#chapter and volume in the alt text !!

[hourly-yugi]

[ceoandslutler]

this genre of seb quotes and covering his mouth w his hand and, in ciel's own words, "giggling":

[lesmislettersdaily]

Due to unforeseen circumstances of Tumblr being an absolute cuntfucking shitlicking dickwad and deleting every draft I attempt to post of V1, B5, C5: Vague Flashes On The Horizon, I've decided to just post screenshots of the email instead, so here's part 1, and I'll reblog with the rest of it 👍

[spockanalia-archive]

Spockanalia Archive Masterpost

With the help and guidance of Open Doors, we (@thegeminisage and @maulthots) digitized the first volume of Spockanalia and imported it to AO3, which you can view here. In order to meet AO3's terms of service, some of the content was edited or removed. The full version of the zine is preserved on this blog. Updated features include:

Text that has been retyped and can now be read with screen readers, and, if you are on a computer, resized. On all devices, line breaks will occur dynamically, meaning that you will not have to scroll back and forth to read a single line of text.

Images that have been restored to remove paper texture, noise, and ghost text from old scans, and rotated to correct sideways scanning. These images will also resize dynamically to fit any device screen. All images have alt text for screen readers.

A master list of each volume and chapter of Spockanalia can be found below the cut; since the digitization is still in progress, we will add links as they become available.

Volume I

Cover art by Kathy Bushman

Dedication art by Chester Malon

Copyright by Devra Michele Langsam and Sherna Comerford

Contents and Art Credits by Devra Michele Langsam and Sherna Comerford

Lettercol art by Sherna Comerford

The Territory of Rigel by Dorothy Jones; art by Juanita Coulson

Off the Top by Devra Michele Langsam and Sherna Comerford

A Most Illogical Song by Shirley Meech, Kathy Bushman, and Sherna Comerford; art by Sherna Comerford

Physiologica Vulcanensis by Sherna Comerford, Juanita Coulson, and Kay Anderson; art by Sherna Comerford and DEA

A Proposed Model of the Vulcan Heart by Sandra Deckinger; art by Sherna Comerford and Kathy Bushman

To a Vulcan by Sherna Comerford; art by Dick Flood

Also to a Vulcan by Devra Michele Langsam

The Vulcan Gambit by Shirley Meech; art by Sherna Comerford and DEA

Vulcan Psychology by Juanita Coulson; art by Sherna Comerford, DEA, and Kathy Bushman

Spock Shock by Sherna Comerford; art by Sherna Comerford, Devra Michele Langsam, and DEA

Vulcans and Emotions by Devra Michele Langsam; art by Sherna Comerford and DEA

Kirk and Spock by Ruth Berman; art by Sherna Comerford

'S Blood by Devra Michele Langsam and Sherna Comerford

Thoughts on Vulcan Culture by Devra Michele Langsam; art by Sherna Comerford and Kathy Bushman

Excerpt from the Young Vulcan's Handbook of Emotional Control by Shirley Meech; art by DEA

Record Review by Dorothy Jones; art by DEA

Star Drek by Ruth Berman; art by Sherna Comerford and Juanita Coulson

Acknowledgments by Devra Michele Langsam and Sherna Comerford

Postscript by Devra Michele Langsam and Sherna Comerford; art by Devra Michele Langsam

[salty-stories]

[alt: photo of a garden with a gold silhouette of a woman and the text “Seven Days...”] 

"Then why did you stop replying?"

Something in your old friend's face seems to break and the serious front, ever present even here in private, gives way as her brown eyes, burning--furious, meet yours. "I did. So?"

Sam’s eyes narrow as she ventures a step closer to you, her anger enough to completely silence yours. "Even so? Which sin seems worse to you? Leaving or the silence? Because if its the latter then I have just as much cause to be mad at you, Miss Merritt. For I have the excuse of a dying mother, what caused you to forget me? What stopped your correspondence? Spite? I had always assumed you to be above that."

She steps even closer, so close you might count the flecks of gold in those achingly familiar irises. 

"I missed you, every day. I thought of you every day, wondered if you ate or had a restful sleep or if--if you were thinking of me. I replied when I could but-" the fight fades from her face as Sam pulls away from you with a heavy exhale, "mother got worse before she ever got better and by the time I had enough time to put quill to parchment, you had...you stopped sending them. I figured you were sick of waiting for me by then."

