#backtracking

[heiicats]

Bored as hell

[neodafloof555]

so I was thinking

the reason why paper Mario the thousand year door became the staple child for back tracking even tho paper Mario sticker star has a way more atrocious and in your face world that is just backtracking the forest is because no one played sticker star long enough to get annoyed at the backtracking

[skewbforty]

Most Paper Mario fans in 2004: My least favorite chapter? Chapter 4.

Most Paper Mario fans in 2024: My favorite chapter? Chapter 4.

[jaynosurname]

Man, this game is great! I wonder why I preferred 64 over this.

Reaches chapter 2

Oh, that's why.

[redtoondevils]

Small rant with writing errors.

You know how, I want to write my fanfic. And the Plaza's map is so big, it's confusing to figure out which attraction to go to. And thinking if I may need to change something. To make sure that they're going the right way. To and from the right way.

Especially, writing a Plaza that has been broken down, and so many things would be blocked off. (I tell myself not to over complicate things. And I don't have to write it, exactly how it should look. Or limit where to go.)

It's just because I find it confusing. :/

[jcmarchi]

Four Ways Prince Of Persia: The Lost Crown Gets The Genre Right

New Post has been published on https://thedigitalinsider.com/four-ways-prince-of-persia-the-lost-crown-gets-the-genre-right/

Four Ways Prince Of Persia: The Lost Crown Gets The Genre Right

The revival of this long-dormant franchise moves into the gear-and-power-gated family of games colloquially termed Metroidvanias, thanks to its similarity to early classics like Super Metroid and Castlevania: Symphony of the Night. It’s a genre that has been gaining traction in recent years, but Ubisoft’s return to the Prince of Persia franchise is one of the best we’ve seen in a long time. It’s even managed to make a spot for itself on our list of the Best Metroidvania Games you should make a point to play. 

The Lost Crown is also notable for the way it advances this game style with novel ideas and mechanics. While not everything on this list is brand new, these features combine to make Ubisoft’s new adventure one of the most rewarding, approachable, and satisfying releases in the genre, and an early standout release at the beginning of 2024.

All About The Map

Early games like Super Metroid offered a large map for exploration, but much of it was unavailable until you had additional capabilities. That defining feature of the genre is present in The Lost Crown, but it allows clever players to leverage several in-game systems to reduce aimless wandering and instead keep the focus on interesting encounters and puzzles.

The most significant way it does that is through Memory Shards, which let players capture a screenshot of a specific location they’re standing in, and that screen then appears on the main map, viewable just by scrolling over it. It’s a simple but extremely helpful tool that resembles common jigsaw puzzle techniques. When you find a puzzle piece with an unusual or notable shape or image, you set it aside and wait to find its match. Here, you locate a particular insurmountable obstacle and set it aside until you have the matching power to surmount it.

On top of that, The Lost Crown’s map supports thoughtful and customizable navigation, such as distinct markers a player can put down to indicate different targets, as well as a choice between exploration and guided mode. The latter lets players see where the subsequent major story-progressing sequences are but doesn’t tell you how to get to them; the fun of discovery is still there, but it’s not as aimless or as dependent on in-world clues as exploration mode. 

The game also adds a simple but surprisingly helpful tool around save points. In many games of this style, a wrong turn can mean that you miss a critical save point by turning left when that desperately needed save point was to the right. In Prince of Persia: The Lost Crown, a clearly identifiable golden wind appears in nearby chambers that lead to a save point, helping ensure you don’t miss it. It’s a meaningful aid and takes away an element of frustration and difficulty that was never really an enjoyable aspect of the genre.

A Consistent And Uniting Theme

Prince of Persia games have always been about the concept of time in one way or another, but The Lost Crown takes that focus to a new level. By making the entire game – from storytelling to mechanics – focus on the nature of time, the totality feels united and compelling.

Sargon’s journey across Mount Qaf sees time constantly in flux, with story elements suggesting that time is both mutable and can change based on our perception of it. But rather than just discussing that concept in the storytelling, the entire game revolves around time. Your powers are all about the manipulation of time and space. Distinct areas across the map play with unusual twists on time – from day and night cycles to dramatic frozen moments. Even combat and traversal rely heavily on careful observation and timing to find any measure of success.

The result is a game that feels like it’s communicating a cohesive theme across all its facets.

Focus on Precision

Exploring a vast open map, backtracking to earlier locations, and solving navigation challenges are all concepts that appeal to a mindset of careful observation and thinking. So why would a game like this also veer into imprecise and wild approaches to action? Prince of Persia: The Lost Crown keeps precision play a staple across all elements of gameplay.

