series has quite a dedicated audience. Everything about Candela belongs to them: the game itself, the rule book, all the art in the book, the web series based on the game, and merch. It’s so successful that they invested in scheduling a live show for Candela later this month. That’s HUGE.

Contrast that with the distribution of Campaign 1 and the first 19 episodes of Campaign 2. CR cannot host those videos themselves; Geek & Sundry still exists and still holds what I presume to be distribution rights (but I don’t have the contract to review). So G&S gets to host those videos on YouTube and reaps the advertising. I can’t speak to whatever share CR gets from that, but considering that CR is locked out of hosting their own copies of those videos, I doubt it’s much, if any, revenue. (If you’re wondering why CR just didn’t buy those rights back, I ask: what incentive does G&S have to sell something that’s making them money for no cost?)

Knowing that background about G&S, I was wary of CR choosing Amazon to host and distribute The Legend of Vox Machina. Originally, TLOVM was not the plan; CR had a kickstarter for an animated special based on C1. It was only because they blew past the goal that CR was able to make an entire season. The reasonable assumption is that choosing Amazon had to have secured CR additional funding for future seasons of the show, which seems evident from how quickly season 2 was announced, Mighty Nein Animated is also going to be a thing, and that season 3 of TLVOM is scheduled for fall 2024. CR had the option of just doing 1 season and keeping it purely in their control, but going with Amazon meant they could animate more of their works. Animation is expensive. I cannot stress enough how doubtful I am that CR would have been able to afford this many episodes and both campaigns if they had not gone this route. As wary as I was in the start, it paid off, and it’s going well—so far. Hopefully CR doesn’t regret that decision if Amazon tries something sleazy. But, as before, we don’t have the contracts and can’t know how secure CR’s position is if any dispute came up.

CR also partnered with Dark Horse Comics to make Vox Machina comics and Might Nein Origins comics. What’s especially surprising is that each of the cast had a hand in writing the MNO comics for their characters, with Matt listed for multiple. That isn’t very common with comic adaptations. Often times, IP owners let comic companies go ham with minimal oversight. Being listed as one of the authors comes with IP rights that have to be negotiated. That means that Dark Horse had to talk with CR about whether that warrants more or less revenue going to which party in exchange for that—or, alternatively, whether the comic gets made at all. That’s a ballsy move. You think people can just demand to write the comics that a publishing company is going to pay to print? Pffft. CR wanted some creative control, and that is a big ask. However, Dark Horse still has the distribution rights, both digitally and for physical copies. You couldn’t buy the comics from CR until they came out with the library edition, a book bound compilation of 4/8 comics. But the publisher is still Dark Horse; CR is just allowed to sell the book directly from their own site as well.

Contrast that with the novels about CR characters. CR partnered with Penguin Random House to publish novels about Vex and Vax (Kith & Kin), Lucien (The Nine Eyes of Lucien), and Laudna (What Doesn’t Break). Liam and Laura were vocal about having some say in K&K, whereas Madeline Roux said in an interview that she had full control over TNEOL. Both of those novels were narrated with CR voices, but narrating a book doesn’t come with IP rights, it just brings in a paycheck. There’s a lot less IP control in there compared to the comics, but this isn’t abnormal for book publishing. To be blunt, I doubt PRH would have agreed to publish the novels if anyone from CR had been a co-author or had heavy oversight over the author or the editing. I don’t think PRH even considered that as an option. Either an author that has already managed to sell X number of copies or nothing. Creative control over a book a huge ask, asks come with reduced revenue, and switching to books from a web series is already a leap. The fact that Laura and Liam had any say is surprising, really.

That was a long meandering tour of what we’ve seen CR do with its IP. The reason I bring up each of these things is that navigating the way to protect an IP in this space is rife with challenges. Different types of IP warrant different strategies because of the cost involved in creating each medium and the challenges placed by industries that have already sprung up around them. Any time that a third party is tapped to create an IP, it’s usually because they already have the funds and resources to create the work, and CR has to negotiate for revenue, creative control, distribution, and—the big one—who gets to be the owner. These are not easy, quick, or fun conversations, and CR is always going to be the smaller company at the table.

Knowing that, I’m not surprised or worried that CR is creating its own independent subscription service with Beacon. It tells me that they’re being careful with their IP whenever they can. A subscription service means they don’t have to trade away distribution rights or give up ad revenue to a third party. They’re in this for a long term investment, and that requires solid income not tied to third parties that can definitely outspend them in litigation in the event of a dispute. A subscription for bonus content is one of many parts in a diverse revenue stream.

(All that said, this isn’t meant to criticize creators that cant afford to do this type of thing. It took 9 years for CR to get to the point where Beacon is financially feasible and a desirable business decision. They have enough ongoing, popular content to warrant paying for a subscription, and they’ve built sufficient trust with their audience that more will be added. That takes time and an awful lot of money.)

As a final note, I take this step as a sign that CR definitely intends to stick around. This isn’t a move people make when they plan on ending the business after the current campaign. I’m glad to see CR is taking steps to secure their foundation and keep making new content.

I’m sure people will chime in on other issues (cost, content exclusivity, etc.), but I hope my perspective gives an idea of why this sort of thing is good for business generally and why it would be good for CR.

[tainbocuailnge]

my favourite metric for evaluating gacha games is the eizen scale. eizen is a character from the game tales of berseria who is essentially cursed to always lose the coinflip, which means that "can eizen play this game and not have a horrendous time" is a very easy way to determine how "generous" any given digital casino actually is and how robust its rng safety nets are. for purposes of the eizen scale this is how eizen's luck works:

1) eizen has the worst possible luck that statistics allow for. if he flips a coin a million times he will get tails a million times. if he has a 99.9% crit chance he will not crit. if resource gathering involves random drops he will always get the lowest possible amount of drops. he will roll the worst most useless possible result from the gacha every time. eizen's only path to obtaining anything useful in the game is through guarantees, handouts, and pity mechanics. going by his actual canon luck the game would crash repeatedly the moment he hits pity and then his account gets banned for suspicious activity before he gets to see the result but for purposes of the eizen scale we assume the game itself works properly.

2) eizen’s bad luck does not affect his friends’ luck, and he often relies on his friends to push through his bad luck. you can get caught in the fallout of eizen's bad luck if you throw your lot in with his (like going on a sea voyage with him and inevitably getting caught in a storm), but just having him around doesn’t keep you from getting heads on your own coin flip. this means ease of access to luckier friends’ resources is one of the metrics on the eizen scale. combined with point 1, if a game for example has a support unit system that shows you a random selection with no guarantee that at least one of those will be your friends, it's completely useless to him because it will only show him randos with trash units.

3) eizen’s bad luck does not affect the choices other people make. this means the game’s content release schedule will not contort itself into ridiculous patterns just to deny eizen the chance to obtain game resources, because its run by people who have other goals than making eizen specifically suck at their game.

some video games are fundamentally unplayable to eizen because the core gameplay premise is about performing and then working around feats of rng, like roguelikes for example, so a bad eizen score is not necessarily a bad game. but this man is the canary in the coalmine of exploitative monetisation, and if he can't play the game then maybe you shouldn't either

[thefirstknife]

Let's chat

So, the Winnower. Right?

Today, they finally released the lore on one of the ships that you got if you purchased (pre-ordered?) the annual pass. The ship is called Nacre. As usual with names of things in Destiny, this means something, though I'm currently unsure about the significance of this name in relation to the text of the lore tab.

But the text of this lore tab will cause a billion discussions and people will fervently believe in one side or the other. You'll understand why the moment you start reading the lore tab (I'll go through it a bit later in the text) if you remember the style of Unveiling. It's written in the same style with many references to Unveiling and the author speaks to us post-Witness' defeat (most likely).

I think it's intended to make us discuss and argue, given the inherent unreliability and religiosity of the subject.

But let's go back a little bit. Why the Winnower? Well, the word "Winnower" was finally mentioned in-game by the Witness. When you finish the second encounter in the Salvation's Edge raid, you proceed towards the third, and at one point the Witness will speak (it speaks a lot during the raid):

The rest of the post below:

Many people, upon hearing this, have jumped to the conclusion that the "Winnower" is now confirmed as a real thing; including Byf who made a video about it and now everyone and their grandma believes this fully and is already constructing fanfics about the next big bad.

And it could be true! But to claim that this line specifically confirms the Winnower makes me question people's media literacy. This line is spoken by the Witness. The Witness has both the reason to lie to us, but also the reason to believe in the Winnower. This is unreliable narration 101: the Witness could believe that it serves something else, that the reason it destroyed its own and many other civilisations is because it is following something greater. Obviously the Witness would believe that it's "the first knife" of some godly entity. It's religion. The word of a religious person who believes in a deity is not the proof that the deity exists.

This does not mean that the Winnower is NOT real. We don't know if it is. This only means that we can't use this specific source as proof.

But this line is very interesting to me because of how it's phrased. Initially, I believed that the Witness spoke to us, the Guardians, because that's what it does throughout the raid. But after a few reads, this feels like it's at least partially aimed at the Traveler as well. The third line in particular is interesting: "Each child we save from the game, you again force to play." This feels like it's talking about the Traveler's growing/resurrecting powers, especially about how it resurrected Guardians. We were dead, but then we were forced to play again. It's also speaking about it like the "game" which can be a sort of 4th wall-breaking, but also it could clearly be referring to Unveiling which also calls it playing a game.

The last line is also interesting in this context: "Gods forged us both." Who is "us"? Obviously the Witness considers itself here, but which "gods" forged what else? Does the Witness consider the Traveler to be a god, forging the Guardians? The next line is also weird in this context, telling us that despite gods forging us, "they cannot tell the knife what shape to carve." Either the Witness still doesn't understand the Traveler or the Traveler is not considered as the god because that's the Traveler's whole philosophy: it creates things, but it doesn't tell those things what to do. It would never tell us what shape to carve. So if this is not referring to the Traveler forging Guardians, it might be referring to something else forging the Traveler. Possibly! I am very intrigued by these lines and the line of thinking the Witness uses here.