As if under a spell, the sounds of the park, which had been strangely absent up until now, return to a normal volume, drowning out the thumping of your own heart.

Love and Friendship Chapter One Releases 05/01/2023

[all-panels-of-uraraka]

Intro post

Hi, welcome to the blog! I'm posting 2 panels a day at the moment, if I've missed any let me know. I've also written alt text for all images but i don't have much practice with this, so if anything's wrong, again yeah just send me an ask or a dm or something :)

You don't need my permission to use any of the panels here, some of them are edited though, so aren't 100% as they appear in the manga!

Tagging system: all characters in each panel are tagged. volumes are tagged as 'vol x' and chapters and 'bnha x'. There are tags in this post to click through for mobile users vvvvv

Similar blogs (although not run by me) past the read more:

@every-aizawa-panel-blog

@everyaizawa

@everyaizawaever

@everypanelofshota

@all-all-might

@everyallmight

@mighty-mepoe

@everypanelofdabi

@everyenji

@every-enji

@everyeri

@everypanelofhitoshi

@everyshinsouhitoshi

@everyinasa

@everyinkomidoriya

@everypanelofizuku

@everyjirou

@everypanelofkatsuki

@everykatsukibakugo

@everykurogiri

@every-keigo

@every-hawks

@every-kirishima-eijirou

@everykojikoda

@every-mashiro-ojiro

@every-mic

@everyminaashido

@everymineta

@everymiriotogata

@everymonomaneito

@everynezu

@everypanelofrumi

@everyshototodoroki

@everytodorokishouto

@everymangatdrk

@everyshouji

@everypaneloftamaki

@everytamaki

@everyamajikitamaki

@everypaneloftenya

@all-toga

@everytomurashigaraki

@everyshigarakitomuraever

@all-shigaraki-tomura

@everytokoyamifumikage

@every-tsunotori-pony

@everytsukauchi

@everytsuyuasui

@everyvlad

@everyyamadaever

@everyyoshindo

@everyyuugaaoyama

@everyaoyama

Although some of these are dead, or incomplete.

I'm listing these here for collection and ease of access, but if you run any of these blogs, feel free to dm me and i'll remove it. Or, alternatively, if you have an every-mha-character blog and want me to add it i'll do that too :)

[mydetheturk]

ok look i know im behind a few chapters cause this is from volume 1 but like. i LOVE the way nightow uses perspective? this is a tiny patch of greenery - and you can tell its a tiny patch of greenery - and its absolutely surrounded by desert. sand and rocks and dirt as far as the eye can see.

(panel from the @trigun-manga-overhaul translation. id in alt text)

[every-kikuta]

Housekeeping/FAQs

This pinned post will be updated as needed.

Where do you source your images?

Panels are all sourced from the official VIZ digital volume releases unless otherwise stated. Note that the final volume versions sometimes differ slightly from the original magazine versions. Images are screencapped and unedited except to remove any visible neighboring panels.

Where can I find other blogs like this?

Here are the other Golden Kamuy character panel blogs that I know of. Give them some love if you haven’t already, and if there are any I’m missing please let me know!

@every-ogata, the OG

@every-koito

@every-vasily

@every-kadowus (Kadokura & Kirawus)

@every-shiraishi

You forgot alt text/mislabeled a chapter/mistagged a character/[insert other mistake here].

I am happy to correct any oversights that are politely pointed out to me, thank you.

[featureenvyproductions]

OK I THINK I GOT IT DONE

Ok digital/pdf version of Eyan Eternal Volume 1.

This is basically everything in the volume 1 print version, including the bonus content (and I’ve also included the promo image that you’d get with the print version, at the end of the pdf content). But in pdf form. And as for the chapters themselves, well at 300 dpi, they’ll be a much higher resolution than the tumblr images or the images on my website, and that makes a lot of stuff clearer to read I’m sure. They also aren’t subject to whatever the heck weird image conversion happens when you put an image on tumblr (I would experiment with converting everything to srgb but like, the cat’s outta the bag at this point).

