#from concept to item implementation

[flightdescending]

I don’t know why they named the new creeping tendril a Tripled Tulip when it’s clearly a Lily of the Valley !!

[gaylienz]

The 7 R’s of Sustainability:

Did you know that ‘recycling’ is step 6 of the 7 Rs of sustainability? The other R’s are just as important even if they are often forgotten.

Rethink- Do I really need to buy this? The point of this step is to stop and think.

Refuse- Does this product damage the environment? If so, refuse to spend your money on it. i.e. single use plastics, harsh chemicals

Reduce- How much of this do I really need? Buy less! Buy in bulk when you can as it often equals less packaging to throw out.

Reuse- Can I use this product again? Can I fix what I have so that I don’t need to buy something new? Reuse that plastic water bottle a few times. And instead of buying new, try thrift shopping, flea markets, yard sales etc.

Repurpose- Unlimited creativity! Does this item have another use? i.e. old torn clothes can be rags or plastic cups can be planters.

Recycle- Can I recycle this? Not everything can be. There are also some important steps to making sure your recycling is done properly. If unsure, look up local recycling regulations.

Rot- Can I compost this? Food waste, yard clippings, newspapers and many other items can be composted instead of being tossed in the trash. Composting is surprisingly simple and helps reduce harmful greenhouse gasses from entering the atmosphere.

What is the point of the R’s? The number one benefit of the 7 R’s are the reduction of the amount of waste sent to incinerators and landfills. The EPA website provides a lot of useful information. Other benefits that we can reap from implementing these concepts in our life are (as listed on the EPA website): • Prevents pollution caused by reducing the need to harvest new raw materials • Saves energy from not making a new product • Reduces greenhouse gas emissions that contribute to climate change • Helps sustain the environment and natural resources for future generations • Saves money from processing our waste • Increases economic security by tapping a domestic source of materials • Helps create jobs in the recycling and manufacturing industries in the United States

https://www.northglenn.org/government/departments/public_works/trash/recycling.php https://www.nrdc.org/stories/composting-101 https://www.epa.gov/recycle https://www.northglenn.org/Recycling%20Article.pdf

[jstor]

I saw something about generative AI on JSTOR. Can you confirm whether you really are implementing it and explain why? I’m pretty sure most of your userbase hates AI.

A generative AI/machine learning research tool on JSTOR is currently in beta, meaning that it's not fully integrated into the platform. This is an opportunity to determine how this technology may be helpful in parsing through dense academic texts to make them more accessible and gauge their relevancy.

To JSTOR, this is primarily a learning experience. We're looking at how beta users are engaging with the tool and the results that the tool is producing to get a sense of its place in academia.

In order to understand what we're doing a bit more, it may help to take a look at what the tool actually does. From a recent blog post:

Content evaluation

Problem: Traditionally, researchers rely on metadata, abstracts, and the first few pages of an article to evaluate its relevance to their work. In humanities and social sciences scholarship, which makes up the majority of JSTOR’s content, many items lack abstracts, meaning scholars in these areas (who in turn are our core cohort of users) have one less option for efficient evaluation. 

When using a traditional keyword search in a scholarly database, a query might return thousands of articles that a user needs significant time and considerable skill to wade through, simply to ascertain which might in fact be relevant to what they’re looking for, before beginning their search in earnest.

Solution: We’ve introduced two capabilities to help make evaluation more efficient, with the aim of opening the researcher’s time for deeper reading and analysis:

Summarize, which appears in the tool interface as “What is this text about,” provides users with concise descriptions of key document points. On the back-end, we’ve optimized the Large Language Model (LLM) prompt for a concise but thorough response, taking on the task of prompt engineering for the user by providing advanced direction to:

Extract the background, purpose, and motivations of the text provided.

Capture the intent of the author without drawing conclusions.

Limit the response to a short paragraph to provide the most important ideas presented in the text.

Search term context is automatically generated as soon as a user opens a text from search results, and provides information on how that text relates to the search terms the user has used. Whereas the summary allows the user to quickly assess what the item is about, this feature takes evaluation to the next level by automatically telling the user how the item is related to their search query, streamlining the evaluation process.

Discovering new paths for exploration

Problem: Once a researcher has discovered content of value to their work, it’s not always easy to know where to go from there. While JSTOR provides some resources, including a “Cited by” list as well as related texts and images, these pathways are limited in scope and not available for all texts. Especially for novice researchers, or those just getting started on a new project or exploring a novel area of literature, it can be needlessly difficult and frustrating to gain traction. 

Solution: Two capabilities make further exploration less cumbersome, paving a smoother path for researchers to follow a line of inquiry:

Recommended topics are designed to assist users, particularly those who may be less familiar with certain concepts, by helping them identify additional search terms or refine and narrow their existing searches. This feature generates a list of up to 10 potential related search queries based on the document’s content. Researchers can simply click to run these searches.

Related content empowers users in two significant ways. First, it aids in quickly assessing the relevance of the current item by presenting a list of up to 10 conceptually similar items on JSTOR. This allows users to gauge the document’s helpfulness based on its relation to other relevant content. Second, this feature provides a pathway to more content, especially materials that may not have surfaced in the initial search. By generating a list of related items, complete with metadata and direct links, users can extend their research journey, uncovering additional sources that align with their interests and questions.

Supporting comprehension

Problem: You think you have found something that could be helpful for your work. It’s time to settle in and read the full document… working through the details, making sure they make sense, figuring out how they fit into your thesis, etc. This all takes time and can be tedious, especially when working through many items. 

Solution: To help ensure that users find high quality items, the tool incorporates a conversational element that allows users to query specific points of interest. This functionality, reminiscent of CTRL+F but for concepts, offers a quicker alternative to reading through lengthy documents. 

By asking questions that can be answered by the text, users receive responses only if the information is present. The conversational interface adds an accessibility layer as well, making the tool more user-friendly and tailored to the diverse needs of the JSTOR user community.

Credibility and source transparency

We knew that, for an AI-powered tool to truly address user problems, it would need to be held to extremely high standards of credibility and transparency. On the credibility side, JSTOR’s AI tool uses only the content of the item being viewed to generate answers to questions, effectively reducing hallucinations and misinformation. 

On the transparency front, responses include inline references that highlight the specific snippet of text used, along with a link to the source page. This makes it clear to the user where the response came from (and that it is a credible source) and also helps them find the most relevant parts of the text. 

[mythauragame]

Development Update - December 2024

Happy New Year, everyone! We're so excited to be able to start off 2025 with our biggest news yet: we have a planned closed beta launch window of Q1 2026 for Mythaura!

Read on for a recap of 2024, more information about our closed beta period, Ryu expressions, January astrology, and Ko-fi Winter Quarter reward concepts!

2024 Year in Review

Creative

This year, the creative team worked on adding new features, introducing imaginative designs, and refining lore/worldbuilding to enrich the overall experience.

New Beasts and Expressions: All 9 beast expression bases completed for both young and adult with finalized specials for Dragons, Unicorns, Griffins, Hippogriffs, and Ryu.

Mutations, Supers and Specials: Introduced the Celestial mutation as well as new Specials Banding & Merle, and the Super Prismatic.

New Artist: Welcomed Sourdeer to the creative team.

Collaboration and Sponsorship: Sponsored several new companions from our Ko-Fi sponsors—Amaru, Inkminks, Somnowl, Torchlight Python, Belligerent Capygora, and the Fruit-Footeded Gecko.

New Colors: Revealed two eye-catching colors, Canyon (a contest winner) and Porphyry (a surprise bonus), giving players even more variety for their Beasts.

Classes and Gear: Unveiled distinct classes, each with its own themed equipment and companions, to provide deeper roleplay and strategic depth.

Items and Worldbuilding: Created a range of new items—from soulshift coins to potions, rations, and over a dozen fishable species—enriching Mythaura’s economy and interactions.

Star Signs & Astrology: Continued to elaborate on the zodiac-like system, connecting each Beast’s fate to celestial alignments.

Questing & Story Outline: Laid the groundwork for the intro quest pipeline and overarching narrative, ensuring that players’ journey unfolds with purposeful progression.

Code

This year, the development team worked diligently on refining and expanding the codebase to support new features, enhance performance, and improve gameplay experiences. A total 429,000 lines of code changed across both the backend and frontend, reflecting:

New Features: Implementation of systems like skill trees, inventory management, community forums, elite enemies, npc & quest systems, and advanced customization options for Beasts.

Optimizations and Refactoring: Significant cleanup and streamlining of backend systems, such as game state management, passive effects, damage algorithms, and map data structures, ensuring better performance and maintainability.

Map Builder: a tool that allows us to build bespoke maps

Regular updates to ensure compatibility with modern tools and frameworks.

It’s worth noting that line changes alone don’t capture the complexity of programming work. For example:

A single line of efficient code can replace multiple lines of legacy logic.

Optimizing backend systems often involves removing redundant or outdated code without adding new functionality.

Things like added dependencies can add many lines of code without adding much bespoke functionality.

Mythaura Closed Beta

We are so beyond excited to share this information with you here first: Mythaura closed beta is targeted for Q1 2026!

On behalf of the whole team, thank you all so, so much for all of the support for Mythaura over the years. Whether you’ve been around since the Patreon days or joined us after Koa and Sark took over…it’s your support that has gotten this project to where it is. We are so grateful for the faith and trust placed in us, and the opportunity to create something we hope people will truly love and enjoy. This has truly been a collaborative effort with you and we are constantly humbled by all of the thoughtful insights, engaging discussions, and great ideas to come out of this amazing community of supporters.

So: thank you again, it’s been an emotional and amazing journey for the dev team and we’re delighted to join you on your journeys through Mythaura.

Miyazaki Full-Time

Hey everyone, Koa here!

We’re thrilled to share some news about Mythaura’s development! Starting in 2025, Miya will be officially dedicating herself full-time to Mythaura. Her focus will be on bringing even more depth and wonder to the world of Mythaura through content creation, worldbuilding, and building up the brand. It’s a huge step forward, and we’re so excited for the impact her passion and creativity will have on the project!

In addition, I’ve secured 4-day weeks and will be working full-time each Friday to dive deeper into development. This extra push is going to allow us to keep moving steadily forward on both the art and code fronts, and with Miya’s expanded role, the next year of development is looking really promising.

Thank you all for being here and supporting Mythaura every step of the way. We can’t wait to share more as things progress!

Closed Beta FAQ

In the interest of keeping all of the information about our Closed Beta in one place and update as needed, we have added as much information as possible to the FAQ page.

If you have any questions that you can think of, please feel free to reach out to us through our contact form or on Discord!

Winter Quarter (2025) Concepts

It’s the first day of Winter Quarter 2025, which means we’ve got new Quarterly Rewards for Sponsors to vote on on our Ko-fi page!

Which concepts would you like to see made into official site items? Sponsors of Bronze level or higher have a vote in deciding. Please check out the Companion post and the Glamour post on Ko-fi to cast your vote for the winning concepts!

Votes must be posted by January 29, 2025 at 11:59pm PDT in order to be considered.

All Fall 2024 Rewards are now listed in our Ko-fi Shop for individual purchase for all Sponsor levels at $5 USD flat rate per unit. As a reminder, please remember that no more than 3 units of any given item can be purchased. If you purchase more than 3 units of any given item, your entire purchase will be refunded and you will need to place your order again, this time with no more than 3 units of any given item.

Fall 2024 Glamour: Diaphonized Ryu

Fall 2024 Companion: Inhabited Skull

Fall 2024 Solid Gold Glamour: Hippogriff (Young)

NOTE: As covered in the FAQ, the Ko-fi shop will be closing at the end of the year. These will be the last Winter Quarter rewards for Mythaura!

New Super: Zebra

We've added our first new Super to the site since last year's Prismatic: Zebra, which has a chance to occur when parents have the Wildebeest and Banding Specials!

Zebra is now live in our Beast Creator--we're excited to see what you all create with it!

New Expressions: Ryu

The Water-element Ryu has had expressions completed for both the adult and young models. Expressions have been a huge, time-intensive project for the art team to undertake, but the result is always worth it!

Mythauran Astrology: January

The month of January is referred to as Hearth's Embrace, representing the fireplaces kept lit for the entirety of the coldest month of the year. This month is also associated with the constellation of the Glassblower and the carnelian stone.

Mythaura v0.35

Refactored "Beast Parties" into "User Parties," allowing non-beast entities like NPCs to be added to your party. NPCs added to your party will follow you in the overworld, cannot be made your leader, and will make their own decisions in combat.

Checkpoint floor functionality ironed out, allowing pre-built maps to appear at specific floor intervals.

The ability to set spawn and end coordinates in the map builder was added to allow staff to build checkpoint floors.

Various cleanups and refactors to improve performance and reduce the number of queries needed to run certain operations.

Added location events, which power interactable objects in the overworld, such as a lootable chest or a pickable bush.

Thank You!

Thanks for sticking through to the end of the post, we always look forward to sharing our month's work with all of you--thank you for taking the time to read. We'll see you around the Discord.

[mirai-e-jump]

Figure King No.322 2024 Making Report of Kamen Rider Gotchard (pages and translation below, VERY LONG POST)

Publication: November 27, 2024

ft. Chief Producer Minato Yosuke (Toei), Heads of Documents & Literature Yamabe Koichi and Kaneko Shinichi (Ishimori Productions), Character Designer Kita Tojun (PLEX), and Producer of Toy Development Terakawa Ryo (Bandai)

Gotcha Youth Alchemy Journal Gotcha 1: The Combination of Rider and Youth

-Expanding on "touch points" and card demand-

"Fall of 2022…The broadcast of the TV series "Kamen Rider Geats" begins, where within the show, multiple people become Kamen Riders and take part in the survival game called the "Desire Grand Prix." Toei's Minato Yosuke was preoccupied as a Sub Producer, trying to establish the project of the new show "Ohsama Sentai King-Ohger," which would start in March of the following year. In October, the "Virtual Production Division" was established at Toei Tokyo Studios. King-Ohger was an ambitious show that implemented new filming techniques through the use of LED walls. Minato was pushing forward with his work while getting a feel for these new techniques, but was forced to leave the project halfway through. This was because he had been appointed "Chief Producer" of the new Kamen Rider production that would begin in 2023. After working as a production assistant at anime studio Madhouse, in 2019, Minato joined Toei as a "full time tokusatsu Producer." Since then, Minato's been involved as an Assistant Producer on "Kamen Rider Zero-One" (2019), "Kamen Rider Saber" (2020), and "Avataro Sentai Donbrothers" (2022), but this was his first major role as Chief Producer. Likely due to the fact that he was appointed Chief within a few years of changing careers from the animation industry, he said he received a great deal of support when launching the project."