But let's go back to the Winnower. As I already said, this doesn't prove anything, it only proves that the Witness believes in it. We also know that the Witness believes in this because in the final mission it also told us that it is "the first knife, the edge that carved purpose into being." Later, after its defeat, Mara and Ikora discussed this phrase, which I covered in this post. This discussion also entertained the possibility that there's something else beyond the Witness, something that wielded it as a "knife." Mara and Ikora don't make any conclusions; they discuss the possibility, but they end it with "we don't know."

They discuss it in the context of Unveiling; this lore book is canonically available to read to characters in the game, which is neat! It's been discussed several times now in the lore, and it's discussed here as well. Mara and Ikora have read Unveiling, it's where they've read about "the first knife" concept and are wondering what it all means and if there's a way to figure out the truth in the allegories. Again, they don't know the answer. And neither do we!

However, we as players have more information than the characters. I'm pretty sure the delay on the lore for Nacre was on purpose, because it would've been confusing to read that before defeating the Witness. The lore tab itself has no clear author; the only way to tell is to speculate based on the style and phrases used. The style will immediately be reminiscent of Unveiling (and the one page in Books of Sorrow when something speaks to Oryx). It's casual and friendly, but persuasive.

Let's read it piece by piece:

Let's chat, shall we? One more nice sit-down for the books. Did you think you wouldn't hear from me again, after all this? You'd have missed me, I hope—and I would certainly have missed you. Have no fear. I'm not so easy to be rid of. Now, let me show you: my beloved. Oh, no, not my sedimentary necrolite, fossilized in time. You've seen that. I speak of that dear and distant expanse of the universe, miraculous in its fullness and its emptiness all at once. Are you surprised to hear of it? Yes, I never much cared for the change of rules, but here we are, and there's no use in crying over spilled radiolaria. Besides, at the heart of it all, there was a gift. To me. That gift is the chance to speak with you. You, and a billion like you.

A few points right away. It's telling us that we should chat and that it hopes we didn't think we'd never hear from it again. If this is truthful and can be trusted, then it would be alluding to it speaking to us before, in Unveiling. But we've gone over the debate about Unveiling and who wrote it; most recent information was that it has to have been the Witness and the characters in-game believe so as well. So what's the truth now? I don't know! That's a full sentence. We simply don't know. There are far too many variables, allegories, metaphors and unreliable (and completely unknown) narrators.

Both options could also be true at the same time; if the Witness somehow managed to get a glimpse of the Winnower (in whatever form this entity exists), perhaps the Witness was given a speech of this nature which it could've adopted on purpose to further spread propaganda to others and to convince itself (and others) that it is a part of something greater. Again, we simply don't know.

The author continues telling us that it wants to show us its "beloved." It then goes into a bizarre description of something as "sedimentary necrolite, fossilised in time." I am not sure what this refers to, but it could be referring to the Witness? Because we've "seen that." A "necrolite" is an old term for a type of stinky minerals that form rocks which might be referring to the Witness' obsession to calcify and preserve things as they are; therefore, "fossilised in time." It could also mean something else. Really strange!

Either way, the author does not refer to that, whatever it is, it refers to the universe as a whole. The universe is its beloved. Then it continues and draws back from Unveiling directly. It tells us that it "never much cared for the change of the rules," the rules being the rules of the flower game and the change being the one the Gardener put in the game. It even jokes with "no use in crying over spilled radiolaria," a reference to the fact that previously, the winners of the game were always the Vex.

The interesting bit here is that, if the author was indeed talking about its disregard for the Witness, then the Witness claiming to be "the first knife" the Winnower wielded is not true. If this author is the Winnower, it does not really care about the Witness or its view of the final shape. Hell, the line about Winnower discovering the first knife in Unveiling would then not refer to the Witness at all, but despite that, the Witness believed itself to be that knife. This is why we can't use the Witness' words as any sort of proof, but also we can't use this narrator's words either.

To go back to the change in the rules, another intriguing thing is, in Unveiling, the Winnower appeared to be angry about the change. It's what made it "discover the first knife" and begin the fight with the Gardener. But here, it claims it didn't care about it after all.

I believe this is important to understand that what we're dealing here is not a clear cut truthful chat with a friend. The author of this text, and the author of Unveiling, does not have to tell us the truth and we simply have no clue which one of these statements is truth, if any. Or, it simply changed its mind; perhaps it was angry back then, but now it no longer is, because it realised that the change in rules gave it the ability to speak to us, something it appears to value greatly. And "us" does not just refer to us as Guardians or even humanity, it appears to be referring to all living creatures in the universe. It continues:

I am making this offer over and over again, in every tiniest cell and the vastest of civilizations. Let me in. Take what you need. Be at ease. You have no say in the degradation of your telomeres, but in all the interim, the whole world is your sweet silicate shellfish. You exist because you have been more suited to it than all the others. Steal what you require from another rather than spend the hours to build it yourself. Break foolish rules—why would you love regulation? It serves you to cross lines, and if others needed rules to protect them, then they were not after all worthy of that existence.

This also seems to be a continuation of its philosophy in Unveiling. About taking and breaking and destroying and whether or not someone is worthy of existence.

Caricatures of villainy are out of style, I hear. Yes. I am no cackling mastermind: I am serious when I say this. It was not the trick of standing upright that lifted you from the dust: it was the mastery of fire, the cooking of cold corpse-meat. That is not any unique faction's province, neither good nor evil. It is simply truth.

And this as well, continues with its claims that it is, essentially, neutral. It is not a villain, it's merely stating the truth that sometimes destructive forces can be good. This can also have a second meaning, telling us that it will not be our villain in the game. As in, we will not be fighting against this entity because it's not something that can be fought in the first place, nor does it care to fight. The final paragraph adds:

This great, beloved cosmos. Always decaying, always finding that same old lovely pattern, despite every candle-flame burning amid the flowers. A billion electrons taking the path of least resistance. In Darkness or in Light, someone is always making my choice. Be seeing you.

Some more references to Unveiling with "same old lovely pattern" and stuff about flowers. And then it ends with telling us that Darkness and Light don't really matter because either way "someone is always making my choice." We can assume this means the choice to violence. And that's true; Darkness and Light, as we've learned, are not moral forces. Many atrocities were committed by Lightbearers, and Darkness users have, throughout the universe, been benevolent.

The author concludes telling us that it will be seeing us.

What does it all mean? We don't know!

I think a lot of people will take this literally; this is the proof of the Winnower, this is the proof that it is preparing to be the next big bad, that we will see it eventually, etc.

I'm personally not sure if the literal reading makes sense, primarily because we have no way to verify anything it said or who sent it and how. But also, if we accept that it is written in the style of Unveiling (which seems fairly obvious), then we also have to accept that it's not entirely reliable or fully truthful. As in, there's a lot of metaphors and philosophy here, rather than facts. Some of it could be facts, but we can't tell which those are.

I also think a lot of people will immediately conclude that this proves the Winnower as a real entity that exists somewhere that will be relevant going forward. Personally, I don't know. I'm not inclined to believe either option just yet. If we knew more about the source of this (and I'm not taking into account the Witness' beliefs), then it would be easier to discuss it, but for me this is just something that remains a mystery for now, in the same way a religion would be. This is what makes it interesting to me.

A reading I'm partial to is that this is a really neat conclusion on that chapter of the story without telling us too many details and facts about a text that, genuinely, reads better if it remains unexplained. There's... something... out there. We can call it the Winnower for simplicity. But this entity is not some sort of big bad physical being that's scheming behind the scenes and directing its pieces around; it does not care. It did not care about the Witness and its final shape, despite the Witness believing, potentialy, that it is enacting exactly what the Winnower wanted, calling itself its "first knife."

This entity is not the way the Witness imagined it or believed in it. This entity does not need to involve itself or even be physical; its adherents are everywhere in the universe, all the time, because "someone is always making my choice." No matter where we go in the universe and how much we explore it, we will eventually find those that choose this. It cannot be removed or defeated. We defeated the Witness, yes, but someone else can always rise up to do something similar. The fight is never done and it's not tied to simply Light and Dark. Our choice is not over because we won here; we could always choose differently in the future.

It honestly feels like a setup for us going forward, but not for us meeting the Winnower or fighting it; instead, to tell us that if we plan on exploring more of the "beloved" universe, we will always find those we disagree with, those to fight, those who made the other choice. And if we're not careful, we may end up making that choice too. Whatever that entity is, the universe is making its argument for it and it will never truly be defeated. It can't be!

The Witness wanted to end the game. This entity states that the game has to play itself out.

Or it could mean something completely different. I'm not going to claim anything one way or the other and I think it's genuinely really baffling that anyone would try to do so. We all have our preferences for the story, but I don't think any of them are sufficiently backed up and I'm not going to hype myself up for a scenario that will probably never happen. Or we'll be hearing about "bad writing" and "retcons" in a few years time when the Winnower never shows up (or if it does).

The point is that this is a very intriguing piece of lore that fits perfectly with the mystery and religiosity of Unveiling. It's not some huge epic reveal, though it could always be something more in the future. However, we would have to get a lot more information to be able to make that conclusion. Something spoke to us in this lore tab, but we have no way of knowing who or how or why exactly now. We have no way to verify it either; is the author legitimate or is this a scheme from someone else pretending to be it? And even if the author is legitimately some other entity, is it truthful? Can we trust it? Should we? Does it even matter? Is this information important for us to understand our enemies or is this just insight into the philosophy and metaphysics of the setting?

Is the Winnower real? We don't know.

Is Unveiling still an allegorical mystery with some truths that we can't really tell apart from the metaphors? Pretty much yeah.

Is there going to be a lot to discuss about this going forward? Absolutely. It's why I wanted to write about it immediately because it's fascinating and I can't wait to see all the ways people will interpret it. I highly recommend that everyone reads it themselves and compare to Unveiling (and the last two pages of Inspiral).