I have tried my best also to add alt text to these pages describing what’s going on over all. I gotta admit, I don’t know what processing gets done to these files when I upload them into the void, but I downloaded everything and it seems to still work, so I’ll just cross my fingers and hope for the best. (this is what was taking me so fucking long)

Anyway I got two offerings for you pals.

The difference between them is mainly that one is one big pdf, and the other is 5 small pdfs. We’ll get to why.

But anyway, you will find the single big pdf here at lulu.com:

https://www.lulu.com/shop/ej-gravis/eyan-eternal/ebook/product-9yqvd9.html?page=1&pageSize=4

Here’s the thing, I’ve had like a non-trivial amount of people tell me the digital downloads fuck up here sometimes. I haven’t gotten a complaint for a while but it DOES happen. I was paranoid about it happening. (Their tech support has gotten better though so let them know if it DOES. or if they really don’t resolve it you can let me know. I’ll try to figure something out)

So that’s why, if you don’t want to take the risk, I have another listing up on Etsy:

https://www.etsy.com/FeatureEnvy/listing/1500364015/eyan-eternal-volume-1-digital-edition?utm_source=Copy&utm_medium=ListingManager&utm_campaign=Share&utm_term=so.lmsm&share_time=1686376620579

This had to be put up as 5 pdfs because of Etsy’s file size limit, but other than that, it’s exactly the same content, just split up. As far as I know etsy doesn't do any weird shit to PDF files though so it's more likely to work.

I mean either way, I’m charging you 2.99 USD and both sites will eat me alive with the cut they take, so it’s really just like “do you want 1 file for the price of Uncertainty or many for the price of Inconvenient” (Actually I think I will get SLIGHTLY more from etsy sales and they show up in my sale count for my shop which is nice too. Because right now most of my sales come from in-person shows and local bookstores so if you’re going by my etsy sale count it looks like i’ve barely sold a damn thing and you have no reason to trust me)

Anyway like I’ve said before. I will ALWAYS have free versions of things, as long as I can afford to do things that way. But if you want to support me and help me pay my webhosting bill and supply costs, this does help offset those :)

regardless of how you read my things though i appreciate you reading thanks a bunch to anyone who does :):):):):)

Oh also, this SHOULD be available everywhere (unlike the print edition which is US only right now) at least on etsy.

[hourly-yugi]

[ceoandslutler]

a short analysis on the theme of kindness in kuro, in defence of the morally reprehensible protagonists.

i previously spoke about sebastian pulling a "not like other humans" line on ciel but the things he's actually saying in this chapter are crazy...

chapter no's and pages in alt text!!

media illiterate (most kuro fandom antis') logic is that ^this guy's^ the big bad villain of kuro, there's so much to analyse about the theme of kindness and humanity in kuro but ultimately people are blind to it because sebaciel are not the kind, happy-go-lucky type of protags many people are used to and people struggle to purify them. there are so many people in this story "more innocent" than them and less morally grey which makes them look like worse people but the fact is that they are the "worse" in a world full of the "worst". they're there to show you how despicable humanity can be but they have their moments of 'good' (otherwise they'd be lacking in likability), especially moments like this can be quite odd in this story about corruption and evil because in those pages, these two do not seem like the deplorable, manipulative and conniving characters we often see them as. this moment reminds me of another very dear chapter to me which two volumes comes after this.

this is such an interesting part of the manga (it's why the blue cult arc is my favourite arc of the manga despite all the popstar/idol shenanigans that threw a lot of people off). the way these two behave in this arc is not normal, they do not need to go above and beyond for these people. it is not necessary for sebastian to go this far for ciel AND his tenants (who it is important to note he has no contractual obligation to care for, especially not to the extent of giving them the "time of their lives") and it is certainly not normal the way ciel treats these people with zero contempt even when they 'disrespect' him as a noble. these two are genuinely weird for their time, blue cult arc also gives us an unforgettable seb moment (link).

this chapter also serves as part of the transition between the blue cult arc and the blue memory arc which is also...

one of the most intriguing parts of the manga... what's interesting here is that ciel HAS kept his tenants happy as proven by the halloween chapter (the page below from this same chapter talks of infrastructure needs having to be met and we read that ciel has fixed the roads since becoming earl and even an old donkey can transport milk from across them- that's how good the quality of the roads are). however, what i want to focus on is undertaker previously saying ciel, despite having phantomhive blood is not like his predecessors. in fact, the flashback chapter shows he's not even like his own identical twin brother!