Minato: Shirakura Shinichiro from the Character Strategy Division and Tsukada Hideaki from the Drama Division participated and looked out for me in the form of advisers. As you're well aware, Shirakura's writing style and Tsukada's writing style are the complete opposite. Shirakura's the type of person who moves the story along through human relationships. I think Tsukada's characterized by his mystery drama format, where the build up of events lead to incidents being resolved. I refer to them as "the dragon and the tiger" (laughs), but they're such opposites, that I felt as if I had been worked twice as hard in such a short period of time due to their intense criticisms.

"Shirakura's the Producer behind many Kamen Rider productions, including "Agito" (2001) and "Den-O" (2007), and he was the driving force behind the branding of the Heisei Kamen Rider series. Meanwhile, Tsukada's produced hits in the Kamen Rider series, such as "W" (2009) and "Fourze" (2011), as well as many other TV dramas. Both also have experience as Chiefs of Super Sentai productions, and are indispensable figures in the history of Toei's tokusatsu productions."

Minato: Because of the way things unfolded, the idea of using cards as transformation items had already been proposed by the time I joined the project. I was told that it could change, but since I was super into "Magic the Gathering" during my entire school life, I thought I was lucky that we were going with the concept of card Riders.

"Joining the planning team as the head of toys was Bandai's Terakawa Ryo. After working in Gunpla promotion for many years up to that point, he became a developer in charge of Digimon and other figures."

Terakawa: We also felt that the environment for "having interest in watching these shows" had changed significantly. The company had been conducting their own surveys and found that the recognition of Kamen Rider had been declining year after year since the start of the covid pandemic. Given this situation, we at Bandai thought that what we could do was to increase the number of "touch points" through the toys. This would lead to greater visibility of the characters, and that the more people knew about the show, the more interest there would be in the toys. At the time, when we thought, "What's the easiest item to give to children who have never heard of Kamen Rider?," we decided that cards were the way to go. Cards can be produced at a low unit price, so along with them being easy for children to hold onto, they can be handed out for free at various places. We thought that if we could distribute them at events, in stores, and even put up "peel off posters" at places like large train stations and participating stores, that interested people would peel them off and take them home with them. If they had an actual card in their hand, they may become interested in Kamen Rider and be encouraged to watch the show. We couldn't just give out transformation belts (laughs), but cards are easy to distribute to a large number of people. That was the main reason that made us focus on cards.

"The cards are the ideal "size" to get children to recognize the Kamen Rider characters."

Terakawa: So far, Kamen Riders that have used cards were "Ryuki" (2002), "Blade" (2004), and "Decade" (2009), but it's been over 10 years since they've been used as "linked" items. That's when I felt like, "In that sense, wouldn't this be like a new experience for children?" For starters, cards are items that the Showa generation of Rider fans have a high affinity for. Calbee also released products with cards in them to line up with the release of the film "Shin Kamen Rider" (2023).

"The reason behind the implementation of cards was partly due to the rising marketplace for trading card games."

Terakawa: Even now, the market for card games is quite heated. The trading card games of various companies, including Bandai's own "One Piece Card Game" and "Battle Spirits" series have become so popular, that domestic card printing plants are operating at full capacity and are unable to keep up with production. The user base for purchasing third party games is expanding across all generations, and that excitement is also being passed onto children. Cards take up alot of floor space in toy departments and are easy to sell in convenience stores. As an example, it's pretty difficult to sell a 2,000 yen buckle, but a 200 yen card pack can be found at any convenience store. If it's a card, it can be sold with candy at an affordable price. It can also be sold with children's clothing, or as a bonus in magazines and other items.

-Reiwa Rider's Card Battle-

"The project was started in response to the enthusiasm of the card game market, but developing a transformation belt with a card based gimmick was extremely difficult. Minato, who at this point was in charge of the entire production, says that Ryuki was the first thing that came to mind when he started planning the card Rider project."

Minato: It was one of the shows that led me to becoming an otaku (laughs). I was in my second year of middle school at the time, and I was so absorbed in this show, that I even sent in a call to "Telegong" (a service where viewers voted by phone to decide on how the show would unfold).

"Kamen Rider Ryuki was the third entry in the Heisei Rider series, which ran for a year starting in February 2002. It's a shocking show where 13 Kamen Riders are pitted against one another in a Rider Battle, fighting by using the power of monsters called "Mirror Monsters," and its tagline being, "Those who don't fight won't survive!" Its "death game" style, in which only the last one standing can make their wish come true, caused it to gain alot of attention, making it a highly successful and legendary show. Minato's superior, Shirakura, who was present at the planning meeting, was also the Chief Producer of Ryuki. In planning the card Rider, Minato was handed materials by Shirakura that served as a template during Ryuki's proposal."

Minato: When I read it, a section with a discussion of how to incorporate card battles into a Rider production caught my eye. For example, in the case of "Pokemon," Pikachu plushies and figures are popular, but merch that features the main trainer Satoshi isn't as popular. In the case of Kamen Rider, the Riders are the main characters, so it's the Riders that you want to portray in an appealing way. If he were to summon Dragreder (a Mirror Monster) and have Dragreder fight for him, the Rider wouldn't be as appealing. If the Rider himself doesn't fight, he'd just exist to summon Dragreder. That being the case, the Rider summons a Mirror Monster in order to borrow their power. They can use sheer strength to unleash a special attack from the weapons they hold in their hands, or perform kicks themselves. In short, it's structured in such a way that the Riders themselves become the main part of the battle. The Mirror Monsters don't speak, and are depicted as enemy monsters, but there's a reason for this. Within the materials, there was something written like, "We want children to like the Kamen Rider, not Dragreder."

"There hadn't been a Rider production with cards as the main item since Decade in 2009. Furthermore, there was no concept of "linked items" at the time, and cards for multiple transformations and cards for form changes weren't developed in a very particular way. The cards used by the Riders were included "one at a time" with the toys (although there were 10 included in the main transformation belt), and weren't designed with the assumption that people would collect a complete set. Some of them were commercialized in the Data Carddass game "Kamen Rider Battle Ganbaride" (trading card arcade game), but the difficulty of obtaining them was high because the cards were ejected one at a time, causing collectors to cry. More than 10 years have already passed since Decade. It can be said that the development of cards unique to the Reiwa era would inevitably happen."

Minato: Bandai wanted to sell the cards as if they were part of a trading card game (in packs), rather than in a way where the contents of the cards are known. In other words, it was designed so that you wouldn't know what cards were inside. Selling them like that, you're bound to get duplicate cards, no? We had to think of ways to use those duplicate cards, so we first thought of a way to fight in a deck building style. As an example, I had to create a situation in the drama where you could put multiple copies of the same card in a deck. Then, I wondered about energy cards. For instance, there's always an energy card in a pack, and you have to consume three energy cards to get a powerful attack. I thought it'd be difficult to sell a large number of cards without doing something like that. The act of building a deck may seem abit difficult, but I thought it'd be better to have a gimmick like that, since it could broaden the age range of the audience.

"Younger children would enjoy the flashy card battles, while the older ones would also enjoy “tactics at its finest” when combining decks. It's an ambitious concept that would certainly captivate not only young children and elementary school students, but also the older generation."

Minato: At first, we thought of dividing the cards into multiple categories, including transformation cards, attack cards, special skill cards, monster cards, and so on. I tried to explain that things like skill cards can be used in the development of the show's story or battles, and that each card has value because interesting things could happen when they're combined, but it was hard for people to understand.

"The design team was led by Kita Tojun of PLEX. He's a key Designer who's worked on the Kamen Rider series since "Build" (2017), as well as "Mashin Sentai Kiramager" (2020), and as Chief Designer on "Ultraman Blazar" (2023)."

Kita: Among the countless ideas, there was one to combine 3 cards. The idea was to create a deck with three types of cards, that being, "Material + Shape + Movement," and then perform a move. Being more specific, it'd be something like, "Iron + Triangle + Rotation = Drill." In theory, it's easy to understand, but it'd be difficult for a child. Then there were talks of, "How about a simple "drill" or "bike" card, and then combining the two to make a "Drill Bike"?" From here, we felt that it'd be alittle sad to just use the word "drill," so we decided to turn the drill and bike into a character. In "Kamen Rider OOO" there were the mechs called "Candroids" that would help out, and I thought it'd be a good idea to make it a character with that kind of vibe. Riders are known for their compound eyes, so we came up with the idea of giving every character "bug like eyes."

Minato: When I saw the illustrations of the drill and bike with compound eyes, I thought that what was depicted on those cards looked like small animals. And the fact that all of them are alive……it made me think that they were like Pokemon (laughs). In that sense, the illustrations on the cards were all monsters…… it started to seem like a good idea with the ways things turned out.

"This idea became the prototype for the "Chemies," but at this point, he said they hadn't reached a definitive decision. It was like wandering in a long tunnel with no end in sight. The steam locomotive that would lead them to the exit hadn't arrived yet. The planning team's struggles continued as they hoped for a breakthrough in ideas……"

-Transform with alchemy by shaking the cards-

"In addition to the cards and structure of the transformation belt, meetings were underway in regards to the concept of the main Rider. This was because the concept of the Riders and items were linked to the worldview of the entire show."

Minato: Shirakura would constantly ask me, "What kind of program will people watch each week?" A Kamen Rider engaging in card battles wouldn't leave much of an impact. That's because there's already been so many. If you were to say an "Office President Rider," the audience's imaginations would run wild. A novelist Rider, a devil Rider……your imagination starts to overflow, doesn't it? That's where the word "magic" was brought up. If you were to give some meaning to the cards, then in some way or another, the magical elements would fit. Magical cards are easy to visualize, aren't they? For argument's sake, if you have materials "A" and "B" and then combine them, you can create something new. This is something that came up at a meeting with Tsukada. However, it didn't feel right that there was no logic behind the magic. With that being the situation I chose "alchemy," as it felt like there were more rules.

"So that's why the concept was an "Alchemist Rider." With the word "alchemy" being agreed upon, various elements started to connect to one another."

Minato: I remembered that something called a homunculus existed in alchemy. Then, I wondered if the compound eyed monsters depicted on the card illustrations could be homunculi. I thought it (artificial life forms) would be compatible with alchemy. From here, when responding to Shirakura's question, "What's so entertaining about this program?" my answer was, "Alchemy." Despite that, Shirakura would say, "Alchemy can't be a theme." He also said the words, "It's fine to use alchemy as a gimmick, but use something else as the theme." Trying to find the theme……I was at my limit, and yet, I remembered the conversation about how the illustrations on the cards were like Pokemon. This is where I finally landed on the word "collect."

"The cards depict monsters, and the idea was to create a story about collecting those monsters. At the same time, the word "alchemy" helped speed up the development of the transformation belt."

Kita: We talked about how to present the act of "mixing" multiple cards as a gimmick for the belt. One example, put three monster cards in the case and shake them. It'd be like a drink shaker. What we had in mind was when you pour them into a flask shaped belt, you'd transform through the power of the three monsters fusing.

"A wide variety of opinions were exchanged, among them, the idea of a transformation gimmick, in which the face of the Rider is completed by matching the patterns on the cards, was also conceived."

Kita: However, it was difficult from a design standpoint (making a flask shaped belt). Flasks have a protruding tip, so it'd be hard to fuse the square shaped cards with that design. Because of that, we decided to only keep the gimmick of shaking multiple cards and to make both the belt and the card holder in a square shape.

"A majority of people also said that the transformation action was lacking in excitement."

Kita: They said that simply shaking the card case and putting it in the buckle was weak as a transformation action. For the Build Driver (Build's transformation belt), there were the items called Full Bottles, but at the time, you had to shake the Full Bottles, put them in the belt, and then perform an additional action (turning the handle). It was pointed out that there was no action to that effect this time.

"At the same time, the number of cards were discussed, and it was decided that the total amount would be as large as 100 types."

Minato: That meant that there'd be 100 different linked items this time. I was pretty nervous because there were so many (laughs), but I decided to go along with it because it'd be a new perspective for me, and also because as cards, it might be worth collecting them.

"If three cards make one form, then you need more than 30 different forms, and if two cards make one form, then you need 50 different forms."

Kita: With that many forms, you'll want to swap cards from one to the next and play around with them. Some people voiced how it might be alittle hard to play with, and when we thought about it, the process of removing the holder from the belt, changing the cards, and putting it back on the belt again wasn't a good idea. So we talked about it with, "Instead of increasing the number of actions, wouldn't it be better to reduce them?" In the end, the card case was removed, and we decided to go in a simpler direction.

Terakawa: It took alot of trial and error, but if you want them to play with the intuition that you pair up the cards with the belt, just insert two cards into the belt and combine them together. I thought that was the simplest way to go. There's minimal belt action, since all you do is push and pull the buckle, but being that there'd be 50, possibly more, different forms, we decided that it'd be better to keep the actions as simple as possible. Each form also makes a distinctive sound effect. In addition, it can identify all 100 monster names and says them audibly, so just as a toy, we thought it'd be pretty fun.

"And so, with its colorful, neon like lights emanating, the transformation belt was completed. When two cards are inserted and the lever is pulled, the Rider's face appears. A truly mysterious gimmick was born."

-A Rider's failed transformation?!-

"Let's bring the conversation back to the time when the transformation system was being devised. At the beginning of the project, the idea was to just "insert a card pack directly into the buckle and transform!"

Minato: This was an idea from the design team. The concept was to make the packs structured like a storage box, where you could open and close them repeatedly, and then to "take out the real pack of cards inside and use them to transform!" The concept was to make even the act of opening a pack of cards part of the fun. This is where the drama comes in, as the question of "how do you deal with random cards?" came to mind. Opening a pack would be like a battle, where it's like, "So these are the five cards I got this time. Alright, how should I use them?" Then I was thinking that depending on the specs of the cards, it might be a less powerful form that it transforms into. That's the direction I had in mind for the drama.