I just don't want people to subscribe too hard to a single narrative and then get incredibly disappointed if it doesn't happen. There is not a single narrative being promised by this lore tab and we have no confirmed facts. But I'm super excited to see where this goes in the following years. Even if it goes "nowhere" as in this does not end up being setup for some big antagonist 5 years from now, I find it incredible that this was part of the setting. Weird space religions and bizarre entities from beyond the universe are some of my favourite parts of scifi so this whole thing, no matter how it ends, is a 10/10 story for me.

[sewerpalette]

Little rant I might make a video out of:

Edit: disclaimer I wrote this directly after waking up so it’s very awkwardly paced and hard to read I’m so sorry.

AL-AN is not a good person, now I’ll start this off with saying that I looove his character, especially before the rewrite and this certainly isn’t an attack on anyone, just something I’d like to point out because I think the shift of perspective between both games is fascinating.

If anyone remembers the subnautica fandom before Below zero was even remotely announced, there were certain opinions flying around, people believed the architects to be the grand villain(s) in the bigger picture of the game lore for just how messed up they were, they literally hated those guys for being at fault of the sea emperors suffering and there were even theories going around that they made the kharaa to wipe out all other life around them- but it had went wrong.

But now it’s not like that anymore, no AL‘s previous actions are completely ignored because he showed some remorse for being responsible for the deaths of 7 architects specifically, together with messing up before pretty much an audience of billions, it must’ve been embarrassing- but when he apologizes he specifically only mentions the other architects, because he isn’t sorry for the other things he’s done, clearly. I mean dissecting a fetus is one thing, especially with their goal in mind, DISPLAYING it is another, like that’s just purposely gruesome. Together with all the other dissected experimented on animals in the shelves just hung up like prizes (I know the concept itself is not inhumane, but in this case it just wasn’t necessary.) also research specimen THETA anyone? Yeah we know it didn’t die because of the facility collapsing because there’s no injury displayed on its bones that would suggest that, and that part of the facilities insides also didn’t collapse, they just left it there until it either succumbed to the virus or starved to death, same with the sea emperor but they survived, kept alive by unfinished business for the next couple thousand years. Not to mention who the fuck comes up with a quarantine program that includes semi sentient killer machines and a giant gun made to shoot anything down from atmosphere, there were so many better solutions, I get the warper thing, I mean kill anything that’s infected makes sense, but the gun?? Literally why, if they send a signal through the network that this planet is diseased nobody is going to go there (we know that at that point humans weren’t advanced enough to travel space and they knew that so for who was that even for??) it was completely unnecessary to create a giant weapon in wich even more destructive weapons are stored wich let me get into that real quick because there’s also some implied stuff there, appearently AL was so desperate to get rid of his mistake that he attempted to blow up a doomsday device?? (Which would’ve destroyed most of the solar system in an instant.) In the entry it says it malfunctioned so they must’ve tried to use it, and even if they didn’t why would they have it on them anyways? Including all the other weapons. Also let’s talk about the architects in the little sanctuaries in the first game, it’s implied they stored multiple souls in like one of them, literally cramped up all their data whilst AL stored himself in a big ass sanctuary like idk man that’s kind of an asshole move. And those were just the first game events! (And there’s probably even more there.)

In BZ he can’t really do anything except for talk to robin because he doesn’t have a physical form, so there’s less to go off here but even then it didn’t seem like there were other sanctuaries in BZ for the other architects. and sure, you could make the arguement that architects don’t feel at all connected to their physical forms, wich is true, but don’t you think seeing a dead architects body, an architect from his team, a colleague, would illicit some kind of emotion from him beyond “great, now fetch me their skin.” (/j) even if he doesn’t see the attachment to the vessel, if it’s all that’s left from that time and from the crew, there would still be projected attachment onto it realistically. Also he was smart enough to hide himself from alterra because he guessed they didn’t have good intentions- scraping himself off the grid both physically and on any radars they had (presumably with hallucinations), but wasn’t smart enough to distract the critters running around infront of the sanctuary to idk get the help he needed with the failing sanctuary from the mercury, marg, or the alterrans that genuinely wanted to help instead of being eaten by sharks right infront of it.

Like man I love you but that’s just messed up.

And we know he knows he messed up, that’s why he’s so gloomy and does attempt to apologize at the end but like??? He said he wanted to make amends to his people showing that he still doesn’t care about everybody else he hurt, only those he deems as important, not the over 150 people that died on the aurora or the mercury or the degasi or the sunbeam or the research specimens or even the alterrans he’s indirectly caused death to, it is all his fault but he doesn’t see these people as important because he feels they are below him - sure you could make the arguement that he didn’t know about the ships that crashed, fair point. But seemingly he did if he could sense that alterra was there without even seeing alterrans in the first place, especially because Ryley has made contact with the thermal plant and other architect tech before, so he’d definitely know- especially based on the data robin has of the missing sunbeam and aurora incident on her PDA wich he has canonically said he read through.

And I’ll say it again I love AL, next to Bart he’s probably my favorite subnautica character in the whole game series, but I don’t like the portrayel of him suddenly being completely redeemed or being an inherently good person, he still doesn’t understand empathy or morals (you can be a good person without having those, don’t get me wrong.) and acts like a total idiot whilst victimizing himself, like yes, the other architects on the mission died and it’s his fault, they weren’t stored to keep him company and that’s his fault; neither did they like him, wich is very fair in my opinion. He can’t pull all this crap, disobey orders and get everybody killed and then pull the “but I’m sad about it so that erases everything I’ve done” like oh my god. I like him, but I would also like more content showing all this.

Sorry this was a very long kinda pointless rant and I don’t have any images because my phone which has like a whole folder of these is at home and we’re still stuck in England so it’ll have to do without for now.

TLDR: I want more morally dubious AL please and also he killed a fetus (well pretty much borderline newborn at that point) so he’s going into the fictional child murderer category for me.

[alittlebitofloveliness]

Stevepop social media au is actually such a cool idea, I crave to hear more of your thoughts on it

Hi anon! This is for you, @battleslippers and @raindrvq who all wanted more stevepop social media au. I will warn you, I got a little carried away.

Stevepop Social Media Au:

-The TikTok thing wasn’t supposed to be a success, Soda honestly just started it for fun but he gains a following pretty quick. Part of its his pretty face and part of it’s his demeanour- he is magnetic after all

-Most of his videos are either him doing stupid internet challenges and failing miserably or kind of just rambling into the camera like its some sort of video diary

-The first video that went sort of viral was just him trying and failing to twerk. The footage itself is kind of shaky because whoever is filming is laughing so hard.

-Despite how much he loves internet challenges he refuses to try any that involve a lot of waste. To him the idea of wasting a bunch of food or anything really is absurd

-The gang ends up in a lot of his videos, either just in glimpses when he’s walking around filming himself, or in the background when he’s trying challenges or whatever. Like, TikTok is fun for him but everyone else just kind of leaves him to it, so sometimes Ponyboy, Johnny, and Dal will be in the background playing poker or video games, or Darry will come home from work, or you’ll see Two-bit smoking a cigarette and his audience is so intrigued by them because it makes Soda seem so human.

-A lot of his content involves him pranking Darry simply because of how confused Darry gets before he figures out what’s going on

-In the background of almost every video you can hear someone laughing at him or sometimes heckling. It distracts Soda every time and his face visibly lights up when he turns away from the camera and argues back

-His comment section speculates so hard about who the voice is. Some people think its Two-bit or Dallas until someone else points out that they’re visible in the background of some videos and the voice is still present when they're not talking, and thus clearly not coming from either of them. The speculation gets to the point that his whole comment section is just people wondering about who the voice belongs to

-Soda eventually adresses it with one offhand sentence: “oh that’s just Stevie, he doesn’t like TikTok” 

-The comments section goes wild. Now they have a name to go with the offscreen voice, but they still don’t have a face. 

-It kind of gets to the point where his following is more invested in analysing every instance of hearing Steve and trying to catch a glimpse of him than they are in Soda’s actual content

-Of course, the close analysis leads to people noticing just how…flirty some of Steve and Soda’s banter is and the fanbase is suddenly split. Some people think Soda can’t possibly be gay and the others are highly convinced Soda and Steve are a couple and Soda’s just trying to keep their relationship on the down low

-Of course, the many many nicknames and the way Soda’s eyes light up whenever he looks off camera really don’t help speculation

-…There’s also the video where Ponyboy and Johnny came in when he was filming by himself and Ponyboy started rubbing his eyes and going “holy shit, is that…Soda without Steve? Are my eyes deceiving me?” “Shut up Pony, don’t joke about that, clearly he’s grieving the loss of his other half- since death is the only thing that could separate those codependent idiots for more than five minutes.” “SHUT UP you two I’m trying to film a video” “of what, you sucking ass at dancing?” “GO AWAY!”

-…and then there’s the video where Soda’s doing some sort of workout routine and ends up shirtless and Steve’s voice gets about an octave deeper even when he teases Soda seemingly like normal

-The comments section LOSES it at that one.

-Ponyboy and Johnny make their own TikTok account and they use it solely to make fun of Soda’s (and by extension Steve). Actual dialogue from one of their videos has Pony in a shitty blond wig going “internet people stop saying me and my buddy Steve are together. It’s super normal to make out with your guy best friend, we’re just guys being dudes”. Another has Johnny (wearing a name tag with Steve written on it) watching Ponyboy do jumping jacks and saying “if you’re not ogling your best friend while he works out, what are you doing? Pretending you’re not turned on? Get real”

-Ponyboy and Johnny’s channel is only live for a week before its mysteriously deleted. They’re also both sporting a few bruises when they’re spotted in the background of Soda’s latest video

-Unfortunately, Pony and Johnny’s account caused the speculation to get even worse. No matter what Soda posts, the comments section is just speculation about him and Steve.