i really wonder what exactly undertaker meant by saying that right as ciel saves joanne in the school arc and also what vincent was thinking about his sons in this flashback sequence. did vincent think o!ciel is different too? and what is it that makes him so odd? or rather, what makes him an exception in the phantomhive family? i look forward to whatever yana has in store for us and hope to see where these wonderful characters with such bizarre morality (or lack there of) end up.

i will talk about this theme more in the future but if anyone has something specific to add, please do. and even if it's not too detailed or you're unsure, feel free to tell me what you think about the use of 'good' and 'evil' for the main characters of kuro overall! some things to consider:

fundamentally why are ciel and sebastian the way they are? and more importantly, do you think yana intended either of them to be read as strictly "evil"? a lot of people make the case of the fandom purifying them but i never see that these days, usually it's only ciel that's sanitised of all sin and sebastian that is demonised (although occasionally both are demonised as solely "bad guys"). i joke about them being narcissistic and not the nicest people (which is something i genuinely believe) but i do not think they are the root of all evil; which is a take you can have without absolving them of any and all misdeed they may have committed. i think what i'm really getting at is that sebastian is not ""evil""? and he's not innocent either. but he's a force for "good" in the story. he works for the phantomhive estate and the people living on that land more devotedly than a demon with a 3-clause contract with the master of the land should and he shouldn't be excluded from the phantomfam and only seen as horrible/evil but nor should he be solely seen as a silly little cat loving parent. and you don't need to ship sebaciel to see him this way, just read the source material with your eyes peeled, really think about what sebastian does and says. he's so interesting and he's so much more than the fandom makes him out to be. but interpret him however you want, i guess.

[danikatze]

Muddle

A multi-chapter Saraiya Goyou fic

[ID in alt text]

Chapter 3: The Market is an Exciting Place

From a distance Ume sees Matsu get approached by a suspicious looking man and decides to follow them, in case Matsu is in danger. Matsu is not the one in danger.

Read it on AO3 - or read it here:

Unlike Matsu, Ginta and Otake dropped by Ume's regularly from the start. Ume watched Ginta come and go, each time listing the jobs that people had given him so far. That boy was unstoppable: the morning after they'd arrived he had already put up a sign saying "Odd Jobs" and started running around town, seeking people who needed help in any way whatsoever and were willing to give compensation of any kind.

Otake also continued the way she had lived in Edo - minus the kidnapping - and did nothing productive at all. Which is what she deserved, Ume kept telling everyone, as if they would argue. To Ume's great joy she dropped by at his place every day for a bit of conversation, a bite to eat and a drop of that wonderful sake he had found. After which she liked going for a walk, or for a soak at the nearby bath house. Or both.

On his way to the market Ume would often find her in front of seemingly random people's houses, socialising with whoever lived there and anyone eager to participate in the conversation. Generally the chat looked light-hearted enough, but every now and then her new acquaintances were ranting at her, or appeared to be in need of some comfort. Seeing the emotional kind of person talking to Otake always made Ume restless and he got the urge to step in. Just his looming presence would often be enough to make people back off. From experience he knew Otake didn't really want his help, so he resisted the impulse.

Ume saw all sorts of things whenever he went shopping. Ginta was often there, weaving through the crowd with packages, with tools, with baskets full of a wild variety of things, or sometimes with nothing but haste. Ume made it a game to guess what task he'd been assigned and when Ginta came by later that day Ume would secretly award himself points if he got it right.

Matsu wasn't a strange sight to him either, of course, but one day he did witness something unfold that caught his attention. He saw Matsu down the street and a relatively young guy with a plain appearance came up to him from behind. Even from the distance Ume could see that the stranger was rather flushed with nerves. He reached out and tugged on Matsu's sleeve to gain his attention, then quickly let go again. As Matsu turned, Ume was unable to see his expression, so was unsure if he welcomed the company. His posture never changed, though, and after a short moment, the man walked away from the crowd and Matsu followed.