"The main character fights by randomly transforming into different forms, taking advantage of the unique properties of his cards, which makes it impossible to know what will appear. Imagining a Rider surviving battles through wisdom and courage really gets your heart racing, don't you think? This led to the concept of a Rider who, depending on the cards he held, could transform into a "grotesque," non human form."

Minato: I imagined the main character as a young man who tries without giving up, even if he makes mistake after mistake. So I thought, "Why not visualize this attitude through his transformation?" Alchemy has a history of failures, so you could assume that the concept reflects that. In response to Shirakura's "what makes this program so entertaining to watch every week?" question, I thought, "what about a program that entertains the audience with its failed transformations?" Using various cards, trying again and again until finally achieving success, it made me think, "Isn't that kind of method abit like alchemy?"

"A failed transformation form that visualizes the act of repeated trial and error. The concept of capturing the form change from a different angle makes the new generation's sense of style shine through. However……"

Minato: When I tried to write the script using this format, it took way too long to reach victory. The sequence of a successful transformation from a failed one simply took too much time. Because of that, instead of repeating failed transformations, many people voiced their opinion that it'd be better to focus more on monster collecting.

"Thinking from a child's point of view, wouldn't it be more fun to have 10 successful transformation forms than to have 10 failed ones? After the planning team's feedback, it seemed like the failed transformation forms would be scrapped, and yet……"

Minato: There's a novel called "The Metamorphosis" by Franz Kafka, and in it, the main character turns into a "poisonous bug." I felt that the failed transformation form had a similar kind of impact. On the other hand, one of the design proposals had a strange form based on the concept of a non human "steam locomotive grasshopper,” which I thought was kind of interesting. I also thought of the main character as a person who would be guided towards "C" in his search for answers, rather than choosing between "A" or "B," so I felt that a bizarre form would fit well with him.

"Both Yamabe Koichi and Kaneko Shinichi of Ishimori Productions are responsible for world building and repair within the Kamen Rider series. So far, they've been behind the scene figures that have caused many Rider productions to succeed."

Yamabe: It's alchemy, so failures can happen. You may end up with a form that's different from what you wanted, or, on the other hand, you could get a tremendous amount of power specifically for combat. A rough and wild form that causes him to abandon his human form. I think it's because we weren't concerned with the human form, that we could express that kind of excessive power. When I was a child, I used to enjoy thinking and fantasizing about things like, "What would happen if "A" and "B" combined?" So, even though we couldn't show all the forms, I thought it might be a good idea to set the rules as they are, and to let people imagine what it would look like if they put "this one" and "that one" together.

Kaneko: We thought that by removing the human form, the transformations could become more unexpected. I wondered if we could slightly deviate from the parts that the viewers would be expecting. We just needed to decide on the combinations, then we could consider using props instead of suits or CG to depict them. The idea was to keep viewers from getting bored and to give the program a sense of variety.

Minato: Although it was a good idea to sell this series with the fact that there are nearly 50 different forms (through the combination of 100 cards), we didn't have the time to depict those 50 forms (within the drama), and it would've taken a large budget to produce that many suits. So I thought, "Why not use the forms I was considering as failed transformation forms?"

"A strange creature that looks like a fusion between a grasshopper and a steam locomotive…These forms eventually came to be known as "Wild Mode." The naming embodies the "roughness of becoming wild." When the design is humanoid, there are limits to how the action can be depicted. By doing as they pleased with how they designed its appearance, it became possible to break away from those limits. This is how the new Kamen Rider of 2023 acquired its unique identity."

-A young Rider who crushes the old-

"The main character in 2023s Kamen Rider was a high school student. Why did you choose an overly straightforward youth, someone who was more than a boy but not quite a young man, to play the leading role?"

Minato: The opening of the drama is that the main character opens a secret door and finds himself in the world of alchemy, but at its roots, the story has an urban, legendary like worldview. There's a mysterious organization, similar to that of the Illuminati or Freemasons, that have already taken control of the world. The Alchemys Union gives off an image similar to a "dark government." Because of all this, you don't know the full picture. During a planning meeting, we asked ourselves who the Rider would fight against. The word "gerontocracy" came up. Usually, Shirakura and Tsukada are polar opposites, but on this one occasion, they both found it amusing (laughs). Because of their reaction, I thought it'd be interesting to have a story about a group of young people crushing leaders who hate change and only talk about things based on their own past achievements. However, I thought that "crushing the old" was too negative of a theme, but then the word "Gotcha" came up at a naming meeting. It's not a made up word, as it means "to obtain" in English. "To obtain" means to encounter something new that you don't have, in other words, that's what I believe the old have already stopped doing. The only thing the young can do to surpass the old is to "Gotcha." That was one of the reasons why I made the main character and his friends students.

"What the new Kamen Rider needed was "youth to fight off the old." The fact that the main Rider repeatedly changes into 50 different forms can be seen as a symbol of his youth."

Yamabe: The main character is a young and naive high school student. He's an amateur at alchemy, so he's not too specific about things, and he's not afraid to try out different things. I feel that the kind of "irresponsibility of youth" he possesses is reflected in the many form changes he makes.

"The design of the main Rider was done alongside his characterization."

Minato: Our initial plan was to use three or more cards. Since W and Build transformed by combining two elements together, we thought about whether we could create a gimmick that increased the number of cards so that there'd be no overlapping. We tried a variety of things, but considering the structure of the belt, the only way to read the barcodes printed on the cards was to scan them one at a time. After taking into account the transformation action and various other circumstances, in the end, we decided to proceed with just two cards.

"W's design is divided into two parts down the center, while Build combines two elements in a spiral shape. What would the next Rider look like?"

Kita: At first, I imagined him in a lightweight suit, as I thought it'd be a nice change from tradition. The style would be similar to "Riderman" and "Ride Kamens," where their faces are visible and armor is kept to a minimum. With this as the base, the direction was to strengthen him through the use of the cards. I tried to draw lines that made the most of the flat surface of a card, and to also add a flask motif to give off the image of alchemy, but I couldn't decide on the direction to take. It was pretty difficult.

Minato: There were tons of strange designs like that. However, since he's a card Rider, and since "people cards" were something that only Decade did, I wondered if there was a different direction to go in. We asked for an alchemy motif, but we couldn't come up with any words that would give him any hints for the design. During this, "plating" became the one thing we attached ourselves to. Alchemy is the secret art of manufacturing precious metals (like gold and silver) from base metals (like iron, lead and copper), so it gives off the image of something shiny. However, that was also just about the subject matter, not the actual design…..In the end, we decided that instead of combining the visuals of "A + B = AB," we would create a completely different form, that being "C." We wanted to proceed with a completely mixed design, a form where two elements were fused together through alchemy.

"Soon after, the motifs for the two cards were decided to be a grasshopper and steam locomotive."

Minato: A grasshopper wasn't exactly what I wanted. Or rather, there's a grasshopper (GodHopper) in King-Ohger, which I was apart of until just before this, so I was wondering……if this would be alright? (laughs). In the end, I thought that it wasn't a hero motif (in King-Ohger), and that this is Kamen Rider, so there was no issue.

"Grasshoppers are a well known motif going back to the first Kamen Rider, and it fits well with the bounciness of the main character's youth. The steam locomotive on the other hand was a suggestion by Minato."

Minato: When I met my nephew during New Years, he had a toy train. It made me think that children still love trains. I also watched the anime "Goldran" when I was a child, which had a steam locomotive transforming into a robot, and so I thought that a steam locomotive might end up being good. So, I went to a mass retailer near the office and bought a steam locomotive toy, brought it to a planning meeting, and presented it, saying, "Steam locomotives are pretty cool, huh?" (laughs). Grasshoppers and steam locomotives are opposites, one being biological and the other mechanical, but I had the idea of combining them together with the alchemy image in mind, so I thought they'd be a good match. "Jump and Power," that being the jumping power of a grasshopper and the charging power of a steam locomotive, it fit the image of a Rider's kick, so we decided to go ahead with this.

"The color of the armor that covers the new Rider entirely is "blue"…The color evokes a clear blue sky, and at the same time, evokes a sense of youthfulness. The blue shine is further enhanced by the dazzling plating. The motif is a grasshopper and steam locomotive. Its stylish silhouette is bold, it combines a grasshopper, which has been used frequently since Kamen Rider 1, with a steam locomotive, which is the first time it's been used as a main Rider's motif. The new hero would rise up, and his name was "Kamen Rider Gotchard"! The broadcast began on September 3, 2023. In the midst of this era's chaos, the dazzling blue hero jumps forward with ease!"

Gotcha Youth Alchemy Journal Gotcha 2: The Combination of Isolation and Gorgeous

-Alchemy of a local factory-

"Standing in the main character's way is Kurogane Spanner, a cool, super A class rank alchemist. He's a rival character who calls himself "Valvarad," and who wears a strengthened suit (alchemist armor) which he created himself for use against Malgams."

Minato: At the beginning of planning, among some of our options was the idea of "Agito 2." I brought it up partially because I like Agito (laughs), but personally, I thought it was a pretty good idea. I had no intention of it being a true part 2, rather, I wanted to create a show that would mirror its structure. This is because as I look back on the most recent productions, it feels like there are way too many Kamen Riders. Because of that, I wanted to bring it back down to three, just like in Agito. Furthermore, each of them comes from a different background, which is why each of them use distinctly different transformation belts. In addition, the structure is set up so that those three meet in the same place. The main character is pure and can't remember anything, the secondary is someone who's inherited some sort of knowledge from the past, and the tertiary is an outsider. I was wondering if it'd be possible to depict that kind of structure, where the three of them aren't very close with each other. I wanted to reject the traditional, rule based world. The secondary is Rinne, while the tertiary is Spanner. The structure isn't exactly the same, and there are some parts where multiple elements are mixed together, but I used that as a basis for the structure of the character arrangement.

"For 120 long years, no one has been able to attain that lost technology - alchemy for a Kamen Rider. In order to get as close as possible to this power, Spanner conducted his own research and developed "Valvarad's armor" as a system different from that of a Riders."

Minato: There were requests for more allies on the hero side to join the main Rider, but I had decided from the start to go with just Gotchard during the very beginning. Gotchard's diverse form changes were his selling point, so I wanted to focus on that first. I had decided from the beginning that we would have three Riders, but that there'd still only be one by the end of the year. That's when I decided to come up with a rival hero, and so a non Rider hero was born.

"Spanner dons his Valvarad "armor" not by shouting "Henshin!," but "Tekko!" instead. While Riders bodies are strengthened through transformation, Valvarad's an unorthodox warrior who fights with armor simply worn over his body."

Kaneko: Valvarad dons his armor using only one card. Only Kamen Riders can transform using two cards. This was a way to differentiate him from the others and to explain that this was the alchemy of this world.

"An outsider with a different background from the Kamen Rider. He could be considered the tertiary in the Agito inspired character arrangement that Minato originally had in mind."

Minato: He may be an alchemist warrior, but he's still an imperfect being, so we decided to make the rival rust. This is in contrast to the plated and sparkling Gotchard. The toy team voiced how they wanted car cards to appear, so we created a visual of a car covered in oil and being repaired with tools. He's like a warrior born from the alchemy of a local factory, if you will.

"These so called transformation items were also well thought out ideas (in terms of steel items)."

Kita: There were many ideas, including one based on scissors and another on a helicopter styled weapon, but the tool idea was selected from among them.

"Given his setting as a non Rider hero, some interesting ideas were exchanged on transformation and form changes."

Kita: I thought it'd be funny if he put the end of the Valvarusher (the wrench part) around his head and transformed by tightening screws on his head. Both of his shoulders have parts that look like hex bolts, but during the design stage, I imagined that the Valvarusher would be used by him to remove these bolts, and then to attach additional parts to the shoulders. Instead of transforming, he'd be a hero who tunes up his armor like a mechanical engineer.

"Equipping the armor and weapons with his own hands. That's quite an original idea, don't you think?! As a result, the method of changing his appearance instantaneously was used in the footage, but we can't help but hope that this kind of production technique will one day become more popular."

-The conception of a Rider Taisen Universe?!-

"A high school alchemist Rider finds himself in a different dimension. There, he witnessed a gorgeous, golden warrior who used the cards of past Riders to defeat his enemies in every direction. His name is Kamen Rider Legend!"

Minato: The cards sold in packs had "Chemies" printed on them, but at first, customers were still unfamiliar with the monsters. One of the roles of the show was to make the monsters more appealing, but we weren't sure how popular the Chemies would turn out during the planning stages. On the other hand, the lineup also included cards with Legend Riders printed on them. We thought this would be one of the motivations for customers to buy cards during the very early stages of the show. The toy team still raised their concerns with, "How can we make the cards more appealing?"

Terakawa: Card items are also targeted at adults, and the Card Division's view was that cards of past Riders would be particularly popular with them. If that was the case, then I wanted to highlight the Legend cards more. We consulted with Ishimori Productions and Toei about what steps we could take to achieve this.

Yamabe: Items related to past Riders, or "Legend merch" as they're called, have quite a few fans. We had the option of not adding them in the show, but I also understood what the toy team was thinking. We agreed that it'd be fun to have a hero who uses the cards of past Riders, and that we might as well give it a try with this series. However, if this character were to appear in the main story, it would affect the worldview, so that was something we had to think about for abit.

Terakawa: For example, we thought about things like someone who makes cards, who also makes Chemy cards, and who also makes cards of past Riders. A variety of opinions were exchanged, such as, "How about making a character who's a card shop owner, or a handyman who deals with Chemy cards and explains what a Chemy is?"

"Legend cards were difficult to work with. If Gotchard uses the Legend cards, that would give him unlimited power, which weakens the purpose of using the other Chemy cards. On the other hand, if a completely new and distinct character were to use them……"

Minato: A hero who uses Legend cards is by all accounts the most powerful character in the show, so wouldn't having him around solve everything? I wondered how it would affect the show if things ended up going in that direction. So, I decided to make him a Rider from a different world than the one in the TV series, and thought about developing it as a spin off. In this way, I thought we could fulfill both our goals of bringing Legend cards into the story, and to keep a Legend card using hero outside of Gotchard's narrative world.