Combat in the game is always about watching your enemy and reacting intelligently to their attacks. Mastery of parries, dodges, dashes, and jumps is as crucial as any sword or bow attacks you might wield. The combat provides a refreshing and challenging approach, with regular injections of new attack and defense options, an increasingly complex array of enemies to parse, and bosses that demand careful use of available powers.

Likewise, traversal sequences are often about extremely precise button presses to avoid Mount Qaf’s many traps and dangers. After decades of playing games, it’s rare that a puzzle or navigation area feels genuinely new or surprising to me. But Prince of Persia: The Lost Crown frequently provides that sensation, with tricky moments that left me smiling at the clever structures.

From a design perspective, the game also uses its play spaces with precision. If a room is large and open, there’s often a reason for it, encouraging players to attempt to reach its furthest and highest corners. If a combat chamber is tight and constrained, it forces the player to leverage every ability to confront an enemy’s capabilities.

The insistence on precision increases the sense you’re playing a game that demands attention and observation at every turn – there’s little in the way of boring moments since every action, reaction, and direction you move has a purpose and the threat of danger.

Accessible to All

Increased attention on accessibility for all players has been a big focus for game developers in recent years. It’s been incredible to see game makers working hard to make their games playable and enjoyable by the largest percentage of players. In this arena, Prince of Persia: The Lost Crown leads the genre of Metroidvania titles in many ways.

High-contrast visual mode options ensure aid for players with specific color blindness and other low vision needs; The map tracking and memory shard feature helps players with visual memory issues; A platforming assist option lets players jump past the most complicated traversal sequences with a unique portal system; Combat difficulty can be fully tweaked to make timing windows more generous, add additional aim assist, and more; Controls are globally remappable; Subtitles have numerous adjustable options for those with hearing issues. With these and other features, Prince of Persia: The Lost Crown keeps the game rewarding for a broad swath of potential players.

Importantly, these accessibility features are entirely optional and changeable at your desire. Beyond the inherent value of opening up the game to the players who need these options, everyone should feel good about these types of inclusions, especially as they make their way into genres (like these types of Metroid-inspired games) that have sometimes not featured the options. More players of a good game helps developers and publishers find success. In turn, those additional paying customers make it more likely that good games and developers will continue to make more games. It’s a win-win-win.

Prince of Persia: The Lost Crown is a return to a venerable franchise, but the game’s shift into a new style invigorates the series and makes it feel new again. Not only is it a great game, but it also sets some high bars for several innovative elements, which other developers within the space would be wise to emulate. If you haven’t already put the game on your radar as an early play in 2024, it deserves serious consideration.

[creativewaygrace]

Bible Verses on Backsliding

1 John 1:9- If we confess our sins, he is faithful and righteous to forgive our sins and to cleanse us from all unrighteousness.

2 Chronicles 7:14- And my people, who bear my name, humble themselves, pray and seek my face, and turn from their evil ways, then I will hear from heaven, forgive their sin, and heal their land.

2 Corinthians 13:5- Test yourselves to see if you are in the faith. Examine yourselves. Or do you not recognize that Jesus Christ is in you? Unless you fail the test.

2 Peter 2:20- For if, having escaped the world's impurity through the knowledge of the Lord and Savior Jesus Christ, they are again entangled in these things and defeated, the last state is worse for them than the first.

2 Timothy 4:10- Because Demas has deserted me since he loved this present world, and has gone to Galatia, Titus to Dalmatia.

Galatians 5:4- You who are trying to be justified by the law and alienated from Christ, you have fallen from grace.

Galatians 6:1- Brothers and sisters, if someone is overtaken in any wrongdoing, you who are spiritual, restore such a person with a gentle spirit, watching out for yourselves so that you also won't be tempted.

Hosea 11:7- My people are bent on turning from me. Though they call to him on high, he will not exalt them at all.

Hosea 14:1- Israel, return to the Lord your God, for you have stumbled in your iniquity.

Hosea 4:16- For Israel, is as obstinate as a stubborn cow. Can the Lord now shepherd them like a lamb in an open meadow?

Isaiah 30:15- Israel, has said You will be delivered by returning and resting; your strength will be in quiet confidence. But you are not willing.

James 4:6- But he says: God resists the proud, but gives grace to the humble.

Jeremiah 14:7- Though our iniquities testify against us, Lord, act for your name's sake. Indeed, our rebellions are many: we have sinned against you.