The sight filled Ume with unease. Something about the unremarkable air of that fellow made him highly suspicious. He returned the vegetable he had been inspecting to it's basket, and dashed after the pair, who at that point vanished into a side-street. When Ume reached the corner and peeked around it, hoping not to be spotted by Matsu and his friend, he just saw them turn into another, narrower street. Ume carefully followed until they reached a dead-end alleyway that was virtually abandoned. Inching up the corner he could hear a voice that was not Matsu's.

"... hope I interpreted that correctly and that we could... try doing it more than once."

The young man had a soft, but clear voice. It was rather nicer than his appearance, despite it trembling a little. He must have been very nervous.

"We had a deal," there was no sympathy in Matsu's reply. Just a coldness and rigidity that Ume had not heard in a long time.

"Yes, I know, but-"

"Nothing changed," Matsu interrupted his pleading companion, "are we done here?"

"Something did change," the man called hurriedly. Remembering himself, he added in a volume so soft Ume could barely hear him: "I have feelings for you."

This confession didn't entirely surprise Ume. He knew about men who were attracted to other men, even if he himself couldn't relate to it. Every now and again he could appreciate a man's body from a distance, sure, but feelings? He didn't really know that was a thing going on between guys until he met Matsu. Something in the way Matsu behaved when it came to Yaichi.. Let's just say he got a feeling that Matsu wanted to be close with Yaichi and didn't necessarily see him as a friend. Ume never sought confirmation, of course.

Although it did seem like men like that were cursed to have their love stay unrequited, because Ume was pretty sure Yaichi did not feel the same way about Matsu, and this dude was about to be denied affection as well, judging by Matsu's demeanour so far.

"No, thank you," despite predicting Matsu's rejection, Ume was struck by the tone Matsu used here. It was his merchant voice: not unkind or particularly indifferent, just efficient. Whatever happened between the two, for Matsu it was just a transaction between two people that had been completed.

The young man gave no audible reply.

"Goodbye," Matsu uttered it with such a finality that Ume knew he had to move it. He walked to the end of the side street, where he suspected Matsu would go, and waited there just around the corner. Matsu emerged from the street by himself. He spotted Ume immediately.

"Hi," Ume greeted him, jovially.

Matsu held eye contact for a bit, as if trying to discern what Ume knew. He said nothing, then walked away from Ume, the way they'd come. Judging by Matsu's leisurely pace, Ume figured Matsu wanted him to catch up. He did so.

He looked over his shoulder to see if the poor reject had emerged from the alleyway yet. He hadn't. While they were still in an empty street, Ume decided just to be straight with Matsu about what he'd overheard.

"I followed 'cause I was worried about you, but dang," he chuckled, "that poor bloke."

"We had a deal," Matsu repeated, "he shouldn't have expected me to change my mind."

It kind of felt like an invitation to inquire further. Or like an order to shut up - Ume wasn't really sure.

Ume and Okinu had been talking about this actually. Until Masa came around, it was very normal for the Five Leaves to steer clear of any questions, anecdotes or opinions that were too personal. They knew barely anything about each other's past and even their feelings about whatever they dealt with as a gang were largely off limits.

And all of that just started to feel really stupid the more the Five Leaves went through together. Especially when Yaichi's past finally caught up to him and the gang was in danger of being arrested themselves. Ume knew he wasn't the only one who was dying to know the truth about Yaichi when that happened, even though he alone ended up demanding an explanation.

So although it could absolutely backfire, he wanted to follow Masa's example from now on and just.. ask.

"Change your feelings about what, exactly?" Ume was pretty sure what the answer would be, but he wanted it out in the open. If Matsu really didn't want to talk about it, Ume knew he just wouldn't, and that'd be fine too.

In an attempt to be casual about it, he gazed off in the distance. Matsu was quiet for a hot second, and it made Ume nervous. He started to kind of regret not maintaining eye contact.

"Sex, Ume," Matsu then told him in that businesslike tone from before.

He wondered what was going through Matsu's mind now. It was about the shortest reply he could've given and he didn't give the impression that he was about to give any more details. Ume didn't understand how Masa just spoke his mind so easily. It felt extremely invasive.

"Right," Ume said stiffly, staring ahead. He didn't really know how to reply to that. "What I thought."

"Did you?" Matsu asked, his voice dripping with incredulity.

"Yeah, it was obvious," Ume said, gloating a little, "He was talking about 'doing it' and 'feelings.' To be honest I thought only girls fell in love so quickly, but then again, maybe guys like that are more feminine?"