"The platform chosen was Youtube. As the name suggests, "Toei Tokusatsu Youtube Official" is an official video site for Toei's tokusatsu productions, and has distributed spin offs of TV series, such as "Kamen Rider Ghost: Legendary! Riders Souls!" (2016)."

Minato: If I depicted how he got the Legend Rider cards, I wouldn't be able to show his abilities in the limited time we had, so I decided to make him someone who had alot of cards right from the start. Initially, I was thinking of a setting where he was some incredible day trader. A successful businessman who's very rich. I even came up with a line like, "I'm a modern day alchemist" (laughs). However, I thought that was alittle too realistic for his occupation……so I changed his setting.

"Needless to say, the concept of "gorgeous" was born as a result of this process. But his appearance……?"

Kita: I had alot of ideas, such as looking like a businessman with a suit arrangement, or like a motorcycle riding police officer who cracks down on Riders from all over the world. Since Gotchard has a concept with arrows, I tried to draw a design with arrows all over his body, but in the end, a design based on the concept of "Rider No. 3 from Decade's world" was chosen.

"One way of describing his appearance would be……the Golden Decade!"

Minato: Gotchard aired on TV every week. A large number of toys were released. It's a production that finally took shape after months of working on the setting and designs. When you throw a new Rider with a completely different setting into the mix, it's only natural that he'd look inferior to Gotchard. That being the case, I thought it'd be better to just have him be a character like Decade.

"From here, they wanted him to borrow Decade's powers. One being his "visuals." The other being his "ability" to copy all past Riders."

Minato: The fact that he looks similar to Decade I thought could be cleared up by using the same logic as Twokaizer (laughs).

"Twokaizer is the additional fighter that appeared in "Kikai Sentai Zenkaiger" (2021), and his visuals are very similar to the Gokaigers (laughs). This isn't surprising. The reason for this is pretty simple, the character Flint, who went to the world of Kaizoku Sentai Gokaiger, copied the appearance of the Gokaigers (laughs). However, the overall coloring and appearance of various parts aren't exactly the same as those on the Gokaigers. The plan was to use a similar approach."

Yamabe: A world where using Riders from other worlds as cards and using their abilities is an established technique. That's the world that Legend exists in. The resemblance in appearance is due out of respect for Decade. That's how I interpret it.

"The enemy that Legend fights against is a mysterious organization called "Hundred." Under their command is Kasshine, an enemy from Zi-O."

Yamabe: I've always thought that there's a world line between Decade and Zi-O, and that there are battles that take place in a different dimension from the Rider battles that we do every year. That's why we used the Aurora Curtain again and had a scene where Kasshine appears. Ishimori Productions wanted to unite the world views of Decade and Zi-O into one.

Kaneko: Legend also had the role of introducing Kamen Rider to the new generation who were unfamiliar with Riders, as well as to people overseas who had never seen a Rider broadcast before. It'd be difficult to ask the new generation of fans to watch all past Rider productions during that time, so we picked out and introduced only the most characteristic and interesting parts of every past Rider. This was the role that had been entrusted to this character.

"Even though the grand plan was unexpectedly surprising, the character of Kaguya-sama is amazing in that he seems to be able to handle his role without any difficulty. Although, Legend would eventually interfere with the world of Gotchard……"

-Cards and Riders, a deceptive duet-

"The very beginning of the program depicts a lively battle between Houtaro and his friends to capture Chemies. It was an unusual journey, going from west to east in pursuit of Chemies."

Minato: The concept of this production was a "story of collecting Chemies." There are friends and rivals, but it's not a battle, what's depicted is a "race" to catch the Chemies. This is because initially, I was going to use a basic storyline pattern……in which human criminals and a Chemy combine to become a Malgam. This is imagery seen in the story of episode 2. A hero who saves helpless Chemies from being trapped by evil people is a new concept, don't you think? However, that'd mean the very first episode wouldn't unravel properly. I thought it'd be fine to go without an enemy organization, but TV Asahi's Producer Inoue Chihiro-san advised me that it'd be better to have an enemy. And so, the "Three Dark Sisters" were born.

"If you ask me, the flow of Houtaro receiving the belt from Kudo Fuga in the first episode wouldn't have been possible without the Three Dark Sisters. The unexpected circumstances of their creation are surprising, but the Three Dark Sisters studied the Chemy cards and succeeded in developing the DreaDriver. It's an evil device that transforms a person into the form of a demon by consuming Repli Chemy cards."

Yamabe: The DreaDriver is a "sacrificial belt." It's a belt that disposes of the Chemy cards. If an enemy that used it were to appear, the Chemy loving main character would no doubt hate them immensely. At the time of planning, the details of the story hadn't been decided yet, so we introduced it with that intention in mind.

Kaneko: At the time of planning, we were thinking of a development in which Chemy cards would be taken by the enemy and then recovered. However, as the project progressed, it was decided that there'd be only one of each Chemy card, so we needed to do something else. Considering the importance that Houtaro places on his Chemy cards, he wouldn't simply hand them over to the enemy. That's when we came up with the idea of "Repli Chemy cards." Things would progress from the enemy feeling threatened by Gotchard, to them creating a card of their own and transforming.

"With a thunderous roar, a human who puts on the DreaDriver transforms into Kamen Rider Dread. The one manipulated by Atropos and forced to transform was……Sabimaru."

Kaneko: We wanted to create an evil Rider, one who would completely change the cheerful mood, but we had a hard time deciding who would transform. At first, we were thinking of the three tiered system, with Clotho using Type One, Lachesis using Type Two, and Atropos using Type Three. We wanted to make it seem like the opponent who used Chemies to create Malgams would then transform into a Rider and stand in the way as powerful enemies, but as of episode 11, I felt that the Three Dark Sisters just hadn't developed as characters yet. Even when they transformed, it was lacking in impact……

Minato: For example, I thought about having Clotho transform and then leave the show, but Screenwriter Hasegawa-san didn't want Clotho to make her exit just yet. Therefore, we decided that it'd be best to leave Dread as a sort of puppet like existence for the time being. With all that being the case, who would do the most damage to Houtaro? From this perspective, I chose Sabimaru as the one to transform. The reason was that up to that point, Houtaro's main motivation for taking action was the Chemies, he wasn't a Kamen Rider who protected humans. However, when his senior and important friend Sabimaru is taken away from him, he has a change in attitude to save both Chemies and humans.

Kaneko: I think we were able to depict Houtaro's consideration for human life and his determination to fight. However, to begin with, Sabimaru's character isn't suited for that kind of role. That's why Dread didn't feel like a formidable opponent. It didn't look like a threat was approaching. Instead, the feeling of pity for Sabimaru was what came out more strongly, which was quite different from what we were aiming for.

Minato: Personally, I didn't want to call Dread a "Kamen Rider." In this world, Kamen Riders are rare individuals who transform by combining two Chemy cards. The Repli Chemy cards are fakes, and Type Zero isn't a Rider, as you transform with just one card. Therefore, we made it possible for anyone to transform, although what they become is quite different from a Kamen Rider. We decided that we'd have Atropos be the one saying, "I'm Kamen Rider Dread."

"Dread would eventually mutate its forms one by one, from Type One to Three, and even altering the person that transforms, causing torment to Houtaro and his friends."

-Power up with the Legendary Chemies-

"Ride Chemy cards are sealed with Chemies, artificial life forms created by alchemy. Each card is assigned a 10 level number based on their attribute, from "level 1" to "level 10." A Level 10 is the strongest Chemy in each attribute. They're special beings with extraordinary power."

Minato: Simply put, the Level 10's are "Legendary Pokemon" (laughs). They're absurdly strong Chemies, so it's difficult to catch them. Houtaro, as well as Gotchard, become stronger when the Level 10s approve of him. I was careful when depicting this sequence, as I didn't want to portray him as becoming stronger just because he acquired a strong asset. So, the process I followed was that as a result of becoming stronger mentally, he gained new powers. I intended on sticking to this concept throughout the show.

"Gotchard's system was to use two Chemy cards to transform, but there was a rule that the sum of the numbers of the two cards that were paired had to equal 10. Like how Hopper1 is a Level 1 and Steamliner is a Level 9. So, 1+9=10, and there can be a transformation. Other forms basically followed this rule, but what about Level 10 cards?"

Terakawa: The basic concept was that you were allowed to power up with three cards. So by adding a Level 10 card to Steamhopper (which requires two cards), you can create a new form.

"There are no cards that can be paired with a Level 10, so instead, the idea was to "add on" to a standard form to increase its power."

Kita: In the beginning, we were thinking of removing the card holder like part from the new weapon and setting it on the belt, but the card holder was small in size. Adding this to the Gotchard Driver didn't change the appearance of the belt much. So, we decided to change our direction of transforming the weapon itself into an additional buckle.

"Transforming with a Level 10 Chemy required a new weapon (Exgotchalibur), which could change shape into a buckle. The main point was that the overall appearance of the belt could be changed by adding additional parts to it. He was told, "you shouldn't control a Level 10," as they're the most challenging of Chemies, but Houtaro becomes friends with these Level 10s thanks to his kindness and battle spirit. His unconventional ideas and drive allowed him to easily overcome the old teachings passed down at the Alchemys Union, and gradually, he began to change the hearts of those around him!"

Gotcha Youth Alchemy Journal Gotcha 3: The Combination of Past and Future

-Daybreak Incident-

"One after another, people were turned to stone by the super giant Orochi Malgam. The crowded Christmas town was in chaos as everyone was turned to stone, including his best friends, allies, and rivals. Would the panicking Houtaro also become a victim?! At that moment, a daybreak colored shadow appeared with a dazzling light. It was another Gotchard!!"

Minato: The toy sale report for the first month of the show's broadcast became available, and while card sales were strong, Driver sales weren't, and the adult fan base seemed to be shrinking. That was just the info I was given. So, I decided that it might be a good idea to prepare some kind of major development for the story.

Yamabe: I had abit of a bad feeling about this……In the last episode of the year (episode 16), the development we planned was to have Houtaro power up into Fire Gotchard. Gotchard would be defeated for a moment, but then complete his powered up transformation at the very end, and then the story would continue in the next episode. That's the process we were thinking of, but after hearing about the toys, I had a feeling that the story would take a turn for the worse if we did that.

Minato: Geats, the previous series, was said to be very popular with adults, while on the opposite end, the response from young children wasn't so good. That's why we had talked about making a show that would attract more children this time, and that it would be aimed more towards preschool aged children. Rider is a long running series that has many adult fans, so I thought I had to try and strike a balance in order to reach that generation, but then I wasn't sure what to do.

"If the primary target was younger children, then it's possible that middle and high school students, as well as the older generation, may not judge it positively. And, what if you didn't get support from those vital young children?"

Yamabe: We understand that it's cool when the main character loses for a brief moment and then gets back up. However, given the situation we were currently going down, we thought it wouldn't be appealing to anyone, regardless of whether they were a child or an adult.

Kaneko: It was probably because of our own lack in ability, but in any case, we hadn't been able to convey the appeal of Gotchard. Tons of Chemy cards were released, tons of form changes appeared, Dread appeared, the Exgotchalibur appeared and turned him into Super Gotchard, and soon, there'd be Fire Gotchard. Shortly after that, Valvarad's power up was scheduled. Taking all that into account, it makes it impossible to create an interesting story, and even if new items were released, viewers wouldn't want to buy those toys, as there'd be no excitement in them. At any rate, we were in a standstill.

Minato: I don't remember much about the meeting because I felt completely drained, but it was decided right then and there that a new character would suddenly appear. "But who'll be transforming?," we couldn't come to a decision. There was a strong divide between choosing either Fuga or Houtaro's father, but I thought that'd be too predictable and simply not interesting enough. This could make it look as if Houtaro, the main character, was having his role downsized and that a new main character was appearing. That would be a betrayal to the viewers, so I absolutely wanted to avoid that. During all this, the words "the hero's future appearance" came out of Yamabe-san, and I was like, "That's it!"

Yamabe: A character who would be known as a "skilled Gotchard," who can handle all kinds of weapons, appears. He also fights brilliantly, using red Chemy cards that no one's ever seen before. So, unlike the Gotchard that Houtaro transforms into, this guy would be showing off his professional fighting skills. Within the show is a picture book, which refers to the story "Alchemist of Daybreak," so we decided to make the character associated with those words. And so, that's how Daybreak was born.

"Following this meeting, Minato immediately set out to negotiate with the toy team."

Minato: Episode 16 would be the last episode to air at the end of the year. Gotcharigniter toys were scheduled to be available in stores by the end of that week. So, at the time of planning, they were thinking of making Kamen Rider Valvarad appear during that episode. The Gotcharigniter was set up to be an item that allowed them to become Fire Gotchard or Kamen Rider Valvarad respectively. However, Gotchard became UFO-X in episode 13 and XRex in episode 14, and when episode 15 was being aired, Majade was making her debut in movie theaters. I couldn't set up such an absurd storyline where Valvarad would power up next time during episode 16. It'd be easy to force something like that out, but as a creator, I didn't want to do it. In Gotchard's story, I can't give power ups to people who haven't "Gotcha!" (obtained) something. So, I asked to let Fire Gotchard and Kamen Rider Valvarad make their appearance after the New Year. As a work around, I explained that we'd be attaching the Gotcharigniter to the new character, Daybreak.

"It's highly unusual for these kinds of series, which are based on linking the show and the toys, to delay the release of characters and items that are set to be sold during the holiday shopping season. This must've been an unexpected situation for the toy team."

Minato: I was expecting them to not agree so easily……but it was still pretty rough. After much discussion, I managed to get them to agree that before the sales launch of the Igniter, Daybreak would appear in episode 16 and use the Igniter to become Fire Gotchard Daybreak, and that only the visuals of the new Riders would be released. That's how we ended up releasing the new visuals at the end of the year for the coming year, unveiling Fire Gotchard and Kamen Rider Valvarad. We had already decided in advance that another artist would participate in the theme song (FLOW in addition to BACK-ON), so we decided to release it at the same time. I was so nervous, that I approached things with the feeling that a new show was set to start in January of the coming year.