-Surprisingly, it’s Steve who gets fed up one day when Soda is doing a TikTok live and getting visibly annoyed at all the comments and speculation. He steps into frame, kisses Soda soundly on the mouth and turns to the camera. “Hey. I’m Steve. I hate TikTok, I’m Soda’s best friend, and as of last week, his boyfriend. Now respectfully, shut the fuck up talking about me.”

-The comment section loses it’s shit but eventually goes back to simply commenting on Soda’s content once it becomes clear Steve isn’t going to make another appearance and Soda isn’t going to talk about it.

-The end :)

[greatwyrmgold]

When was the first 3D video game published? Trick question, this is a post about how "3D video game" is a meaningless phrase.

In 1984, King's Quest: Quest for the Crown was published. King's Quest was marketed as a "3-D Animated Adventure," even though it looked like this:

At first glance, it looks like any other low-resolution 16-color adventure game of the pre-EGA era. But it has one revolutionary feature that sets it a step above its peers: You can walk behind things.

To be clear, that's basically it. There's not even sprite scaling or anything; King Graham is the same size whether he's close to the "camera" or not. Modern gamers would probably find it a bit ridiculous to say this game has a "camera" at all. But you can walk around in that green field, and you can go behind the tree or the castle tower, and those things would hide the part of Graham's sprite behind them—and you could also walk in front of them!

Well, if you didn't fall off the bridge. Why did Roberta Williams never put handrails on those things?

Anyways, the next game I'm going to mention is Wolfenstein 3D (1992), another game which marketed itself on cutting-edge 3-D technology.

You can see a lot of graphical improvement between these two games set in castles, and not just because Wolfenstein has thrice the resolution and 16 times the colors. The sprites can be scaled with their distance from the camera, for instance, and the backgrounds aren't static flat planes. They're dynamic flat planes, capable of warping as your angle to the wall changes.

In some ways, this is as great a leap over King's Quest as King's Quest is over Zork, or at least Mystery House. But is it really 3D? It's still just a bunch of distorted 2D sprites being drawn to the screen. There's nothing really 3D going on in the computer. It's no Super Mario 64 (1996).

SM64 is among the first popular "real 3D" games, with models and polygons and stuff. And it is, again, a great leap above Wolfenstein 3D. It doesn't distort 2D sprites to mimic 3D shapes; it shapes 2D textures around 3D models. Totally different! It has polygons and stuff!

Now, I'm not 100% sarcastic about that. There are some technical differences between how SM64 handles its textures and how Wolfenstein and other Id shooters handle their sprites. But those differences aren't so much "doing something completely different" as they are "doing the same thing with fewer limitations".

And it would be absurd to claim that Wolfenstein graphics have more in common with KQ1 than with SM64. It would be even more absurd to say that SM64 has less in common with W3D than it does with older and newer titles using what people commonly consider 3D technology.

On the left we have Battlezone (1980), an arcade title which predates KQ1 as much as W3D predates SM64. It has little in common with Wolfenstein's graphics, not needing to distort any kind of 2D image file to mimic 3D, because it's just wireframes.

From a graphical perspective, it has more in common with KQ1 than W3D; both use vector graphics. (Bitmap images would take too much storage space for KQ1.) In fact, you could probably make a compelling argument that KQ1 and Battlezone's vector graphics have more in common with each other on a technical level than they do with Wolfenstein's 3D sprites or SM64's 3D models.

And on the right...it's either leaked security cam footage from Area 52, or The Callisto Protocol (2022). I can't explain what separates it graphically from the other games in this post, because there are so many new systems—systems which require specialist graphical engineers to understand, let alone create or use. I could rattle off some technical terms like subsurface scattering and cloth simulations and soft-body deformation, but I don't understand these techniques on anything but the shallowest level, and TCP has elevated them to another level.

I know it sometimes seems like graphical technology stopped having Big Improvements some time around the seventh or eighth console generation, but it kept going. The difference, I'd argue, is that the improvements have been more spread-out, enabled less by advances in hardware technology and more by learning how to use those advances, distributed throughout a hardware generation rather than concentrated at the start.

Anyways. The point I'm trying to make is that modern games make every prior game in this post look ridiculously primitive. SM64 was impressive in its day, but Mario is rendered with less than a thousand triangles, separated into several rigid components. And his face is just a couple dozen flat polygons with a texture printed on them. Even modern indie games often animate eyeballs with more polygons than Mario's entire body, with the eyeball and eyelid and so forth all being separate models with textures and shaders bringing them to life. Giving them more depth.

Making them even more 3D.

There is not a firm line between 2D and 3D. Wolfenstein 3D is more 3D than King's Quest I, and Super Mario 64 is more 3D than either of them, and Skyrim more 3D than that, and The Callisto Protocol more 3D still. If someone dismissed Doom as not being "real 3D," they're drawing an arbitrary distinction around one of many graphical innovations that made gaming graphics incrementally more verisimilitudinous. That's all.

[fallout-lou-begas]

On the one hand, it is absolutely a sign of the complexion of the dev team and of the times that FNV has little to no presence of real life Indigenous people. Not "tribals." Real Indigenous nations that live in that general area like the Mojave, Paiute, Apache etc. On the other hand, I think using groups like the great khans, the unnamed "tribal" from Hanlons stories, the zion tribes, as props to hammer in on US settler colonialism in general and of the actual US state of California in particular, is pretty clever. That is, these things can be shown to the player without using the pain of Indigenous peoples, their lives and their blood, as a way to carry that message. If the massacre at bitter springs had been of Apache it would be less effective and in very poor taste, in my opinion. I think overall the criticisms are still valid, but I think theres some interesting alternative interpretations. But on the other hand, the allegory falls apart because the khans AREN'T the victims of colonialism. In the first game and onward they are chattel slave owning rapists. They are more of a criminal gang than a distinct culture. And in FNV theres the suggestion that the khans are defending themselves and are victimized in the mold of Indigenous tribes which fought the US and attacked settlers. But in reality, they are objectively in the wrong when attacking the NCR (don't deserve to get massacred, but still), and the genre fiction of the whole thing breaks the metaphor. Like applying anti colonial rhetoric to the hells angels. Like how the allegory of ghouls as a marginalized group breaks down entirely with the introduction of feral ghouls in fallout 3. While some ghouls in prior entries might attack on sight, this was only if the player got close, and they weren't really a danger. So people having this hard on about hating ghouls in fallout 1 and 2 was meant as entirely illegitimate. That allegory doesn't work after f3 since we are meant to think that at any moment, for no known reason, they can turn into a cannibal corpse. The genre fiction of it all spoils the thing. anyway, read cadillac desert.

this is exactly what i mean by the "baggage" of fallout's depiction of "tribals" and even just the word "tribal" to describe its various disparate post-apocalyptic nomadic groups, because while they can be used as you say to brush up against indigenous identities allegorically, there is a very deafening silence coming from the lack of actual indigenous people as well. it can't help but imply that these fictional groups are 1:1 substitutes for the thing they're depicting allegorically, with a mixed degree of intention and success, because there's no counterbalance or counterexample to either contrast these allegories against reality or even further ground them in it.

you run up against this a lot in genre fiction. the X-Men, for example, have served as a clumsy allegory for marginalized identities and civil rights struggles for decades, with several mixed attempts to try to reconcile its fictional symbolism with acknowledgement of what's real and literal. my own personal bugbear is that while I absolutely love Jadzia Dax in Deep Space 9, I would have loved it even more if Jadzia was a real actual trans woman that Dax had implanted itself into, or even if Jadzia Dax at least had a regular mundane non-alien trans woman bestie to queen out and compare notes with.

and yeah, the whole thing about feral ghouls being completely hostile sight with zero alternative interaction potential (and the same goes for powder gangers as cartoonishly evil victims of an empire's carceral justice system, and fiends as cartoonishly evil drug addicts, and...) is that videos games are constantly trying to stage endless combat encounters for gameplay reasons while also not making the player feel bad about slaughtering endless combat participants for narrative reasons. (and the powder gangers are only shoot on sight if you get vilified by them, but the first non-tutorial quest in the game is either helping them kill everybody in the town that just saved your life because they're harboring the guy they tried to mug, or...stopping them from doing that by killing them instead).

[puckpocketed]

tag game! pick a song for each letter of your url and tag that many people (if you can)

thank u for the boop @maxkeplers <3 i WILL be flexing my listening range and overdoing the assignment (song blurbs!!!). additionally, all songs link to youtube + collected playlist at the end if anyone would like to listen to them all in one place :3

P - Perfect Blue by Macross 82-99. I used to stream my art years ago and one of my viewers linked some Macross, and I’ve never looked back. this is one of my faves from their discography. I hope that guy is doing okay!!

U - Uh Huh by TrippyThaKid. hehehe weed song . i confess this one’s on my ranked valorant hype playlist for when i need to Lock In <- duelist main (derogatory). the music video by itself is such a wonderful experience but also his flow is bizarrely sick and compelling to me <3

C - Cold Turkey by The Happy Fits. Everyone moved on from 2010s british alt rock but i’m still there and so are THF. theyre still releasing this type of stuff in the year of our lord!! there’s whimsy to them… they have a whistle only section in this song… u will have to pry this music from my cold dead fins…!!!!!!

K - Kiss Me by Sixpence None The Richer. i love rom coms so bad, and every time i listen to this song i am filled with the sweetest nostalgia <3 if you haven’t seen How to Lose a Guy in 10 Days. please. it’s a batshit film about two deeply damaged people trying to play relationship chicken whilst torturing each other in an effort to get the other person to leave them. they simply do NOT make films like this anymore !!!

P - Pressure by Abhi The Nomad. he’s an Indian hip hop artist, he raps and sings and has this habit of slotting these gorgeous little electric guitar solos into his songs. there’s a pop twist to his music, and he collabs far and wide. this song is slow and buttery smooth and such a pleasure to listen to.