"What kind of stupid logic is that?" Matsu glared at him, like it had been a personal insult. Ume wasn't going to get into an argument about whether or not Matsu could be lumped in with "guys like that." He didn't know anything about what happened between Matsu and Yaichi, so instead he focused on the part about the girls. He was fairly certain about that at least.

"Isn't it common knowledge that girls are more easily swayed?"

"What about all those assholes who sleep with a prostitute once and swear it's true love?"

"Are you a prostitute?" It kept getting easier to pry, especially if it was to avoid a complicated discussion.

"No, just horny," Matsu snapped, like he was ready for this conversation to be over. Ume considered for a minute if he wanted to comply.

"So what's that deal you keep talking about?" he asked anyway. Being nosy feels kinda good actually..

"Why, you wanna get in on it?" Matsu replied, without missing a beat.

Ume reflexively stared his friend square in the eye. Matsu met his stunned gaze with a gently mocking smirk and Ume's heart skipped a beat. He averted his eyes again instantly. He was glad that he wasn't a blusher, because that suggestive remark and the smirk - coming from Matsu of all people - really threw him off.

He found his mind involuntarily going.. lewd places. More disorienting yet was that, as he tried to think the seductive, scantily clad Matsus away, he noticed he wasn't exactly repulsed by them. He'd be lying if he said he didn't know that Matsu was a handsome man. He was conventionally attractive and - if he wanted to sell you something - very charming. However, he had never thought of Matsu as sexually desirable.

Right?

"That's not what I meant.." the emotions Ume was going for were exasperated and amused. As soon as he said it he knew that could not have been what it sounded like, because it felt like an epiphany. He produced a slightly bemused bark of a laugh, and added: ".. but maybe?"

As they walked out of the side street, onto the busy market, a number of people turned around at Ume and Matsu to see where that alarming sound came from. To ignore them, Ume halted and followed Matsu with his gaze, until he stopped walking as well a moment later. Matsu returned his self-conscious look with an expression of surprise and curiosity Ume hadn't seen on him before. Neither of them said anything for an awkward second.

"Not opposed to it," Matsu then declared, with a straight face. Matsu sometimes presented his jokes the exact same as the things he said in earnest, so Ume waited a dazed second for Matsu to show any sign of insincerity or jest. It didn't come.

All the same, Ume decided to respond with a bit of a chuckle. An ambiguous one. One that could mean either "that's funny" or "I'm cool with it."

"As long as you don't expect me to fall for you," Matsu added nonchalantly. Now that had to be a joke.

"Hah! Please don't," Ume grinned.

For the first time since he spotted Matsu and the man in the crowd, Ume looked at his surroundings. Everyone was going about their business in a way that seemed kind of wrong, considering Ume just lived through a really bizarre ten-ish minutes. He half expected everyone to be a little impulsive and randy too. That's when Ume realised that this weird little flirting session had given him a bit of a high, because as this thought crossed his mind he felt himself deflate and tumble back down to the real world.

This is a bad idea. They hadn't actually agreed on anything yet. He could still pretend that all of this playful banter had been just for shits and giggles, like their usual prickly ribbing tended to be.

"Got some work to do," Matsu said before Ume could start backing out of the deal they hadn't yet made, "I'll come round for a drink later."

Ume didn't reply and just watched Matsu walk away. He'd address it later. Or never talk about it again - that was probably the best option.

[golmac]

Inform Basics (#17: your project)

I've said it before: we've covered enough material for you to start your own Inform 7 project, even if you are a beginner like me. Let's take a break from coding to talk a bit about development environments.

Have you downloaded an Inform 7 Integrated Developemnt Environment (IDE for short) yet? If you've been clicking on my code snippets, you've already encountered Borogove, an online IDE for not only Inform 7 but several other IF development platforms. Its ability to share live snippets of code that are fully functional in many forum softwares is rather amazing and makes it easer to assist other developers in need.

Nevertheless, I don't recommend it for creating a full-fledged game. Why is that?

No external file support for features like images, sound, and other shared documents.

The Index is not fully functional, as it does not contain links to either default or custom actions.

Borogove does not support Inform 7's table of contents feature (more on this in a minute).