"The act of explaining the situation to all concerned parties and getting people to understand the intentions of the planning team must've been an indescribable task behind the scenes. On the other hand, this decision broke away from the conventional mindset of the Rider series and "Gotcha" (obtained) something new, which would no doubt give a big boost to future stories!"

-Time Travel Fire-

"After some difficult negotiations, Daybreak's emergency entry was granted. The appearance of two characters were delayed because of this. Let's talk about one of them, we'll start with Fire Gotchard."

Minato: No one knew the reason behind why Houtaro liked the Chemies. Still, from the very beginning, I heard many opinions. The reason is simply that he just met a Chemy randomly and suddenly started saying, "Chemies are great!" To support this, I decided to have a setting where Houtaro meets Chemies in the past. Houtaro doesn't remember this because his memories were erased (by an alchemist), but the Chemies remember. There's still something like a fragment of "cherished memories" in Houtaro's heart. So, I tried to "combine" Houtaro's past and what leads him to becoming Fire Gotchard. I decided on the details later, but Houtaro travels into the past due to Daybreak. I wondered if I could create that sequence of events……where by remembering his childhood memories that had been erased, that would make him more aware than ever that he must protect people and Chemies, and that he must become a stronger person.

"Daybreak speaks with Houtaro. He says, "A power that gives hope to the future. Use this…" Houtaro refuses Daybreak's offer to accept the Gotcharigniter, and declares that he'll try to produce the power up item with his own hands. Daybreak tells him that in order to do so, he needs to travel into the past. Using the power of Timelord, Houtaro travels to the past, where he learns various revelations. As a child, Houtaro was friends with the Chemies, and despite being young, he was skilled in alchemy……Eventually, Houtaro obtains the "one and only treasure in this world" that his childhood self had made through alchemy, and returns to the present, where he succeeds in refining the Gotcharigniter. He obtains the power of Fire Gotchard!"

Kaneko: It's a speed form with a booster on his back, but if it's just about gaining speed, we've seen so many different patterns up until now that viewers are getting tired of seeing, so we decided to make it alittle different. Ultimately, we decided that when on standby, his body is fixed in place with chains, and when he gains speed, he can only move in a straight line. Combined with Director Tasaki's direction, I think the form turned out really unique and cool.

"Upon seeing Gotchard's new appearance, Daybreak mutters, "That form…..so you're headed into the new future, huh?"…"

Kaneko: Daybreak also uses the Gotcharigniter, but Houtaro's Fire Gotchard has a different appearance. That's where the timeline changed (Daybreak's timeline and the present split).

"Seeing Houtaro in a form different from his own despite using the same item, Daybreak feels relieved and returns to the future. This story……is unexpectedly connected to the Summer film!"

-The girl who was supposed to become Gotchard-

"Kamen Rider Majade made her first appearance in the Winter Film. She's the first female fighter in the history of the series to become the secondary Rider. As the daughter of a renowned alchemist, Kudo Rinne has always been bound by rules and lived by them. Her friends refer to her as "honor student" and "rule follower," and her enemy Atropos teased her by calling her "Serious-chan." A girl who's lived her whole life hiding her own will decides to "make her own rules," and grows from becoming a Kamen Rider!"

Minato: I think Rinne was originally supposed to become Gotchard. Since she's the daughter of Kudo Fuga, an important alchemist, she receives a gifted education to also become a renowned alchemist, and she herself has been making efforts with that intention in mind. And yet, her own alchemy doesn't work against Malgams. However, Gotchard (Houtaro) suddenly appears and defeats the Malgams. This is why she's always wanted to become a Kamen Rider, she didn't want to be beside the hero as the heroine, which is the usual tradition. She may look like a cute girl, but within her heart, she's frustrated and impatient with herself for not being able to transform into a Kamen Rider. And so, by Gotcha (obtaining) her resolve to fight, she was finally able to become her true self (a Kamen Rider).

"The New Year's episodes were a rapid fire of events, with each week bringing a series of dramatic developments. Daybreak's intrusion, Houtaro's past, the truth about Kudo Fuga, the power up into Fire Gotchard, Glion's resurrection, and Majade's appearance gave off the impression that there were multiple surprises packed into a single episode. Additionally, the Alchemy Academy was taken over by Glion, and even Minato, whom she admires, switches to Glion's side!"

Yamabe: We wanted to create a situation where Houtaro and his friends had to figure things out on their own. The situation came to a point where Houtaro could no longer be naive, and he had to finally face himself.

"Minato, who has surrendered to Glion's side, uses the DreaDriver to change his appearance and attack Houtaro and his friends. Houtaro and his friends, who called themselves the "Kitchen ICHINOSE Union," were united in their resolve, but more challenges were coming for them. That would be the rampage of their precious friend Spanner…….and the appearance of Wheel Malgam!"

-Digging deeper into the ridiculous jokes-

"Kurogane Spanner is a lone, super A class rank alchemist, who wears the Valvarad armor he developed with his own hands. He's also a man who was previously promised he'd become a Kamen Rider."

Minato: I decided from the beginning that there would be three Riders starting from the beginning of the New Year. My own concept was to do "Kuuga" during the first year, and then after the New Year, the show would become "Agito."

"Kamen Rider Kuuga (2000) was the first Heisei Rider production. It features only one Kamen Rider. The story is about a lone fighter named Kuuga who fights with the help of the police. The next production was Kamen Rider Agito. This is an interwoven drama about three Kamen Riders (Agito, G3, Gills). Minato had reworked the Rider shows that fascinated him as a boy and incorporated them into Gotchard."

Kaneko: The toy team had requested that Houtaro and Spanner share the Gotcharigniter.

"It had already been decided that Spanner would become a Kamen Rider using the Gotcharigniter."

Kaneko: With such a setup, Spanner would need to use the Gotchard Driver. However, the Gotchard Driver has meaning, as it's one of a kind, but I wondered what would happen if there were more of them. If they lent or borrowed it from each other, there would be situations where neither Houtaro nor Spanner could transform, and in that regard, I thought the idea of lending and borrowing was a bad idea. As a result, we changed it so that Valvarad's enhanced belt was a reference to the Gotcharigniter.

"And so, they decided to have Houtaro's Gotcharigniter be an attachment, but for Spanner to have it appear in the show as a completely new belt, known as the Valvaradriver."

Minato: The timing of Kamen Rider Valvarad's appearance was later than expected, but I approached Director Sugihara when it came to making his first appearance (episodes 20 and 21). At that time, the first thing the Director said to me was, "I understand that you want to depict his first transformation in a cool way, but Spanner as he is now is unappealing. I don't think the Rider transformation will come off as well as you think it should unless you do something about Spanner." The planning team was aware of this, so we decided to rethink what kind of person Spanner was when it came time for his first transformation.

"Edami Kyoka was created to better paint Spanner's background…. She's a brilliant female alchemist, who also develops transformation drivers."

Kaneko: Kyoka's the only person that Spanner can open up to and be honest with. She's the one who accepts Spanner with full affirmation. She's also a mentor who supports Spanner more than anyone else.

"Kyoka is Spanner's emotional support. However, their relationship of trust is shattered by the appearance of Angel Malgam. Spanner's parents show up in front of him for the first time in 10 years. Soon after, they're both killed by Glion! Seeing this scene before his eyes, Spanner recalls memories from 10 years ago. And that's when he realizes what happened…His parents had already been killed by Glion 10 years ago, and the people in front of him were only temporarily revived through Angel Malgam's power. At the same time, he learns that his memory of that tragedy had been erased by someone…He's shocked to discover that the one who had performed the memory erasing technique on him was Edami Kyoka, his mentor, mother figure, sister figure, and woman he admired. Spanner feels his existence crumble beneath his feet as he's overcome with despair. And then, Spanner forms a bond. With help from the Chemy Madwell, who was a "tool," he became Valvarad……!"

Minato: 10 years ago, Spanner was a 14 year old boy who went to live with the 24 year old Kyoka-san, and with that happening, he would definitely fall in love with her, don't you think? (laughs). But since she's like a family member to him, they continue to live together while he keeps his feelings bottled up. That's why he became such a cool character. With the appearance of Kyoka, that background becomes clearer. Because of his cool and stylish position, Spanner had been holding back his performance up until then, but the explosive power he had the moment he let it all out was amazing.

"In order to protect the heart of the young Spanner, Kyoka erased those haunting memories, taught him alchemy, and showed him affection as they lived together. This eventually became Kyoka's reason for living. She also taught Spanner how to play chess, as it's a game that requires you to always calmly think ahead without being swayed by your emotions. Spanner possesses dangerous powers that make him easily susceptible to the power of darkness, so she tried to protect him by putting him in "armor" known as the "aesthetics of battle." When Spanner realized her wishes and feelings, he recognized that he wasn't alone. At the same time, memories of the deep love he received from his parents come back to him, and Spanner gains new powers. His name is Kamen Rider Valvarad!"

Minato: Gotchard and Majade transform through traditional alchemy, but Valvarad's transformation is alittle different. He transforms using alchemy that's been applied to modern industrial technology, or other words, alchemy from a local factory, so his appearance is purposely different from the other two. When I think, "What's the alchemy in this show?," I have a pretty good idea of what it is, but his still feels alittle more industrial. I have the impression that Kyoka's alchemy is the latest alchemy (the alchemy related items in Kyoka's lab are different from those in Fuga's room). Valvarad has a reinforced suit, but it's set up so that when he becomes a Rider, his body physically changes. Still, the pointed part on the left side of his mask (the silver part) is the only part that's armor. The design of Kamen Rider Valvarad was completed by combining physical changes (due to legitimate alchemy) with the alchemy techniques of a local factory.

"Spanner became more appealing as a character, and grew into an indispensable and reliable presence in the story."

-The Chemies become transformation items-

"Gotchard evolves with different concepts, including a 3 card transformation (Super Gotchard), transforming with a special card that combines 5 cards (Star Gotchard), and a transformation with an additional buckle (Fire Gotchard). What style would the next power be?"

Minato: Since we had finally reached the point where we had all 100 Chemy cards available for sale, the subject of coming up with a battle style using those 100 cards came up.

Kita: As part of the design team, I was looking for a different approach. Along with the idea of transforming with all cards of the same attribute, there were many other ideas…….but the best response we got was from the concept of a power up transformation for Hopper1 and Steamliner. There'd be a plate buckle (in the shape of a card case) that featured Hopper1 and Steamliner's forms, and he'd transform by inserting new cards into it one by one. I was thinking of a three phase transformation system with slots on the left and right sides, with Hopper1 for the enhanced form, Steamliner for the second enhanced form, and both Hopper1 and Steamliner for the third enhanced form.

Terakawa: After consulting with the design team, we found that there'd be some difficulties with the mechanics. Because of this, instead of a card case, we'd insert a solid item into it, and the three phase transformation became a two phased one. As a toy, the concept was a figure, and it'd be a transformation item that looked like Hopper1 and Steamliner's powered up forms.

"At the time, the new lineup of card products to be released would include ones with the attributes "Cosmic" and "Ancient," so they decided to combine those elements into the power ups for Hopper1 and Steamliner."

Minato: The concept was a two phase transformation, using two different Chemy shaped items. It's standard to start with a "rampaging" form, then a form that overcomes it, but I wondered what we could do to avoid going in that direction. So, I went back to the idea of the single and double card transformations.

"First, Steamliner (in its powered up form) transforms by itself, then adds Hopper1 (also in its powered up form) for a combined transformation! Although its appearance is of a Chemy, the logic is the same as to whether one or two cards are used to transform."

Minato: It's just like Valvarad, he transforms by incorporating the power of one Chemy that resides inside a human. Valvarad uses items so he doesn't have to become Malgam. I wondered if we could think of it in the same way. We had a request for an ancient element in connection with the cards, so I came up with the concept of the "Ancient Forbidden Arts," which used a similar method as alchemy.

Yamabe: At the time of planning, I thought that an enemy boss would appear during this time, and that we could go on to explain about the origins of alchemy. This is why I was thinking that it wouldn't be out of place if there were ancient designs.

"The general concept of the transformation system had been decided upon, but discussions were also held on how the Rider using it would transform, and in particular, how they would differentiate between the two forms."

Minato: The concept was that the first form would be heavily based off an ancient Egyptian styled design and specialize in punching, while the second form would be light due to its heavy armor being removed and specialize in kicking. Still, it had been determined that Gotchard would finish things with a kick in any form, so specializing in kicks makes it difficult to differentiate from the other forms. So, we started to think about a different way of presenting it.

"The result was the ability to activate the power of two scanned Chemy cards as his own technique. Its name, "Platina Shoot Fever"! It has a variety of techniques, including striking attacks from its spiked arms (Saboneedle + Wrestler G), dodging enemy attacks while moving at high speed and firing needle bullets at high speed from its legs (Kaiserbee + Mechanichani), and electric attacks while binding enemies with reinforced webs (Raidenji + Catchula). The more you know about the Chemies, the more excited you become, and their diverse attack styles have captured the hearts of children and won't let go. A new form was born, one that shines with the concept of fighting alongside the Chemies."

Gotcha Youth Alchemy Journal Gotcha Final: The Combination of Hope and Challenge

-Arrow Transformation using the Kaiju Chemy!-

"What were known as the "strongest forms" became a staple during the last half of the show. What was the strongest form that the cheerful and positive high school student Gotcha (obtained)?"

Minato: Since we had Crosshopper and Tenliner, I thought it was possible that the power up item could be a Chemy. Still, I debated until the very last minute on whether or not I should make it the 101st Chemy. This was because at the time of planning, I hadn't decided on what the Summer film would be about yet……Personally, I wanted to save the 101st Chemy for the story in the Summer film. To use Pokemon movies as an example, I was thinking about a story in which the legendary Chemy appears in a similar fashion to "Mewtwo Strikes Back" or "Revelation Lugia." Originally, I was under the impression that the strongest form would likely appear about 40 episodes in. That's when I wondered if it would even be okay to collect all 101 of them. I thought that if it was done in that way, the show would practically be over, right? At the time, there were many parts of the setting that hadn't been decided on. "What should this program do after they're done collecting Chemies?," I hadn't fully figured that out yet. To begin with, 101 is the number that Shirakura advised me to prepare. The idea was to have an extra one in case of any problems, so that we could have more flexibility. That's why we left anything in relation to the 101st Chemy as a mystery. Was it really okay to use it as the final power up? This caused me alot of distress.