O - Oh Yeah! by Green Day. they’re still making music and it still fucking slaps and i will nevaaa move past my based punk KINGS.

C - Chocolate by Day6. alright so has anyone ever run into that problem of finding a song from an artist/band and it vibes with you hard and brings you joy and you go to check out their other music and it turns out the song you liked was some experimental B-side track and none of their other stuff is like that. well. this was me with this song except this song was a thing they wrote for the OST of a kdrama. i wish i was joking. </3

K - Karma Bonfire by Diablo Swing Orchestra. ill be real. this is theatre kid music. but its somehow not attached to a musical. it’s also got jazz and swing elements. yeah idk either.

E - Escape by Asta. just one of my faves. nothing smart to say i just love this.

T - The Dreamer by The Vaccines. this is not the first song from this album i’ve recommended. this is my album of the year. it’s about remembering a relationship, the end of it, the never-end of it. my favourite lyrics in this song are from the chorus, “I know the night has got two faces, there’s one that runs and one that chases, but if I caught you in between, then I would wait for you in dreams.”

E - Eternal Groove by Android52. what it says on the tin. i could listen to this on loop for hours. i have done so!

D - Dark Matter by Steve Vai. to round out our instrumental theme… Can we have him on a Hades 2 music dlc. pleek. steve vai i love uou <3 he writes music i would blast if i was condemned to running solo tank on a raid you know what i mean??

Here’s the whole thing on youtube in a handy playlist as promised! it’s not very coherent in terms of genre or vibes at all so caveat emptor BIGLY

tagging: @oensible <- if u find a way to include weezer i would simply perish from laughter. @em-ptynet @sevennone @brocksfaber @chownkie @mkaugust @larsnicklas @wheelsnipecelebrini as always no pressure to play!! and if you see this and would like to join in, consider yourself tagged 🫵💯🔥🔥🔥

[luwukass]

OKAY TRACKLIST BREAKDOWN!!!!

so i have now had breakfast and coffee and my brain is on and FUNCTIONING lets get into this

putting a break here incase youre scrolling and dont wanna read all of this lol

so first things first i was watching tiktok and people were making a big deal about how its split up into sides similarly to midnights now i do believe that taylor posted the back cover of the vinyl and that the cd will be different but i could be wrong. even if it is split up like this on purpose on every physical copy this does mean that it is a two LP album instead of one like midnights

one vinyl (both sides) can hold up to 44 minutes of music on it so we can roughly estimate that the full album will be about an hour and a half long now if each side is 22 minutes long each track on side a, b and c should be about (if each song is in equal length) 5 and a half minutes long. side d has 5 songs on it so some of those might be short to fit in the manuscript

i have also seen people compare this back cover to the back cover of lover which is absolutely breaking my heart and im sure thats not gonna be the last lover comparison i see about this album

okay so lets dive into this track by track

SIDE A

track one: Fortnight (feat Post Malone)

okay so first of all this is obviously not a reference to fortnite the video game but i think all of those jokes are funny as hell. the fortnight shes talking about here is a reference to the measurement of time as seen down below google states that fortnight is a british term for two weeks.

according to wikipedia fortnight is derived from the old english term fēowertiene niht, meaning "fourteen nights".

now onto post malone i actually listen to some of his music from time to time. he mostly does do rap but his most recent album austin (which is coincidentally also taylors brothers name, but is also post malones real name) is listed on google as alternative rock, indie pop and synth-pop. so im unsure of what vibe post will bring to the track. i think its also surprising she placed one of the two collabs as the opening track. i think the vibe for this track will probably be either a story about what happened in a certain two week period or about what is going to happen in two weeks from the songs time standpoint (if that makes sense lol)

track two: The Tortured Poets Department

A TITLE TRACK!!!! now obviously we dont know much about the album yet so we cant really try and figure out what the title track will be about so im just gonna do a little yippee for having a title track

track three: My Boy Only Breaks His Favorite Toys

this is a Whole fucking title good lord the only thing that really comes to mind when i think of this title is the lyric in better than revenge where she says “soon shes gonna find stealing other peoples toys on the playground wont make you many friends” which is if im not forgetting anything the only lyric as of now where she’s referred to being someones partner as someones “toy” but that lyric itself is a metaphor for relationships being playing on a playground. this will probably be a sad or angry song about how her ‘boy’ goes around breaking/hurting his favorite ‘toy’ aka taylor

track four: Down Bad

okay now down bad if you dont know is a slang term to describe how badly you have fallen for someone (mostly used in a more sexual nature in my experience than romantic) so this song will probably be about how badly she is for the love interest of the song

SIDE B

track five: So Long, London

alright new track five lets go! so this is obviously seeming to be a reference to track 11 on lover, london boy. now like taylor said when she announced it this album has been a secret for two years so we dont know when these songs were written or who they are about but i feel like it is safe to say this song and most of the other will be about said london boy [i personally do not care who a song is about and it is not taylors job to tell us who a song is about and that isnt the point of her music, but i will be commenting on the joe breakup bc that seems to be a large idea of this album so far] i can see this probably being about the break up and possibly sampling some music from london boy like she did with cornelia street and youre losing me

track six: But Daddy I Love Him

okay so the first thing i thought of when i read this track title is the scene from the little mermaid where ariel is fighting with her dad over the eric statue and im gonna be honest i dont remember the plot points in order of this movie BUT i do remember when taylor dressed up as ariel for her new years party in 2019. so given what we know this will probably be a song about maybe her fighting/arguing with her dad over how much she loves the love interest of the song regardless of who he is/how he treats her

track seven: Fresh Out The Slammer

okay so im not sure what this song will be about bc i dont think taylor has ever been to jail before so it would probably be metaphorical type of “im back bitches” type of song im assuming this might be a bass heavy maybe more rock leaning song and if it is a “im back bitches” it might be about the amount of time she was single for with the ‘slammer’ being her old relationship

track eight: Florida!!! (feat Florence and the Machine)

alright so as we all know this album has been in the works at least for two years but we dont know when each song was written so take this with a grain of salt but the tampa eras tour shows were the first shows after the news of the joe breakup dropped. so this song might be about her feelings during those shows. for those that want to know these were the surprise songs for the tampa shows in order.

night one: speak now and treacherous

night two: the great war and youre on your own kid

night three: mad woman and mean

SIDE C

track nine: Guilty as Sin?

okay so my main curiosity about this track is the question mark in the title because guilty as sin isnt much of a thought provoking title to me but that fact that its a question is interesting. the current vibes im getting are that this might be a more sexy song? but i have no idea here

track ten: Who’s Afraid of Little Old Me?

okay so THIS is giving big taunting energy like “aww who would ever be afraid of little ol me 🥺 youre afraid of me?” which im Hoping thats what the vibes are bc that would HIT but i can also see it being completely different as well

track eleven: I Can Fix Him (No Really I Can)

oh my GOD this one sounds like its gonna be sad. so this is obviously a reference to the common seen online phrase “i can/could fix him” which as ive seen is normally used towards people who are attracted to hot fictional characters that usually have a lot of emotional baggage or are villains (i saw it a lot when ballad of songbirds and snakes came out about young snow) so this song will probably be about her promising that she Can fix him and really will despite ‘him’ being broken or maybe even possibly a bad partner

track twelve: loml

so i saw and rb a post earlier about how its very interesting that this is already an acronym which i completely agree with because taylor knows we are no strangers to turning her song titles into acronyms. so loml does usually mean love of my life but i think because its already an acronym it might be something different (i saw someone earlier say it might be loss of my life instead of love)

SIDE D

track thirteen: I Can Do It With a Broken Heart

this one i think will kill me personally. i think this one will probably be about her continuing to go on with life (and possibly the eras tour) post joe break up i think this one will either be a sad song or a light beat ‘picking myself up on my feet’ song

track fourteen: The Smallest Man Who Ever Lived

this has so many implications but personally i think the interpretation shes gonna use for this song will be about how the said man is small emotionally and just as a person (i doubt she will talk about physical shortness in height or other areas)

track fifteen: The Alchemy

now im gonna be so real here i have no idea what this one will be about google says that alchemy is an older version of chemistry so maybe she will talk about the chemistry or alchemy she has in her relationships?

track sixteen: Clara Bow

alright Clara Bow! okay so i dont know much about old hollywood so i am NOT the person to deep dive into what this song will be about but all i do know about her is that she was The “It” girl of the silent film era so im assuming this song will probably be like the lucky one and talk about the rise to stardom and being the Biggest Star Of The Time

track seventeen(bonus track): The Manuscript

alright so after looking at the definition of a manuscript this is the PERFECT bonus track?!!?!?! so a manuscript is normally a piece of work that is written or typed out but isnt officially published which is just genius for having it be a bonus track that probably wont be on streaming (if not for a long time) i have no idea what itll be about but i love that mastermind

that’s pretty much all of my thoughts as of currently PLEASE let me know what yall think and what theories yall have for this album i am SO excited for april 19th 💕

[kassymalone]

A Little Rant about Fun

Remember fun?

Remember when you could do things just because they were fun?

It keeps coming to mind recently, and it's starting to drive me nuts.

I've always done things with my hands - I used to do art before uni destroyed my love and confidence, I write things, I cross stitch, I make models, and I do these things because I enjoy them. Unfortunately I've come to hate talking to people about my hobbies because the almost always have the same response - 'what do you do with that?'

Do I sell on Etsy? No I fucking don't, this pattern took me 15 hours to finish, do you know how much I would have to charge for it?

Do I do freelance writing? No I fucking don't, why would I want a second soul-crushing job on top of my first soul-crushing job?

Why don't I actually get published instead of wasting my time with fanfiction so I can actually make some money off it? WHY DON'T YOU DO IT IF ITS SO FUCKING EASY

I've been thinking of making a quilt recently, with patches of all my favourite things, but I don't want to talk to anyone about it because I can already hear them asking 'and what are you going to do with it? Is this your practice one before you sell them? No, don't do it that way, that's the wrong way, no-one will like it!'