Jeremiah 2:19- Your own evil will discipline you; your own apostasies will reprimand you. Recognize how evil and bitter it is for you to abandon the Lord your God and to have no fear of me. This is the declaration of the Lord God of Armies.

Jeremiah 24:7- I will give them a heart to know me, that I am the Lord. They will be my people, and I will be their God because they will return to me with all their heart.

Jeremiah 3:12- Go, proclaim these words to the north, and say "Return, unfaithful Israel. This is the Lord's declaration. I will not look on you with anger, for I am unfailing in my love. This is the Lord's declaration. I will not be angry forever.

Jeremiah 3:14- Return, you fatherless children, this is the Lord's declaration, for I am your master, and I will take you, one from a city and town from a family, and I will bring you to Zion.

Jeremiah 3:22- Return, you fatherless children. I will heal your unfaithfulness, "Here we are, coming to you, for you are the Lord God.

Jeremiah 31:22- How long will you turn here and there faithless daughter? For the Lord creates something new in the land, a female will shelter a man.

Jeremiah 8:5- Why have these people turned away? Why is Jerusalem always turning away? They take hold of deceit: they refuse to return.

John 15:5- I am the vine: you are the branches. The one who remains in me and I in him produces much fruit because you can do nothing without me.

John 15:6- If anyone does not remain in me, he is thrown aside like a branch and he withers. They gather them throw them into the fire, and they are burned.

Luke 9:6- But Jesus said to him "No one who puts his hand to the plow and looks back is fit for the kingdom of God.

Matthew 24:11- Many false prophets will rise up and deceive many.

Matthew 26:41- Stay awake and pray, so that you won't enter into temptation. The spirit is willing, but the flesh is weak.

Proverbs 14:14- The disloyal one will get what his conduct deserves, and a good one, what his deeds deserve.

Proverbs 24:16- Though a righteous person falls seven times, he will get up, but the wicked will stumble into ruin.

Revelation 2:4- But I have this against you: You have abandoned the love you had at first.

Revelation 2:5- Remember then how far you have fallen, repent, and do the works you did at first. Otherwise, I will come to you and remove your lampstand from its place, unless you repent.

[straight4joekeery]

OH MY GOD???? THANK YOU SO MUCH!!! This is truly amazing 🤩. I love all of you so so much. I would like to thank the acade-

[becomingtoday]

Backtracking

No two paths are exactly alike nor are they intended to be. Don’t compare yourself to others, rather simply seek to take each day one at a time and continue your journey along the way to “Becoming Today”, all you were created to be.

Imagine if you will, just for a moment that you are lost in a maze.  Sometimes, to find the right path, you might need to double back and re- explore a precious path along the way.  Backtracking, in this sense, means taking a temporary step backward in order to ultimately move forward in the right direction of our shared  journey we call “Becoming Today”. Hindsight is 20/20: Why Reflecting on…

[silentsenior09]

Took a bit, and almost didn't get that upload out today, but we made it.

My tardiness aside, bring plenty of facial tissues for the snot bubbles in Vanilla Ghost House. <.<"

[bixels]

“America has no culture” is an inherently racist statement. Especially when talking about California, which has enormous populations (yes, plural) of Hispanic and Asian immigrants.

It’s such a self report that you see the American hegemony, the American monolith, as a singularly white entity that’s worthy of scorn. I want that person to look at the Black American NYC Miku design and tell me with their full chest that that isn’t culture. Especially when modern pop culture owes so much to Black American culture — hip hop, language, streetwear and fashion, pop music, jazz — as is actively erasing their roots, saying all of America has no culture is a dumbass statement.

Also, “all the US Mikus are dressed in generic casual street style for coolish weather.” The original Brazilian Miku is wearing sunglasses, a crop top, short shorts, a bikini, and flip flops you absolute dunce. If you’re gonna be rude at least be consistent.

[celaenaeiln]

Damian: These colors for Robin are terrible. I simply refuse to believe father chose red, yellow, and green to hide in the night. The tactical planning behind this suit is abhorrent. Who in the world picked it?

Tim: *not even glancing up* Dick.

Damian: These are exemplary colors, truly no one could have chosen better. Red to represent passion, yellow for happiness, and green for new beginnings- as expected of Grayson, only he could come up with such a brilliant and thoughtful design. Not to mention, it’s a test in blending into your surroundings despite your attire which is extremely useful in the field for other missions. Marvelous planning and insight.