Kita: Minato-san wanted something different with the 101st Chemy, so we proceeded to work on the items and forms based on the concept of "all 100 Chemies included."

"He says that this direction was immediately "paused." The reason was that if all the Chemies combined, Gotchard's strongest form wouldn't be able to stand alongside Majade and Valvarad."

Kita: Would something other than the Chemies be better? I tried to design something with the image of a gadget based on "arrows," which had become synonymous with Gotchard, or a gadget that lets you put in all the cards you've collected and use the power of 100 cards, but they were all no good.

Minato: This was just around the time that I came up with the idea of a setting for Daybreak. I thought if I could make the Summer film into a Daybreak story, we could make it work. So, using that process, I decided to put the 101st one on TV. Although, the result was that the last two Chemies caught in the show were Pakuraptor and Ojilacanth (laughs).

"The decision was made to make the 101st Chemy a transformation item, and out of countless concepts, a Kaiju Chemy was chosen. It's appearance looks alot like Gotchard……"

Minato: Its design inherited elements of Gotchard, which reflects the setup that it was born from the Gotchard Driver. It also gives off a special feel when compared to the other Chemies. If it was raised as an egg inside the Gotchard Driver while watching Houtaro's actions, it'd be natural for it to have alot of trust in Houtaro, and it'd be easier to explain in many ways. So, I came up with the idea that Fuga had already placed the 101st inside the Gotchard Driver.

"The Kaiju Chemy is born from the egg thanks to Houtaro's ideals! Transformed by its power, Gotchard's strongest form is……arrows?!"

Kita: The words that came up in our discussions were along the lines of Houtaro's positivity and straightforwardness. So I drew the mask with arrows, Gotchard's symbol, meeting in the middle. Although I got the OK, I wasn't sure if it would actually work as a physical shape, so I decided to do a test by printing it out using a 3D printer.

Minato: I was surprised when I saw the 3D model of the mask. This was because I realized that such a mysterious design was actually possible to produce. I liked the design instantly because it seemed to be a direct expression of Houtaro's positive attitude.

Yamabe: Houtaro has experienced many things since becoming a Rider, so it was as if he had decided on his direction. That's why the arrow is so pronounced in the design. I love that face, because it gives the impression that a beautiful rainbow has formed at the end of the arrows.

Kaneko: The 101st Chemy contains some of the Philosopher's Stone, which explains why the strongest form is in fact the strongest, and I think we got it just right. There's backstory that the perfect form of alchemy is a "rainbow," and I thought the way this was expressed visually was a fantastic design.

"The strongest form, which received great support from the planning team, is called "Rainbow Gotchard"! The dynamic mask structure, which looks different from different angles, is the most energetic and explosive design in the history of Rider designs."

-The Daybreak Alchemist and the Secrets of the Picture Book-

"While it was a traditional Summer film, the decision to have the two Houtaros as the main characters was made very early on."

Minato: When we were in the process of asking DAIGO-san to voice Daybreak in the TV series, I knew that I wanted the next Summer film to focus on Daybreak. I wanted DAIGO-san to appear in the film and show his face. We had just finished filming the Winter film, but we got internal approval early on.

"The Winter film was "Gotchard & Geats." Apparently, deciding on the Summer film's cast before the New Year is unusually fast for a Sunday morning Rider."

Minato: Sometime after the New Year, I had a meeting with the Film Promotion Division and planning team. We were told that the box office revenue of the Winter film was almost the same as the previous film (Geats x Revice). However, looking closer at the details showed that the percentage of attendance for children's tickets had increased. With that being the case, we decided that the Summer film should be a fun, easy to understand movie that families can enjoy together. For the Winter film, we decided to promote the Chemies and put more focus on the Voice Actors. We tried to go in a direction that would appeal to Voice Actor fans who like anime, but it seemed like that wasn't enough, and TV Asahi wanted to supplement that with the guest cast. Based on all these things, we wanted to create an exciting tokusatsu hero action film. We didn't want to create a cluttered and complicated story, but rather, a single theme that would run through the entire film without stopping.

"The meeting also ordered that Gotchard and Daybreak appear in a film only form. In addition, there were even more requests……"

Minato: The Advertising Division asked us if we could bring in someone from the "Legendary cast" in order to appeal to the fan base that had continued to love Kamen Rider. It'd be something similar to the sequence in the Geats Winter film, where the Ryuki cast appeared. We agreed that if we could incorporate Decade, which was the basis for Kamen Rider Legend, into this project, it would be a good idea. That's how we decided on the appearance of Kadoya Tsukasa (Inoue Masahiro).

"The script was entrusted to Hasegawa Keiichi, who also worked on the TV series."

Minato: As for Hasegawa-san, he wanted to make a film that would make people cry. At the time, "Godzilla Minus One" was a huge hit. Hasegawa-san's analysis was that, "Japanese people who were forced to live in hardship after the war rose to their feet, and those kinds of dramas win the hearts of the audience." So I thought, "Let's also do a hero who rises from the ashes."

"The story follows Houtaro as he struggles in the Future World. The world has been taken over by Glion, and his precious friends are already dead. Unsurprisingly, Spanner and Minato are now under Glion's control. They're fake forms, masked with evil. A trap to mentally drain Houtaro……20 years later, the world has become a literal "living hell" for Houtaro. On Christmas Day, when Daybreak showed up to save him, Houtaro was supposed to have been defeated by Glion. To stop that tragedy, Daybreak had come from the future Even though he knew it was futile……."

Minato: I'd been thinking of connecting the "Alchemist of Daybreak" depicted in the picture book with Daybreak, but nothing concrete had been decided at the time of episodes 16 to 18. As I was working on the script for the film, it was Kaneko-san of Ishimori Productions who recommended, "It'd be better to connect it to the past lore, with Daybreak crossing over into the past to become the Alchemist of Daybreak at the end."

"Originally, the "Alchemist of Daybreak" depicted in the picture book is wearing a red hood. However, the picture book that appeared at the end of the film depicted "Shining Daybreak" defeating the Dark King……."

Minato: Strictly speaking, the illustrations of the picture book shouldn't have changed from the "Alchemist of Daybreak" to "Shining Daybreak" in the last part. If Future Houtaro was wearing a red hood, it would cause an unclear outline in the story……The reason why I did it that way is because if he goes back in time and "seals" the Dark King, it wouldn't feel like Daybreak had won. If the story unfolded that way, the history of Houtaro being defeated by Glion and suffering in despair would be repeated all over again. I wanted to put an end to that if possible. This was something that Hasegawa-san suggested. He said that unless I made it something like, "In the end, the Dark King was defeated, and they lived happily ever after," it'd be difficult to convey Daybreak's victory. If it came to that, the foreshadowing in the TV show of the picture book couldn't be resolved, but I thought people would understand that the story, which had been repeating itself, had entered a "new step," so we decided to just go with it.

"In the final scene, the Dark King, defeated by the two Houtaros, travels to a "past without Kamen Riders" to rule the world once more. Daybreak also follows him and travels back to the past. The film ends there……It's a very sharp and brilliant ending."

Minato: It was Hasegawa-san's wish that we didn't depict the battle between Daybreak and the Dark King in the past world. At the time, Matsuura asked Hasegawa-san a question. "It's fine as long as it's depicted that he goes back in time and becomes the Alchemist of Daybreak. But after that, would it be okay for Future Houtaro to return to the future and live with Atropos and Clotho and all the others in a world where the threat has disappeared?" Hasegawa-san said that it would be abit of a stretch to depict what happens after that. He said that it's a beautiful story because it ends with the picture book explaining Daybreak's victory by going back to the past. He said something along the lines of, "This film has many characters, but it's a story about two people, Houtaro and Rinne, so wouldn't it be a wonderful, happy ending if they went to the past together (even though Rinne had passed), defeated the enemy, and lived happily in that world?" I think the quality of the film was enhanced because of that decision. I'm extremely grateful to Hasegawa-san.

"This film is excellent in that it's the "final episode" of the story starring Future Houtaro, but what's even more remarkable is that this film is an important piece that ties the story of Gotchard together. Has there ever been a Kamen Rider film that's so completely linked to the TV series? "Kamen Rider Den-O: Ore, Tanjou!" (2007) was in a similar position, but it didn't leave such a deep impact on the overall story. Of course, there's a reason for this. The theory has always been that a film of a TV series should be considered "outside content." This is because it was believed that the content needed to be understandable to first time audience members who went to the theaters. However, in the age where the streaming environment has improved to the point where people can access old and new content as soon as they're interested, can this still be called a "theory" today? This truly "Gotcha" film attempts to break away from conventional thinking, and is also a "challenge" that presents a new form of Kamen Rider films in the age of distribution."

-Arrogant Gods and Homunculi Deception-

"As he works towards becoming a great alchemist, and to live in harmony with the Chemies, an enemy stands in Houtaro's way…was it the three Dark Kings? Or perhaps, Glion?"

Minato: At first, I thought of the Alchemys Union as the final boss. The reason why I didn't set up an enemy during the early stages of planning was because the enemy that the main character's were expected to fight were the higher ups of the organization. In a Rider's sence, it's "The Dark Society Gorgom." It's an evil that's skillfully infiltrated our society.

"The Dark Society Gorgom is an enemy organization that appears in Kamen Rider Black (1987). Their setup is that powerful political and business leaders and scientists were controlling the world of its members from behind the scenes."

Minato: The higher ups of the Alchemys Union have taken over the world from behind the scenes. That's why all they want is for the world to continue as it is. They don't want change. I had envisioned "the old" as the enemy and theme of the show, which is why I was thinking of such a structure. However, with the creation of the characters I called the Three Dark Sisters, the Alchemys Union was no longer the distinct enemy of the main characters. Instead, Glion and the Dark Kings were created. They were, as one would say, the founders of the Alchemys Union. In other words, they are the symbols of gerontocracy. They're like the ancestors of the old, desperate to preserve their own self interests.

Kaneko: Houtaro and the other youths are trying to move into the future through repeated trial and error. On the flip side, the Dark Kings don't want to think about the future, nor do they feel there's any need to. They're fine with the way things currently are. They believe that things will come to an end gracefully. That's why they're seeking "unending stillness." Glion was simply following those words. His "Golden Paradise" was just a simple way of saying that, but it may have been difficult for viewers to understand, in part due to our lack of explanation.

Yamabe: The Dark Kings were the ones that created Glion. They were originally human, so even though they said that as an analogy when they created Glion, with him being a homunculus, he was honestly trying to make it a realization.

"In other words, Glion, who was created by the Dark Kings, couldn't go beyond being their puppet, even though he saw the Dark Kings as his enemy."

Minato: Eventually, the younger generation who suffer from the burdens of the old won't be able to retort, and will just accept things as they are. As they grow older, they'll eventually find themselves in a similar position, becoming a burden on others, although it might be hard for them to notice.

"Glion's existence is also placed in this chain of events. Meanwhile, Glion's creators the three Dark Kings, or in other words, the ancestors of the old, also have a profound position."

Minato: Gigist likes to act like he "understands everything about humans." This is a metaphor for "thinking you know everything." Gaelijah says to "leave things to fate," which also means to "avoid your responsibilities." As Germain's "I love you" expression suggests, he thinks of himself as a "superior being" to humans. They all think that they're of a higher class compared to everyone else. Each and every one of them are "old."

"Although the Dark Kings expressions are pleasant and sound humble, they all have a hint of arrogance behind them."

Minato: The ones they must stand up to are those who have created the ruling structure of this world. By overlapping this with the Dark Kings, I wanted to depict a confrontation between youths and adults, between change and stagnation, and other issues like that throughout the story. However, the main focus isn't on battles, but on "Gotcha" (obtaining). I tried to keep that in mind as I worked on the story.

"A story of young confronting the old…….It's an unexpected theme, but from that perspective, the final battle between Glion and Houtaro can be seen as the culmination of all of this. Glion, who's turned the city and its people into gold, finally uses his golden technique on Houtaro, but for some reason, Houtaro can still move while in this golden form……"

Kaneko: Glion's gold making technique was actually just making things gold plated. It's simply a deception. The story goes that Glion can't make real gold. Glion is confronted by Houtaro with the truth. That his alchemy isn't perfect. Glion thought he was perfect. He had all the materials and knew how to do it. But when he tried, it was gold plated. He thought he had everything ready, but just about everything was missing.

"Come to think of it, Glion was always imperfect. Kamen Rider Eld appeared before Houtaro. Kamen Rider Dorado controlled the future world. Both were the transformed forms of two Glion's from different timelines, but the former could only produce fake gold plating, while the latter was merely a puppet for the Dark Kings. I guess that means the road to "El Dorado (Golden Paradise)" that Glion was looking for was just a fleeting illusion……"

-Houtaro's father and the adults who entrust-

"This production is also a story about young people breaking away from stereotypes and what's accepted to be common sense."

Yamabe: Alchemy has a history going back to ancient times, right? Its rules seem to be very strict, and we initially thought of a development where an amateur like Houtaro would come along and cause reforment with sound arguments like, "Isn't this what it's all about?" The fact that the people in the Alchemys Union shifted their blame and ran away from the situation was included as a way of portraying the old.

Kaneko: The Alchemys Union isn't an organization that gathers in a specific place and works on things collectively. They're scattered all over the world, each having their own profession and doing alchemy behind the scenes. They're what we'd call a "secret society." It's also because of that kind of set up that it's hard to see the full picture. They're the people at the top of the world's hierarchy, those who'll forever cling onto their status and reputation. In many ways, they're "people who have stopped growing up" and "people who undermine the youth." Those at the top don't take any responsibility, but they won't hesitate to say things like, "I don't know. You'll have to handle it on set" (bitter smile). They also don't take charge. They're positioned as people who seem to possess authority, but no one knows why they have it. Houtaro doesn't care about people like that. He doesn't pay attention to them, almost as if to say, "Huh, so there are people like that." Minato Sensei and Kyoka-san would have displeased looks on their faces as he resolved the situation at hand, but he would only wonder why they were making those faces. That's the kind of hero I was looking for in Houtaro.