(Don't get me started on the 'you're doing it wrong' crowd, gatekeepers are a different rant.)

JUST LET ME DO THINGS. NOT EVERYTHING NEEDS TO MAKE MONEY. I know we're in a cost of living crisis right now, but I've been hearing this shit since I was a teenager, twenty fucking years ago! I still remember being talked out of singing lessons when I had a little extra money because 'what would I do with it?' Well fuck, my fat ass was never going to be the next Adele, but maybe I could have just had fun doing something I enjoy, but better?!

ON A RELATED NOTE!

You know what disproportionately annoys me? When people call the Nintendo Switch a 'toy' as if it's a bad thing. Like... yes? It's a toy? I play games on it?

'But the frame rate!', 'But the graphics!', 'But it can't run XX game!' WHO FUCKING CARES.

Yes, the xbox and playstation can connect to netflix and play blue rays and cook you dinner and raise your children, but they also cost a months rent and have all these bells and whistles to distract you from the fact that they JUST FUCKING TOYS. There's nothing either of them can do that I can't do on my PC, better and cheaper, and not have to turn on five different peripherals to make it work.

'But 4K!', 'But you can see the character follicles in this new game!', 'But the horses testicles react to the weather!'

Are you not having fun? Are you not enjoying playing your game? Never once have I been in the middle of a game and thought 'I'd be enjoying this more if it had more pixels.' I'm not even against other consoles, use whatever you prefer - if you like modern real-to life graphics then more power to you, but the amount of people who act like it actually matters somehow is concerning...

Yes, the switch hardware is behind what the xbox and playstation can do... but its a toy. Nintendo has never forgotten that it makes toys, and that's why I like it. It sits on my table, connects to my other monitor. I listen to long form youtube videos while I play TOTK. If I'm feeling sassy, I play it handheld.

My niece has one. We play Pokémon together and I let her win battles because the point is to be fun.

WHICH BRINGS ME BACK TO MY POINT!

FUCK the grindset 'but how can I monetise every possible second?' bullshit, FUCK the 'taking this thing that should be fun way too seriously' bullshit.

LET PEOPLE DO THINGS JUST BECUASE THEY'RE FUN.

LET THINGS THAT ARE SUPPOSED TO BE FUN BE FUN.

And now I've used the word 'fun' so much it's lost all meaning.

Much like fun itself.

[lulu2992]

From the Inquisitor to the Baptist: The Evolution of John Seed

In addition to concept art and behind-the-scenes content, early visuals and deleted dialog can still be found in the game itself, notably in its files, and reveal more information about how John and his personality have changed during the development of Far Cry 5.

All the sources and references indicated by the superscript numbers will be given in the last post.

Part 4: Personality and morals (Far Cry 5)

First, let’s have a look at this screenshot of the performance capture footage of the game’s first mission, “The Warrant”, that was officially posted in August 2018⁴¹.

While the Father, the Marshal, and the Sheriff are all played by their original actors, the Heralds are not. That said, they don’t say a word in this scene and are just standing in the background, so it wasn’t necessary for Mark Pellegrino (Jacob), Jenessa Grant (Faith), and Seamus Dever to be on set that day, and their characters could be played by other people. I don’t know how old the footage is, but the number “170803” in the title of the sequence could be a date: August 3, 2017. There are two other numbers in the video, “170616” and “170615”, which could mean other parts of the intro were shot on June 15 and 16 (but this is just a hypothesis).

Behind Greg Bryk, the actor on the left in the screenshot seems to be Jacob, as the eldest Seed brother stands in a similar position, with his arms crossed, in the finished scene. The woman on the floor is surely Faith, and her posture is quite different from what we see in the game (but, interestingly, reminiscent of the way she poses in the family portrait found in the Holmes Residence³¹). The attitude of the third actor, who must be John, isn’t identical to the Baptist’s in the finalized sequence, either.

Instead of standing with his arms behind his back, he has one foot on the platform and, judging by the way his left hand is positioned, it looks like it’s possibly either in the pocket of his coat (maybe just the thumb) or resting on a gun. While, in Far Cry 5, John is simply observing the scene, attentively but calmly, and the “tough” brother seems to be Jacob instead, in this early version of the intro, his attitude is defiant and draws more attention to him, like he wants to make it very clear that you shouldn’t try to attack him or his family.

This is consistent with what we’ve seen in the first promotional images, concept art, Inside Eden’s Gate, the TV spot, and what is described in Far Cry Absolution: John used to appear more threatening and confident. In the game, this was toned down a bit and he, on the contrary, seems to want to look more “polite” than overtly menacing. This might be due to the fact that, as evidence suggests, his methods, although still violent, aren’t as extreme as they used to be.

In the final version of Far Cry 5, John gives tattoos that represent people’s sins and then cuts them out to make them Atone. This is brutal, yes, but from his point of view, this isn’t gratuitously brutal. He genuinely believes he’s helping and saving people, and that suffering is indispensable. The day his parents “threw [him] on the ground” and made him experience unbearable amounts of pain, he says he reached a point where “all [he] could say was yes” because he felt “clear” and “free”. Whether they’re right or not (since it seems the Voice Joseph hears is real), the members of the Seed family have conditioned themselves into believing that their trauma was a divine “test”, that it gave them purpose, and that people needed to experience the same thing to serve the Project, survive the Collapse, and be worthy of passing the Gates of Eden. John, because of what he went through, now believes pain has purifying properties, and he hurts others so they too can experience the epiphany he had while he was being tortured as a child. He can also get zealous and doesn’t hesitate to threaten or harm people who resist him, mostly because he can’t do his job properly and impress the Father if they don’t comply (and ironically, it’s precisely when he gets angry and carried away that Joseph is disappointed), but he doesn’t torture people just because he enjoys it. On the surface, it may look like pure sadism, but it’s more complicated; there’s reason for his actions. What gives him satisfaction is more the result of the pain he inflicts (look how exhilarated he is when he’s finally made Nick Atone) than the simple act of inflicting pain. He sees “torture” as a means to an end: Salvation.

In the game’s files, though, deleted content reveals that, earlier in development, John was more violent, would mostly hurt for his own enjoyment, and was, in general, a more hypocritical and narcissistic person, and it appears a few needless acts of brutality were removed from the game.

For example, this is what the transcript of John’s radio call to the Deputy for their Atonement looks like in the “oasisstrings” file⁴², which contains all the in-game text:

Your actions have consequences, Deputy. I've gathered all your friends here in Fall's End to Atone for your sins. You're welcome to join us. After all, if it weren't for you they wouldn't be in this predicament... This is your last chance to say Yes, Deputy. Don't be late.[SFX of an electric saw and someone screaming]

As you probably know, the “SFX of an electric saw and someone screaming” isn’t part of the call at all in the game, and it’s not in the audio files either. The sound effect would have made it seem like John was busy gruesomely torturing someone when he decided to call the Deputy, and that he casually resumed hurting them as soon as he was done talking. I think it’s interesting that the developers considered including this but eventually decided against it. Without it, the call sounds “normal”. Threatening, but normal. The scream and the electric saw would have made John look like someone who gratuitously tortures without any empathy… but this simply isn’t who he is anymore, so the SFX had to be cut.

In the Prima Games guide, a screenshot reveals what the Confession room in John’s Gate used to look like:

The room isn’t grey just because the lighting is different; plastic tarps are covering the floor and walls. The Confession room used to look more like a torture/kill chamber in which a lot of blood was expected to be shed. The wrapped dead bodies were more visible… and also seemed more consistent with who John apparently was at the time: basically a (somewhat caricatural) serial killer. Although he knew how to look refined, it seems neither he nor his methods particularly were.

When you explore the Holland Valley, you can stumble upon an excerpt of Deputy Joey Hudson’s Confession. In the broadcast, clearly recorded and made public by John in an attempt to make the Junior Deputy worry about their partner’s safety and lure them into his bunker, here is what we hear:

John: It was the Father who said to me, “Take them, John. Take them even if they resist, for those who deny the Project are the ones most in need of its salvation. Though their sins are great, their souls are not beyond saving. All they must do… is Confess.” Are you ready, Deputy Hudson? Hudson: Go fuck yourself. John: Hmm… I know. Opening yourself, exposing your darkest secrets can be… challenging. It can be scary, but… this is a safe space, there is no judgment here. Do you wish for me to hear your Confession? Hudson: Go. Fuck. Yourself. John: That’s... not the magic word. John: Do you wish for me to hear your confession? John: *sighs* You just have to say "Yes." Hudson: Go. Fuck. Yours- *screams* John: Do you wish to Confess? Hudson: *still in pain* Oh, fuck you! Fuck you! John: Embrace it. John: Embrace the Power of Yes! Hudson: *crying* Please, stop. Please, stop! Please, stop... Please... John: Do you wish to Confess? Hudson: Yes... John: There. That wasn’t so hard, was it?

Hudson’s screams make the broadcast hard to listen to, but it turns out it used to be even worse.

There are 16 sound files in this “sermon”, but there were 9 more (so 25 in total) in the “complete”, previous version, which sounded like this:

John: It was the Father who said to me, “Take them, John. Take them even if they resist, for those who deny the Project are the ones most in need of its salvation. Though their sins are great, their souls are not beyond saving. All they must do… is Confess.” Are you ready, Deputy Hudson? Hudson: Go fuck yourself! John: Hmm… I know. Opening yourself, exposing your darkest secrets can be… challenging. It can be scary, but… this is a safe space, there is no judgment here. Do you wish for me to hear your Confession? Hudson: Go fuck yourself!! John: That’s... not the magic word. Hudson: Go fuck yourself. John: Do you wish for me to hear your confession? Hudson: Go. Fuck. Yourself. John: *sighs* You just have to say "Yes." Hudson: Go. Fuck. Yours- *screams* John: Do you wish to Confess? Hudson: *screams* John: Shhh… It’s okay. This happens all the time. Hudson: *still in pain* Oh, fuck you! Fuck you! John: You just have to open yourself. Hudson: *screams* John: Embrace it. Hudson: *screams* John: Embrace the Power of Yes! Hudson: *screams* Hudson: *crying* Please, stop. Please, stop! Please, stop... Please... Hudson: No... *screams* John: Do you wish to Confess? Hudson: Yes... John: There. That wasn’t so hard, was it?