[absolutequeertrash]

[fortunatelycoldengineer]

Write the answer in the comment section . . . for the answer http://bit.ly/3zoNm4I check Q. No. 12 of the above link

[applestruda]

Summer, Spring, Autumn, and Winter

(Aka hermit ladys as mucha's four seasons for week 3 of the design challenge)

[jcmarchi]

Creating connection with science communication

New Post has been published on https://thedigitalinsider.com/creating-connection-with-science-communication/

Creating connection with science communication

Before completing her undergraduate studies, Sophie Hartley, a student in MIT’s Graduate Program in Science Writing, had an epiphany that was years in the making.

“The classes I took in my last undergraduate semester changed my career goals, but it started with my grandfather,” she says when asked about what led her to science writing. She’d been studying comparative human development at the University of Chicago, which Hartley describes as “a combination of psychology and anthropology,” when she took courses in environmental writing and digital science communications.

“What if my life could be about learning more of life’s intricacies?” she thought.

Hartley’s grandfather introduced her to photography when she was younger, which helped her develop an appreciation for the natural world. Each summer, they would explore tide pools, overgrown forests, and his sprawling backyard. He gave her a camera and encouraged her to take pictures of anything interesting.

“Photography was a door into science journalism,” she notes. “It lets you capture the raw beauty of a moment and return to it later.”

Lasting impact through storytelling

Hartley spent time in Wisconsin and Vermont while growing up. That’s when she noticed a divide between rural communities and urban spaces. She wants to tell stories about communities that are less likely to be covered, and “connect them to people in cities who might not otherwise understand what’s happening and why.”

People have important roles to play in arresting climate change impacts, improving land management practices and policies, and taking better care of our natural resources, according to Hartley. Challenges related to conservation, land management, and farming affect us all, which is why she believes effective science writing is so important.

“We’re way more connected than we believe or understand,” Hartley says. “Climate change is creating problems throughout the entire agricultural supply chain.”

For her news writing course, Hartley wrote a story about how flooding in Vermont led to hay shortages, which impacted comestibles as diverse as goat cheese and beef. “When the hay can’t dry, it’s ruined,” she says. “That means cows and goats aren’t eating, which means they can’t produce our beef, milk, and cheese.”

Ultimately, Hartley believes her work can build compassion for others while also educating people about how everything we do affects nature and one another.

“The connective tissues between humans persist,” she said. “People who live in cities aren’t exempt from rural concerns.”

Creating connections with science writing

During her year-long study in the MIT Graduate Program in Science Writing, Hartley is also busy producing reporting for major news outlets.

Earlier this year, Hartley authored a piece for Ars Technica that explored ongoing efforts to develop technology aimed at preventing car collisions with kangaroos. As Hartley reported, given the unique and unpredictable behavior of kangaroos, vehicle animal detection systems have proven ineffective. That’s forced Australian communities to develop alternative solutions, such as virtual fencing, to keep kangaroos away from the roads.

In June, Hartley co-produced a story for GBH News with Hannah Richter, a fellow student in the science writing program. They reported on how and why officials at a new Peabody power plant are backtracking on an earlier pledge to run the facility on clean fuels.

The story was a collaboration between GBH News and the investigative journalism class in the science writing program. Hartley recalls wonderful experience working with Richter. “We were able to lean on each other’s strengths and learn from each other,” she says. “The piece took a long time to report and write, and it was helpful to have a friend and colleague to continuously motivate me when we would pick it back up after a while.”

Co-reporting can also help evenly divide what can sometimes become a massive workload, particularly with deeply, well-researched pieces like the Peabody story. “When there is so much research to do, it’s helpful to have another person to divvy up the work,” she continued. “It felt like everything was stronger and better, from the writing to the fact-checking, because we had two eyes on it during the reporting process.”

Hartley’s favorite piece in 2024 focused on beech leaf disease, a deadly pathogen devastating North American forests. Her story, which was later published in The Boston Globe Magazine, followed a team of four researchers racing to discover how the disease works. Beech leaf disease kills swiftly and en masse, leaving space for invasive species to thrive on forest floors. Her interest in land management and natural resources shines through in much of her work.

Local news organizations are an endangered species as newsrooms across America shed staff and increasingly rely on aggregated news accounts from larger organizations. What can be lost, however, are opportunities to tell small-scale stories with potentially large-scale impacts. “Small and rural accountability stories are being told less and less,” Hartley notes. “I think it’s important that communities are aware of what is happening around them, especially if it impacts them.”