"Houtaro's an easygoing high school student that can be found just about anywhere, but he's quite unusual for the main character of a hero production."

Minato: In the very beginning of the show, Spanner was working under Kyoka's directions, but initially, I hadn't made any decisions regarding who would become this character. There was even a time when I was thinking of making Glion the person giving instructions to Spanner. His superior's a bad guy, so Spanner would express hostility towards him. There'd be a development where he abandons his previous beliefs that he was on the side of the organization and becomes a Kamen Rider. I once thought, "What if Spanner's true identity was that he's a homunculus?" Learning such a fact would bother him like, "What has my life been up to this point?" But then again, a Chemy is a homunculus, isn't it? Since Houtaro's a Chemy loving character, it wouldn't shock him if Spanner were a homunculus. He'd be like, "I'm totally okay with that!" (laughs). He wouldn't mind. That's when I felt that it'd be better to go ahead with Spanner being human. That's how it happened.

"Houtaro's appeal lies in his generosity and tolerance caused by his carefree personality. It's strange how amazing it is that Houtaro's able to do something like that."

Minato: When the program first started, some people said they didn't understand why a young man named Houtaro wanted to pursue something called "Gotcha." What I was considering here was the presence of Houtaro's father. His father is an adventurer, and despite being an adult, he's a man who still travels the world in search of "Gotcha" (obtaining). That's why he never comes home (laughs). However, the son would grow up to be a boy who aspires to Gotcha just like his father. That's how I thought of it. Maybe I could've let Houtaro and his mother explain that alittle more.

Yamabe: Why did Houtaro go to the Ouroboros Realm to play as a child? It's not depicted, but I've always wondered if his father made a hole that led there. I think we could've tried to do a story where he's acquainted with Fuga……but we put it off because it would've been the start of yet another story. If we wanted to do it in a V-Cinext or through Youtube, we could, but to be honest, we just left things as they were.

"While the father isn't fully explored, his character as an adult seeking to Gotcha is pretty fresh in the context of this production."

Minato: The reason I didn't have the father appear, or rather, hesitated to include him, is because Gotchard is a show about fighting against the old. In other words, I didn't want to show the existence of adults who had "obtained." I wanted to depict all adults as old as much as I could. If the father who continued to Gotcha appeared, the theme of the program would be affected.

"Still, there are some reliable adults that appear throughout the show. There's Fuga, Kyoka, and Minato. Houtaro's mother (Ichinose Tamami) is also one of them."

Minato: This is because they're "adults who have entrusted themselves to the youth." They think that adults who decide to concede to the youth are good adults.

"Ichinose Tamami to Houtaro, Fuga to Rinne, and Kyoka to Spanner, each and every one of them is an "adult" who entrusts themselves to them. To entrust is to believe. This is why they're portrayed as good people for the youth."

Minato: The reason why Minato Sensei surrendered to Glion's forces and went to the enemy's side was because he felt that he "couldn't entrust" himself to Houtaro and the other youths. The incident 10 years ago made him make that decision. Minato chose the "safe side." He advised them to stay away from him because it was dangerous. There's an adult's logic to that. However, after everything that's happened, he got over that trauma and decided to trust Houtaro and the others, so he left the Alchemys Union and returned to the youths.

Yamabe: In that regard, Spanner was on the old's side at first. His elite mindset also contributed to him rejecting Houtaro, even though he's young. But, he eventually changed, trusted Houtaro and the others, and became his friend.

"This means that Future Houtaro, who appeared in the Summer film, was also considered old."

Yamabe: Having lost many friends and living in despair, Future Houtaro was looking for a place to die. Then, present day Houtaro appears and gives him angry encouragement. Seeing his younger self genuinely pushing forward strengthens his decision to fight together. He's determined to fight alongside him. He Gotcha (obtained) all over again.

"As Future Houtaro crosses over into the past, a new world line is created for present day Houtaro. Although the events took place in a different timeline, there's a world where his friends who should've died are still alive and well. This new world, which he had seized through his own decisions and actions……is what gave hope to Future Houtaro. Freed from the nightmare that happened 20 years prior, Future Houtaro forgives himself and was finally saved. The harm caused by the old isn't something that comes only from age or position. It's the refusal to accept new ideas, being bound by past experiences. It's about not taking a new step forward. Challenge is the key to the future, and only progress can be the light that leads us to what's beyond."

-Kamen Rider from a Business Perspective-

"Houtaro saves the world from Glion's plan, and even creates another Earth through alchemy for the Chemies to live on. The story ended with Houtaro showing us a glimpse of being a great alchemist……The days with Gotchard were now told……"I wanted to make a program that would convey the excitement I felt when I watched Agito during my first year of middle school." This was what Toei's Minato Yosuke, the Chief Producer responsible for the project, had said."

Minato: I feel that the Kamen Rider series, especially those produced during the Heisei era, have their own "strengths and weaknesses." The appeal of the series is that each year's unique worldview isn't connected, but on the other hand, I think the fact that the series ends after only one year reveals its character's weaknesses. At first I thought, "What is this?," but after five years of continuous production, the program "Paw Patrol" has become overwhelmingly popular among preschool aged children. I think one of the reasons is that it's been running for five years. If Gotchard continued for another five years, it could possibly surpass Paw Patrol in recognition. Because it's something that children can enjoy for a long time, their parents feel that it won't hurt to buy products related to the show for them. I can understand why parents would think it'd be a waste if they knew that another new program would start next year. I think times are changing in that way. I was also thinking about the question, "Should the character change every year?" When Heisei Rider started, it was probably nice to have a format where the characters changed every year, but I wonder if it's a good fit currently. Along with streaming services and Youtube becoming more normalized, the viewing environment is changing. I feel that our past successes are holding us back, or that we're not adapting to these changes. The strategy is to start a new program every September and have people buy a new transformation belt in time for Christmas. In an age where there's so much content available, is this really a good mindset to have? I've been thinking about that for alittle over a year.

"Bandai's Terakawa Ryo, who was involved in the development of the toys, weighs in on the importance of Kamen Rider's content."

Terakawa: When overlooking the toys, while the adult fans of Geats were excited, there was a point where the popularity among children stagnated. Currently, there are many products of the Kamen Rider characters that are aimed at adults. CSM and S.H.Figuarts are typical examples, but I think this business is only possible because the people who buy these products were exposed to these shows in their childhood and still love the characters. The Legend Chemy cards and Kamen Rider Legend were aimed at those adult fans. In order to increase the number of similar customers who'll continue to love Kamen Rider for a long time, I have a desire to help make the project more exciting for today's children. This production made me think more than ever about making shows and toys that children will love.

"Kamen Rider, a program aired on Sunday mornings, is an important "touch point" between today's children and the Kamen Rider IP. In the current age of streaming, the archive of Kamen Rider, including its past shows, is huge, but there are many rival shows. How to attract attention and increase popularity among them is a long term challenge for the future."

-Gotcha all around the World!-

"Although this production aimed to regain popularity among children, its style was too child oriented, which resulted in the alienation of the adult generation of fans. As discussed in Gotcha 3's "Daybreak Incident," the impact was so great, that they had to quickly introduce a new character. Yamabe Koichi of Ishimori Productions, who has overseen the setting of the Rider series for many years, opened his remarks with deep emotion."

Yamabe: This is well known among fans of the Showa era, but in the first "Kamen Rider" (1971), the lead actor Fujioka Hiroshi-san was injured during filming, which resulted in him being unable to perform. Normally, there would've been two choices. Either the show would end or another actor would take over the role, but the staff at that time came up with a new character, that being Kamen Rider No. 2. Amazingly, the program became even more popular. I believe that the Kamen Rider series was founded on the spirit of doing something in a pinch. Just like with Daybreak in this show, it gave me a strange sensation, like there was some kind of invisible force at work

Minato: This was my first time as Chief, but when making a program, there are times when you have to take risks. After all, everyone wants to be happy. That's why I think I learned that if you can make your "opponent" happy, you can win. Any proposal that makes the other person unhappy will only result in a "battle" and both sides "covered in blood." Even if my demands were met, I'd be unhappy too. I thought that in order to meet my own demands, I also need to be mindful of meeting the other's demands. If you think about it, it's the same thing that Shirakura's been doing up to now. "The show was a hit, don't you think?," and then it all works out peacefully. I'd have talks with Bandai, TV stations, and other relevant entities to explain my vision to them, saying, "I think this development will definitely be more interesting and will make the show more exciting, so I'll try to make it happen!" In someway or another, I managed to convince them, and I'm glad that it all worked out in the end. I'm grateful to all the staff members who came up with this type of arrangement, and to all the companies involved for accepting my plans.

"Kaneko Shinichi participated in the project as Ishimori Production's Literary Director. "It's become a lovable production," he said with a smile."

Kaneko: Many of them are young, including the three Producers Minato-san, Matsuura-san, and Harashima-san, as well as the Screenwriters. I think it was a year in which I learned alot about their new ways of thinking. For example, when you build a house, the theory is that you first lay down the foundation and then construct the exterior walls, right? Instead, it felt like we started with the roof and then raised up the pillars (laughs). And, it's really unstable, crap, we have to lay a foundation. So, we laid down a foundation, but it started to lean because we still didn't build any walls. I hope I conveyed that right (laughs). I've never done it that way before. But it was a really good experience. Should I have just said that the way it's put together was different…..? It may sound odd to say, but I think that nothing more may happen in the future. Including myself, there were parts that were too much and parts that we were unfamiliar with, so I think it's important to strike a good balance. I think this was a production that really left a strong impression on me. The pains of creating, and the joys of creating, things like that came in waves. And, it happened every episode (laughs). I've never experienced that before. For example, I had my own interpretation of what things Houtaro would say, and we talked about it during meetings, but then someone else would say, "Well, I'm sure someone Houtaro's age wouldn't think too much about that." I thought, "I see." When I was his age, I used to think about things deeply, or take it in a twisted way, but children today are different. I think Motojima-kun's character is one of them, but there were many things that made sense to me, things which were definitely typical of Houtaro. I found that really strange. Of course, there are differences among the younger generation, the way they approach things and the way they respond to things is different. I think that happened within Gotchard many times. It was a show that allowed me to experience things I had never experienced before, and I personally learned alot from it.

"PLEX's Kita Tojun, the design team leader for this production, said that the amount of designs had his eyes spinning."

Kita: This time, I designed many different types of Chemies, and there were 101 of them. Of course there were the designs, but the process of drawing each of them for the cards was also enormous. The Rider's mask was displayed on the back of the card, so the mask had to be designed at the same time. First of all, this was for 50 of them. We got through it with the help of Designers who weren't apart of the Rider team. In addition, I was also asked to design the illustrations and Chemies for the Legend Rider version of cards that were added to the collection. It was completed in part to having the company help put on the finishing touches. They then needed me to draw additional illustrations for the rare parallel cards……I was in a situation where I couldn't finish no matter how many drawings I did. It was really challenging. And it didn't end there, as I had to create full body designs for all the forms used in the app…..There were about 50 of those……I designed and illustrated so many Chemies, that I thought it would never end.

Terakawa: First off, I'd like to thank the design team at PLEX. This production allowed me to experience firsthand how a show progressed and developed. The process of bringing the "Chemies," who were at first mysterious illustrations, to life and gain popularity within the show was an exciting experience. Dozens, even hundreds of people do their very best to make Rider items, right? It was such a big project, that I was afraid to talk about it alone, and because of my inexperience, I spent alot of time wondering and worrying about it. The number of cards was quite large, and the management, as well as debugging work, was enormous, but everyone on the team worked hard together. Despite the difficulties we faced as creators, it was a memorable work that we all overcame together.

"For Chief Producer Minato, Gotchard wasn't only a show for the Japanese market, but for the international market as well."

Minato: Gotchard was designed to be an easy to understand and enjoyable show for children to watch every week. I made this show with the vision of making it understandable to children all over the world. This had something to do with the fact that the items are inexpensive cards that can be picked up by anyone and are linked to each other. I think that if a child gets even one Chemy card, it could be the beginning of their love for Kamen Rider. I hope that the number of people who watch Kamen Rider will grow on a global scale through the increase of experiences like that. I made Gotchard with that kind of spirit, as I wanted it to take on that kind of responsibility. So, I personally believe that the true assessment of Gotchard hasn't been made yet. Its outcome will be seen further ahead in the future. That's what I'm thinking. There's a show called "Voltes V Legacy" that was made in the Philippines, and it was made due to the passionate love for the original TV anime "Chodenji Machine Voltes V" (1977). The love of the fans brought the show back to life in the modern age. Learning about the Filipino Director's thoughts and feelings made me want to cry. That's why, let's say 20 years from now, if a foreigner said to me, "I loved Gotchard when I was younger," I might cry (laughs).

"The fact that the main character uses the English phrase "Gotcha!" was also done in anticipation of this kind of international expansion. I want you to imagine. Imagine that when children all over the world become adults, Gotchard items for adults will be on sale everywhere around the world, and they'll be playing with them. The future where children from all over the world will be shouting "Gotcha!" will be here soon enough."

-Gotchard Hymn-

Houtaro uses alchemy to create another Earth in order to move the Chemies there. Although the ending is absurd, it can be said that it's a typical characteristic of this show.

I won't say that it was a flawless show. It had its faults and shortcomings.

It had many weak points.

However, even after removing these complaints, there's still a sense of exhilaration that remains……That's what Gotchard definitely had. There are things that can only come from challenges. It was Gotchard that taught me that.

"Ichinose!" "Kudo!"

Two high school students who never called each other by their first names. A precious time, like a jewel box containing the brilliance of youth. The Kamen Rider born in the year 2023 depicts young people who never gave up and continued to challenge themselves despite their failures. Their never ending search for answers and their constant drive brought a bright light to these uncertain times.

This show was a story about the Chemy cards. There have been so many Rider productions, and they must've left a mark on the viewers hearts and minds. If each of these stories were sealed onto cards, what would they say?

What would be written on Gotchard's card?

"I'm Ichinose Houtaro! I'm a great alchemist who'll build the future world!"

A youth Rider who becomes stronger through support……

That's what we love about Gotchard.