While the in-game version is painful to listen to, it seems a bit less violent in comparison, like John is only hurting Joey (who used to be more confrontational too) when he believes it’s required, just enough to make her say “yes” so he can finally do his job. He’s also a bit less mocking in the final broadcast, and unlike in the long version, when she asks him to stop, he does. To me, shortening this audio to only keep what’s “necessary” (from John’s point of view, of course; it’s still harsh) makes him seem less pointlessly sadistic, and I see this as another proof that his violent tendencies were deliberately toned down.

In deleted radio calls⁴³, John was also more taunting and insulting towards the Deputy, calling them “a wayward, filthy sinner” he could easily find if he followed “the stench of sin”. He also used to tell them it was their fault if he hurt people, for example in this one, supposed to be triggered sometime after the mission “The Confession”:

Wrath... all that anger you carry inside of you is a disease. It spreads out... infects others. It's even infected me. It's making me do something I don't want to do. You see, after you fled your Confession this... rage started boiling up inside me. I'm afraid your friend, your... Deputy Hudson... will have to bear the brunt of this rage you've given me. She's going to be the one who pays for what you've done. And you only have yourself to blame.

In Far Cry 5, he still taunts the Deputy and threatens to harm their allies if they keep hurting the Project, but not as much, and it appears he doesn’t always plan on carrying out his threats; he mostly wants to scare them so they “behave” and let him do his job (but it doesn’t work very well). In the deleted call, I think he seemed to be a less sincere and more manipulative person, and this John would likely have kept torturing people even if the Deputy hadn’t done anything, simply because he enjoyed it, but he prefers to guilt trip them and tell them that they should feel bad for his actions.

In the game, when Hudson is finally out of John’s Gate, she says something I think is very interesting⁴⁴:

When you escaped the bunker... John didn't say it... but you could see it in his face. Failure. Things got worse from there... Like he was trying to make up for something. Prove to his brother he could... I never thought I'd make it out of there.

I like that the radio call in which John says the Deputy’s Wrath has “infected” him and is “making [him] do something [he doesn’t] want to do” was cut. Again, it didn’t sound genuine; he clearly wanted to make their friends suffer and was just blaming them for his behavior. In Far Cry 5, I love that John doesn’t talk about his feelings at all and doesn’t admit he was angry when the Deputy ran away from his bunker. On the contrary, while they’re fleeing the Gate, John encourages them to leave. To me, it sounds like he’s actually very upset about the situation, probably even more than “early John” would have been, but because he doesn’t want to lose face, he pretends he’s not and that them leaving was his plan all along anyway.

When Hudson reveals that John was visibly vexed after the Deputy’s escape but “didn’t say anything”, I think it’s more compelling than him then calling the Deputy to tauntingly and hypocritically put the blame on them. And when “things got worse from there”, Hudson (rightly, I think) concludes it was because John wanted to “prove to his brother he could” make up for that failure he painfully knew was his, not because he simply felt like hurting people and used the Deputy as an excuse.

What this deleted radio call reveals, to me, is that in earlier versions of the story, John was too conceited to take responsibility for anything, and he wasn’t ashamed because others were always the problem. The final version of John doesn’t have such a high opinion of himself anymore, as much as he wants to give the impression that he does and that nothing can affect him. After the Deputy’s escape, he silently withstands that blow to his ego and then works his hardest to fix his mistake. Unfortunately, it doesn’t change the fact that people then have to suffer, but my point is that the motivation behind his actions is different.

There are more proofs of “early John”’s hypocrisy and narcissism, such as this piece of concept art for his home, Seed Ranch⁴⁵:

In the picture, we see flower beds, colorful garden furniture, a fountain, and a golden (maybe even gold) statue of the “old” Eden’s Gate logo, the one with an eagle, which indicates the artwork was made rather early in development. And they aren’t visible in the artwork, but in the sound files, Nick and Sharky also mention tennis courts⁴⁶!

When people join Eden’s Gate, they are expected to give up their worldly possessions, not to give them to the cult (although it’s always an option since they need supplies for the Collapse), but because Joseph preaches about how Greed, consumerism, and selfishness have perverted humanity, so it’s better to live a simple life. It seems awfully hypocritical, then, for one of his Heralds to own such a luxurious property...

But in the game, although it’s still big, it looks like there are fewer rooms in the ranch, and its exterior isn’t as fancy anymore⁴⁷. No fountain, no gold statue, no colorful garden… and no tennis court.

More cut content suggests that Seed Ranch wasn’t just where John lived. In the deleted in-game encyclopedia (still available in “oasisstrings”), the description of the ranch said:

The power of yes gave John Seed this dream ranch overlooking the Holland Valley. it has commanding views, a private air strip, and secluded soundproofed rooms for his most invigorating religious pursuits.

In the files, it’s also possible to find this kind of NPC dialog:

The cultists were talking about taking me to John's ranch. People who go there... they don't come back. Or they come back wrong.

And a deleted mission objective said to “rescue Mary May from John Seed’s Ranch”, so she would be taken there at some point. In Far Cry 5, converts go to John’s Gate after their Cleansing so he can hear their Confession and tattoo them... as well as make them suffer because, as a cultist explains in the mission “The Cleansing” to people who’ve just been baptized:

Confession without pain isn't Confession. You'll scream out your sin, then you'll wear it on your flesh before John peels it off of you. It's a beautiful thing.

Clearly, “early John” would also torture people in his ranch. And did he really believe it was for “religious” reasons, like it seems he does in the game, or was that, once again, at least partially an excuse? Given what we’ve seen so far, my guess is it was the latter.

A mysterious “sex room” located in the ranch is also mentioned in the files, but it was cut from the game and not much is known about it⁴⁸. If it was a literal “sex room”, it would either be yet another proof that John used to be hypocritical and to not always practice what he preached, or confirm that the “no fornication” rule originally didn’t exist. “Sex room” could also simply be a joke name used by the developers to refer to a torture chamber. But if we want to trust what one of the survivors says in Far Cry New Dawn⁴⁹…

This place used to be a ranch owned by a cultist named John Seed. I always heard rumors that he had some kind of pervert basement and was real disappointed to find out that it wasn't true.

…there apparently is no such room in John’s house.

Given how luxurious the ranch looks, you would expect him to want to spend as much time as possible in it, but it turns out he doesn’t. In fact, one of the cultists guarding the property comments⁵⁰:

Haven't seen John here in a long time. He's super busy.

And in a letter found in his bunker⁵¹, John wrote:

Everyone's human, and that's why I don't want to put myself on a pedestal. I don't ever want to get back up there again. I'd rather be here with all of you and the new souls in this bunker.

At some point during the development of Far Cry 5, John would expect his followers to live a simple life, serve the Project, and rigorously follow its rules while he would do the opposite. In the final version of the game, his faith in his mission and his devotion to the Project seem sincere, and he would rather work tirelessly and live in his Gate among his “brothers and sisters” than lounge in his ranch. Said ranch is also not as much of a display of wealth as it used to be, and nobody gets tortured there anymore. A bag of “oregano” can still be found in the living room, but since no one says anything about it and it really doesn’t seem to me that John would break the cult’s rules and smoke drugs, I consider it to be a relic from the past, a vestige of the time he seemed to only care about himself.

John is involved in three more abandoned storylines in the files, and they all demonstrate he used to be more hypocritical and violent. The first one is revealed by a mission objective that said to “find John and Mary May’s secrets”⁵², and it seemed it was related to the mission in which we would go rescue her from the ranch. Unfortunately, it’s unknown what the secrets were about, but it’s very likely John didn’t want them to be exposed because everyone would have seen his true, ugly colors and how dishonest he was.

The second one is revealed by Hurk Jr. who has this line in the files⁵³:

Good thing for us John and Jacob haven't sorted out their brotherly nonsense. I mean if we're lucky, they'll just take each other down. If not, well, I'm going to keep some grenades around with John's name on 'em, eh? It's comin' to a head man.

In the game, they aren’t in conflict. On the contrary, Jacob seems rather protective of his family, and John strives to impress his brothers.

As for the third one, we know about it thanks to one of Kim’s deleted lines⁵⁴:

John Seed's a piece of shit. When news spread that I was expecting, that scumbag spread rumors that HE was the biological father of my baby. I don't know if he was trying to create a wedge between me and Nick or if he was just doing it to laugh at us. It was stressful and all for nothing. I can tell you, we don't need to go on a talk show and have a DNA test. Nick is the father.

Again, in the game we know, it seems absurd that John would want people to believe that he had an affair with Kim, with whom he isn’t married, considering what the Project’s rules are and that a letter found on the Ryes’ porch, titled “John Seed’s plea”, proves he’s already amiably tried to talk them into joining the Family:

Nick, The Collapse I talked to you about has started. I know you want to protect YOUR FAMILY. The only way to do this is by joining OUR FAMILY. Our bunkers have everything Kim & Baby Rye will need to survive. There are dozens of expecting mothers and children here already with us. This is my final plea to you. Say YES. John Seed

Spreading distasteful rumors about them seems counterproductive, but again, John the Inquisitor probably wouldn’t have cared as long as he could have fun at the expense of other people.

In Far Cry 5, John the Baptist simply isn’t this man anymore.

To be continued…

[mysaldate]

AFK Journey review by a beta tester

AFK Journey came out yesterday and I see it getting quite a lot of attention so I figured I'd at least put this out there so that people don't go into it expecting something it's not.