My understanding is that it does support external files for Inkle and others, but not Inform 7. While I encourage using the snippets as a great way to share and demonstrate code, Borogove falls short of the standard Inform 7 IDEs. Windows, MacOS, and Linux are supported. You can find and download the latest versions here:

Note that Windows Defender and other antivirus softwares tend to mistakenly flag the interpreter executables--git, frotz, and glulxe--as malicious. This has been reported to Microsoft repeatedly, but the files have yet to be whitelisted. If you get an error about these files, you can consider it a false positive.

After installing the IDE, you'll find a two-panel layout. By default, the left pane is for entering and reading source code, while the right pane contains a playable instance of your compiled code. You can compile and recompile by clicking "go" at the top-left of the application window.

My practice is to create a backup of a project every couple of days, while compiling frequently as I work. In informal polling, Inform 7 authors of varying levels of skill tend to do the same.

On to the main purpose of this post: using Inform 7's built-in features to organize your program. Let's look at an automatically generated table of contents for Repeat the Ending, which is among the larger (code-wise) Inform 7 games. The left-hand pane of the IDE shows tabs at the right and top edges. The top tabs are "source" and "contents." This is a screenshot of the contents tab.

See the slider at the bottom? Inform 7's automatically generated TOC features five tiers by default, and the slider can be used to dictate the level of detail displayed. Those tiers are as follows:

Volume (top level)

Book

Part

Chapter

Section (bottom level)

We can use these tiers in our code, and the IDE will detect them automatically. The practice looks like this:

Volume 1 - Global

It's as simple as that. We have a lot of freedom in what we say there. That isn't to say there aren't restrictions:

The heading must have a blank line above and below it.

The heading cannot contain characters that have specific functions in Inform 7 code. No periods, colons, semicolons, and the like.

The heading must begin with one of the five designations (volume, book, part, chapter, and section)

You have a lot of freedom in terms of how to order your code. I've gotten the impression that I do things differently, but I like the way my approach works.

For top-level headings, I used the following:

global: used to define verbs, data, kinds, variables, the player characters, and so forth. All things that apply to the game and its world generally.

the game: the actual geography, things, and specific action responses.

the companion text: the entirety of the Reader's Guide to Repeat the Ending.

the artwork: I chose to maintain the rules governing the display of artwork and alt descriptions separately.

mix and match: a true mixture of various late stage requirements.

Regarding mix and match: some rules in Inform 7 must follow related rules. For instance, a region (a group of individual rooms that can be dealt with as a collective) must follow the room definitions. For this reason I decided to define certain rules related to regions at the end, even if they seem to be global rules. This is the way that those late definitions were used:

The game world is a region. The eighties and the 90s are in the game world. Energy is a backdrop. Energy is in the game world. Instead of doing anything to the energy: say "It doesn't work that way. Entropic magic requires specificity.".

Sometimes, things just make sense at the end. I also kept all of my test scripts there.

How should you build your TOC? While you can see my example above, give equal or greater consideration to what will be easiest for you to read and update. The TOC is a tool to for you to manage your project. If it doesn't make intuitive sense to you, it's worthless. Think about the way you process information and build from there.

I hope this is helpful! Consider maintaining a test/scratch project where you can keep copies of useful code and test the cases we discuss here. Feel free to AMA!

Next: scenery and backdrops.

[comma57]

very interesting thing for the dmc peak of combat account to post today.. it's children's day (june 1), so they posted.. a page from visions of v, in english?!

on the left is the one they posted, which is from the LINE chapters rather than the volumes. on the right is the fantranslation from mangadex (which also derived from the LINE chapters).

also interesting of note, is that the alt text on the tweet was "Devil May Cry 5: Visions of V - Chapter 25.1", which is how the mangadex chapters were released; afaik that's not how the LINE chapters were, and referencing my volume copy (awesome that i can say that), the chapters are called "mission 25", "mission 26" etc. no decimals.

no conclusion to come from that i was surprised to see VoV posted by the dmc poc (lol) account. i don't think this means official english translation on the way, they probably got someone to translate it..? is the hopeful answer.

[deepsharktraveler]

(New Game, chapter 123, volume 11, Shotaro Tokyo)

Way to call me out

(image has alt text)

[isabellatyt]

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