I have been in the testing of this game and continued to provide feedback all the way from the alpha test back in the fall of 2021 and through all the beta testing that started in April or May last year. I have also been aiding in making lore-focused streams about AFK Arena for over a year and seeing as AFK Journey is supposed to be set in the same world, this will be relevant later. I have also been contracted to make officially-backed videos about AFK journey – a deal I left for a number of reasons, not least of all the reasons I have for writing this post. Now with credentials out of the way, let's get to the actual review.

The visuals take your breath away

Let's start with something positive – this game is gorgeous. Farlight Studios have outdone themselves yet again and after the vibrant and futuristic world of Dislyte, their take on Esperia is surprisingly tame, in a good way. The colors are soft and lovely, the models look amazing, and the customization screen of the main character is awesome! The characters look great and move in a smooth fluid fashion. Ult animations, idle animations, and the overall feel of the characters as well as the skins added into the game thus far are all nice and fit into the wider world well, not to mention look wonderful and clean, a lot of effort and skill went into making them. Sadly, if we ignore the skins and ult animations, this has been the case since the alpha without any major changes.

Gameplay could be improved upon

I will be up-front about this, I don't care about gameplay all that much. However, I have to say, the game is not open-world, despite claiming to be so. If you venture off the paths, you get stuck on fences, stuck on bushes, stuck on rocks, or just prevented by an invisible wall. There is no swimming, no climbing, no gliding, or most other things we came to associate with open-world games. The vertical gameplay is a plus to be sure and you get to pick characters to follow you around without having to use them in battles which makes the exploration more fun. The overworld puzzles are creative and fun too! The real issue comes with... everything else. At the start, fights in the overworld are easy. However, they will scale up way faster than you can level and you will soon be adding an additional roadblock to the list: enemies. The combat itself is creative but requires attention as the autoplay function is usually wonky at best and outright damaging to your party at worst. AFK Journey is not living up to its AFK title either. One thing I found really annoying was the story progression not being tied to the AFK rewards. You have to grind a separate set of battles to increase the AFK rewards you receive. The AFK rewards and story also still cap each other so you won't be able to progress in one without progressing in the other.

Outside of the main story, the game offers multiple game modes. If you don't enjoy PvP, be warned that the game puts great emphasis on doing your PvP arena every day and being good at it if you want to build any good characters. The game also has a labyrinth mode which tracks your health across multiple battles and allows you to gain upgrades as you go. This mode is somewhere between AFK Arena's and Dislyte's in terms of fun. It is more varied than AFK Arena's which makes it more fun and less repetitive, however, you have a limited number of characters you can bring in which severely limits how varied your gameplay experience might be. It was also recently nerfed to the ground and now poses little to no challenge. Honor Duel is another PvP mode in which you buy upgrades and then fight randomly generated players with supposedly the same level of upgrades as you. If you can claim eight victories before three losses, you win the run. However, the factions and characters are currently so imbalanced that depending on your luck, you may not win a single battle in a run or you might breeze through all of them without any effort.

The gacha element is pretty much non-existent. If you scrounge up enough resources to pull, you likely won't get anything much. You'll be relying on hand-outs of pulls and PvP shops to build your characters. AFK Journey should not be called a gacha game. It is, at best, a game with rare gacha elements.

Co-op is a lie

While AFK Journey does have a cooperative mode, in the form of connected guild dungeons, it is not really what it advertises to be either. All your guildmates can separately whale on some enemies together and depending on how you do, you will receive rewards that are generous compared to what the rest of the game offers. You can lend your friends your characters but they'll be the ones fighting with them, not you. The most social aspect of the game is seeing other players around the map and spending your friend points to buy different animations to perform at each other. The chat function is also pretty bad, though not as terrible as it is in AFK Arena.

The guilds and friends to add also don't work cross-server. So if you have a friend on another server, you won't be able to see them or talk to them or enjoy even the limited interactions that are actually in the game.

The story is disappointing at best and nobody knows the world

You may have noticed I've been avoiding talking about the story of a story-focused game. This is where the biggest disappointment lies. Let me preface this by saying, the story didn't always use to be this way. It used to be actually really really good back in the alpha and even at the start of the beta. However, in the last three months, the game underwent five or six complete rewrites of the main story, each worse than the last. As things stand right now, there is no nuance in protagonists or villains, there is a literal diarrhea conversation (like an actual conversation, several scenes long) for no reason, most of the story could be summarized on one page and the rest is pointless bickering that makes every other character utterly unlikable. The main character is an amnesiac going by the title of "Magister Merlin" despite the fact that Merlin from Arthurian myths, whom this is clearly based on, is an existing character in the world of Esperia.

In terms of lore, AFK Journey is not even close to what it promised. It promised to be a game set in the world of AFK Arena – a world with surprisingly rich and interesting lore that has been built up over the years. Unfortunately, it is very much not that. Not only are important world events treated as nonexistent, not only does the writing erase character relationships and dynamics, but the writers couldn't have even been bothered to learn the basics of the world they're working with. Factions get swapped around randomly for no reason, and important factional politics have been flipped on their heads. An organization that is supposed to be an outcast is now the ruling class, the timeline is all over the place, and even the names of things are not only inconsistent with AFK Arena but also inconsistent with Journey's world itself. The loading screen already breaks the world by telling you magic didn't exist until the "Fall of the gods" which is supposed to have happened recently, yet the entire time you will be running around ruins of magical civilizations from ages long past.

Speaking of the gods, there are characters who straight-up don't know what a celestial is. If you know anything about Esperia's lore, you know how important religion is to its history and how jealously the gods guard their authority. The thought of someone having completely no idea of what they were is strange, to say the least. The game also invents new gods instead of using preexisting ones with the same function and even disregards events relating to the gods that changed the course of Esperian history – such as the death of Esperia's primary goddess Dura. In fact, AFK Journey doesn't even consider Dura important enough to have a model. Once again, this is the primary goddess of this world. As for the characters brought over from AFK Arena, they have been butchered beyond recognition. The warlord of an entire country who slew countless enemies is now a pacifist whose only interest lies in spicy food, a hard-working girl who, for the sake of her family, developed her skills until she was recognized by the stars and became the fulfillment of a prophecy is now an angry Mary-sue who was always perfect and didn't actually need to work for anything – and gets offended if you suggest otherwise, the list goes on.

The sound design is refreshingly good – for the most part

As a game with voices, we have to talk about those first. The voices, for the most part, are alright. None of them really stands out as particularly amazing, though I do like a few of them more than the others. I like Fay's voice quite a bit. Sadly, none of the characters from AFK Arena is voiced by the same person anymore, and in most cases, it is a massive downgrade. And that isn't talking about the worst offender of all – Valen, one of the main characters you'll have to listen to the whole time. Valen used to have a voice that fit his character – suave and kind of bold and full of life. Now he sounds like he's still going through puberty, and he's a whiny crybaby at that.

The sound design outside of the voice acting is great. Once again, this is a very strong point for the game. The music and background noises are great and even the menu sounds are not disruptive in the least. If anything, they feel natural to the world.

PC client could as well not exist at all

This is coming from second-hand knowledge as I have played AFK Journey on phone but so far the reviews I've seen appear to be as follows: Game lags when walking, freezes when trying to talk to NPCs, and is prone to crashing. Mobile devices perform better for AFK Journey than PCs do.

The mystery of translation

Back in January, the only publicly admitted localizer has been fired from the project. About a week and a half ago (around 10 days before the game's launch), the official Discord posted an application form looking for translators for the game. Apparently, the game has several translations already out at this moment, but none of them particularly good. Some are even so bad it's sort of funny. In a really... pathetic sad way. It probably doesn't help that they're still looking for translators as we speak.

In conclusion...

I wish I could recommend AFK Journey, I really do. I've been excited about this game ever since its announcement and I've been providing as much feedback as I could throughout both alpha and beta. The organization has been awful and the game suffers for it. Internal changes happened a few months back and since then, everything about the game just fell apart. Even things that were good before got ruined and now all that remains is pretty visuals and nice music with nothing else worth paying attention to. It is a major letdown when it could've been incredible. The game is nothing it was advertised as – it is not an open-world game, it is not a gacha, and it is most certainly not set in the world of AFK Arena.

I hope the people who decide to play it can still find some fun in it regardless.

[frownyalfred]

admittedly im not very familiar with the songs but throwing my 2 cents in for potential sequel title ideas: -The ticking and the tocking clock - Somewhere in between (not quite the same cadence as the others but immediately made me think of the joker w the warehouse bomb countdown clock so had to include it lol) -The Night and the Daylight - Somewhere in between (à la its always darkest before the dawn, it gets worse so much worse before it gets better vibes) -A Storm in the swimming pool - How to be Invisible (sounds kinda angsty and fits w the naming convention lol) -The edge of a mirror - An architect's dream (also bit of an angsty vibe. mirror of the joker killing robin and now wanting for sure nothing good for the twins [and bruce]?) - A veil of diamond dust - Nocturn (why is the diamond dust? diamonds are formed under pressure but even they will eventually crumble to dust if too much force is applied. Veil as in wedding? or as in the veil between life and death? a death shroud is also just cloth like a veil is. veil is also used meaning to cover or conceal)

ive fallen down a rabbit hole of reading all the lyrics and trying to think of angsty interpretations of them so i'll stop here 😂 its always fascinating to me all the different reasons authors have for their titles, for me i feel like that would be the hardest part i stress over what to name my pets in video games let alone a fic other people are going to read 😂

Whatever the title of the fic is im sure it will be amazing as always :D

Ahhh thank you for these! I am super weird about naming fics. All of the titles tend to be lyrics and usually lyrics from songs I’ve either been listening to while writing, or lyrics that fit what happens in the story itself.

I really want to make a lyric from Aerial work for this fic, but as you’ve noticed Kate Bush gets pretty weird outside of the ones I’ve already chosen.

I’ll find something! I need to percolate. Thank you for your help :)