[toskarin]

Since Bethesda was so insistent on moving away from Morrowind's combat system for Oblivion and Skyrim, what would you have replaced it with?

contrary to what it might seem, I don't think replacing the skyrim combat system wholesale with sekiro or dark souls is really a viable solution to the problem, because it's fun for a mod load order, but it definitely makes the game feel unskyrim

so I'd approach this more from the angle of "what needs to be added to fill the void left behind by the simplified combat"

design rambles below the break. this is less of me offering actual solutions and more of me just saying what I'd do if I were given all the resources and executive power in the world for it, from an armchair. and it goes without saying these are all just Opinions

one of the largest basic design issues with modern bethesda melee combat is that it's tied really hard into melee being a single button input. if they want to stick with that, they should at least implement directional attacks and blocking (which I'll mention now is not something new for TES) with a simple aiming scheme, possibly similar to mount&blade's

stealing something else from m&b while I'm at it, two attacks colliding from the same direction within a tight frame window should clash

enemies need to have attacks you don't want to get hit by. somewhere in their list of moves, enemies need to do something different that necessitates either dodging, blocking, or otherwise reacting in any way. they also need to gapclose, but that's a given

healing consumables need to have a cooldown. as funny as cramming items in your face by the stack during combat is, it's a bandaid to an enormous design flaw in melee combat not being interesting. if you really wanted, you could keep some of that flow by having a skill for mixing preexisting potions together into single doses

addendum to that previous point, players should have a hotbar that allows lower cooldown consumption of certain items, which cannot be reconfigured in combat

magic needs to be stronger and riskier. heavy armour should eat into your damage and efficiency significantly, medium armour should do it just a little bit, and casting past your magicka pool should start consuming health at twice the rate it consumes magicka

blocking should have a higher damage reduction cap (it is currently 85%-95% DR depending on armour) but scale depending on how precisely you block an attack and eat into your stamina much more (with a stagger at zero, to steal another mechanic)

as they are, the entire shout system is a symptom of bad design. having a cooldown-based system that gives non-magic characters spells removes the strongest incentive to play magic characters. I'm actually not sure what to even do about this one that doesn't involve cutting all of the overlapping skills and keeping its focus on weird utilities? as a rule, I kind of hate every gameplay concept that uses "this is something only the player can do" as its skeleton, so this is a tough one for me to poke at

hitstop

[elendsessor]

a couple minor mechanics from the old old gen games i would like to see again are easter egg monsters and starving wolf strats

the latter is technically from frontier but because it got its start as a gen 2 game, has a lot of the same jank, and is forever blessed with goblin raths, yeah i think it counts.

starving wolf was an equivalent to heroics but for stamina. would be harder to set up due to how cooking works now, especially since the negative impacts on health and stamina based on weather remain in dos and frontier, but it was genuinely cool to see what speedrunners could pull off. a ton of moves use stamina, and even with frontier zz’s endgame consisting of a lot of countering, it still was an interesting challenge due to the penalties. combining it with heroics is busted (though i don’t remember if they stack or not), but it still requires skill to maximize possibilities with it without getting hit once or fully depleting stamina.

there was the starving wolf pot item that got you down to low stamina so that could be implemented as a farmable/craftable item, or it could be transferred to a mantle or armor set.

the former related to that of mhfu’s queen vespoid and king shakalaka. queen vespoid wasn’t exactly a winner but the king shakalaka is both fun and brutal. especially with old gen hitboxes being the way they were and shakalakas constantly landing crits, YEAH. it’s at least interesting to see smaller monsters become a challenge. both had their own unique quests but in order to fight them you’d have to kill a set number of small monsters (vespoid and shakalaka respectively).

king shakalaka was technically referenced with the king gajalaka or whatever it’s called but that was more of an ambient monster you couldn’t truly interact with.

tri/3u had something similar to easter egg monsters with the different seasons in moga woods. breeding season saw a giant aptonoth appearing, so while not truly a fight, the idea of having a special version of a small monster appear was played around with a bit.

the special monsters are definitely the likelier choice. i’m surprised capcom hasn’t attempted something similar in wilds now that seasons have returned. small monster populations fluctuate based on weather but they don’t truly vary, especially now that dromes seem to be getting phased out.

in general there’s plenty of mechanics that haven’t made a return, mainline or otherwise, but with lessening limitations on what can and can’t be implemented—plus the dna taken from dos (which 4u is a sequel to so yes it can still happen)—some further exploration of pre-existing concepts should be given a shot.

[sacredfixation]

Mobius files a report on the misuse of the metaphor kit he gave Loki

TVA REPORT – INCIDENT #58738:

Distribution and misuse of Dedicated Metaphor Kit, a Post-Incident Analysis

Filed by: Agent Mobius M. Mobius

Date: [REDACTED]

Subject: Laufeyson, Loki

Incident Summary:

Following a series of disruptions, including but not limited to the unauthorized confiscation of my lunch (henceforth referred to as The Salad Incident), a decision was made to provide Loki with a “Metaphor Kit.” The kit was intended as a pedagogical tool, designed to aid the Variant in understanding abstract concepts without resorting to the destruction of personal property. Items included:

• One (1) foam apple (temptation)

• One (1) rubber frog (chaotic leaps into action)

• One (1) small sand timer (time management and consequences)

• One (1) rubber chicken (disruption and disorder)

The kit was presented to the Variant under strict guidelines for appropriate use, which were immediately ignored.

Immediate Outcome:

• Loki expressed initial amusement, followed by sustained misuse of the provided materials.

• The foam apple became a recurring prop during mission debriefs, often accompanied by sarcastic monologues.

• The sand timer was repeatedly flipped during tense moments, exacerbating existing tensions in high-pressure situations.

• The rubber chicken was deployed in multiple inappropriate contexts, including as a distraction during a classified briefing.

• The rubber frog was used symbolically to mock my efforts at maintaining order, culminating in an unauthorized “leap” onto my desk during work hours.

Impact on Agent Mobius:

• Emotional Toll: Elevated stress levels resulting from constant ridicule and prop-related disruptions.

• Workplace Disruption: Significant time lost attempting to refocus Loki after metaphor kit-related antics.

• Personal Well-being: Persistent headaches reported, likely caused by repeated interactions with the rubber chicken.

Recommendations:

1. Discontinue the use of metaphor kits with Loki

2. Institute a stricter no-prop policy during debriefings.

3. Consider mandatory “Respecting Personal Space and Property” workshops for Loki.

4. Implement mandatory approval process for new teaching methods

Any future attempts to introduce non-standard educational tools or methods to Loki should require pre-approval from senior TVA staff, preferably after thorough risk assessment.

5. Establish designated metaphor-free zones

Common areas such as the cafeteria, briefing rooms, and hallways should be designated as metaphor-free zones to prevent Loki from staging impromptu ‘lessons.’

6. Introduce a post-incident recovery protocol for affected agents

Several agents expressed confusion and mild existential distress following Loki’s metaphor lessons. Consider introducing a support group or brief counseling sessions for agents exposed to prolonged philosophical ramblings.

7. Avoid future attempts to teach Loki lessons through tangible items, this approach is prone to backfire in unpredictable and highly irritating ways.

Agent Commentary:

I initially believed that providing Loki with a non-consumable, symbolic toolset would curb his tendency to disrupt order. Instead, I inadvertently handed him an arsenal of chaos disguised as learning aids. Loki now considers himself a ‘Master of Metaphors’ and insists on offering unsolicited ‘lessons’ to fellow agents, turning the office into something resembling a chaotic philosophy seminar. In hindsight, expecting Loki to handle anything with seriousness was a lapse in judgment. I regret everything.

Conclusion:

This experiment has proven that attempting to outsmart Loki Laufeyson with symbolic gestures or educational tools is futile. Future containment strategies should prioritize direct action over clever solutions. Attempts at intellectual engagement will inevitably lead to frustration, chaos, and, in my case, severe metaphor-induced migraines.

End of Report

[traderotales]

Souls of Black | Small Worldbuilding Things I Like :)

For any newcomers, Souls of Black is my Minecraft inspired fantasy story, and I wanted to share some smaller worldbuilding things that I like <3 Enjoy!

Some important concepts will be linked to posts further elaborating on them.

Time

Days are made up of 21 hours, with an eleventh hour in the center! There are 8 days in a week, and each month has 4 weeks, with the two center days typically being for religious ceremonies for those that practice. There are 11 months total in a year, giving a total of 352 days :)

The sun rises in the west and sets in the east.

The world maaaybe has 2 moons? I like multiple moons, but haven't solidly implemented it yet. So its a maybe right now lol

Items

People often write in squid ink– on signs, in books– with feathers/quills. Mostly these are chicken feathers, but owning the feather of a crow is seen as almost a luxury, as crows are harder to find and usually harder to hunt and kill due to their intelligence. The ink is stored in small glass jars. With books and journals, the ink jar and quill summon alongside the journal. When signs are crafted, one must go and find ink to write on it.

Potions can come in two forms: drinkable, and splash. Drinkable potions are shaped like normal glass bottles with rounded bottoms (though the very bottom is flat to be able to set it down) while splash potions have triangular bottoms. Drinkable potions, when broken, spill like normal liquids. Splash potions, however, send up a mist variant of the potion, that gives the effect when breathed in. When the effect is taken, streams of the same colored mist steam from the affected individual. Potions like regeneration actually heal wounds, while health potions are a burst of adrenaline. Negative splash potions are usually thrown at the target, as the glass shards add more damage, while positive splash potions are typically thrown at the ground.

Diluted forms of potions (via water) can be used for two things– staining weapons, or alcohol. Diluted forms of potions can be coated along weapon blades, diluted as to not corrode the blades, and are most commonly used as torture tools. On the other end of the spectrum, diluted potions can be blended with other ingredients to make an intoxicating yet flavorful array of beverages– or, alcohol. Alcohol can also be made via fermentation of things like wheat or potatoes, or even fruit like apples. Golden apples are trickier to make into alcohol, but when done it is heavily sought after, leading it to be more expensive.

Dyed sheep have the colored dye smeared along their wool, giving a sign they were unnaturally dyed. Naturally colored sheep have no such dyes in their wool, and thus are more special.

Music discs have their names carved around their centers. Jukeboxes work in such a way that, when not in use, the top is smooth and flush. A disc can be pressed into the top, and a disc-shaped section of the top lowers to allow the disc to rest within the top of the jukebox. A pole stays stationary in the center, and out of it pops a circle to keep the disc in place. The needle atop the jukebox can then be moved and set atop the disc to play it. When pressed down upon, the disc pops into the air as it ejects.

Naming weapons takes some Soul, as you are renaming the universal name of the item, the name that The Black knows it by. When named, the new name is carved into the blade of the weapon. The more powerful the weapon the more Soul it takes to rename it.

Enchantments, typically of higher levels, can leave scars on people after they reform– usually one where they were killed with it.

Sticks can look like the various tree textures and aren't just normal sticks, only becoming the brown ones in game when crafted into tools. Some woods might even be tougher or more malleable than others. One of the tougher wood types is dark oak, due to the trees having thick trunks.

Climate

Climate tends to change depending on what biome you’re currently standing in. The Jungle is more humid and wet, the Plains are often more breezy and open, the Tundra is colder and has more snow. The shift from one biome to another often has irregular and more harsh weather patterns, combining the weather of the two biomes in a fury of unpredictability and chaos. Sometimes these patterns, called stormbursts, can become even more powerful and dangerous, and can shift into one biome entirely and wage there up for weeks nonstop as it crosses over. Usually, however, they are calmer where similar biome atmosphere meets, but they are still dangerous.

Stormbursts between hot and cold Biomes (namely on the border between the Taiga and Savannah) have the ability to commonly generate large tornadoes with high winds. Sometimes these tornadoes can mix with regular lightning storms, creating lightning tornadoes.

Culture

People often draw with charcoal and finalize shapes with squid ink. Painting is common as well– canvases made of sheep wool and spider string are used, and squid ink can be dyed, or water can be tainted with dyes to achieve watercolor. People can also sculpt out of clay, or even stone.

Instruments are wooden, and often found are stringed (with spider string), woodwinds, and percussion instruments.

There are a few games people have created, moreso for the purpose of betting and earning money than fun. A main one I enjoy is called Codes. In it, each player starts out with 4 tiles, representing the Four Paradigm Codes that people have instilled into them by The Black. These Paradigms however have long since been twisted to justify people's horrible selfish actions. Despite that, the Paradigms have a rock-paper-scissors dynamic among them, and players put a tile from their side in the center of the table. Whoever has the winning tile takes both, and gradually gains more throughout the match. Whoever manages to take the others' entire tile set, wins! Thus being, someone seen with a lot of Codes tiles is usually seen as someone you don't wanna go up again in the game.

Let me know which one interests you or you enjoyed the most! Thanks for reading :)

Tag List

@chaos-ducks

@goblinwithaproblem

@theonlyivy838

@ultimatewildcard

If you'd like to be added to the tag list to get Souls of Black updates, feel free to ask!

[loraluna]

Rating Rune Factory Children

(Because I play favorites)

Rune Factory (1)

1/10

Cute but not much else to say. You have to wait a ridiculous amount of in-game time to get one short cutscene meeting your genderless nameless child (Game doesn't even bother to give them pronouns) and then never get to interact with them again. Disappointing.

Rune Factory 2

8/10

A unique idea that the series has yet to implement again, this game let you play through the second half of the game AS your child from the first half, and honestly It was a cool concept even if the gameplay got a little wonky and unbalanced near the end. The game also introduced the first female protagonist to the series, Aria (left). She and her twin Aaron (right) actually had some personality of their own and even had unique interactions with the other villagers and children of the town. Cool concept and solid designs. I just wish you could interact with them a little more as a parent before the timeskip.

Rune Factory Frontier

7/10

I may be a little biased here, as this was my intro to Rune Factory, but I love these kids. Default names; Leif and Leona, are the first, and so far only, RF children you can interact with at multiple stages, these kids have several cutscenes documenting different milestones and are quite cute to watch. Once they reach the final stage, they don't do much besides toddle around the farm and look cute. You can gift them certain items but that's about it. Still, It's refreshing to watch your kid grow over time as opposed to the usual montage you get with RF kids.

Rune Factory 3/ Rune Factory 3 Special

3/10

They get bonus points for being the first in the series to let you have multiple kids (up to three) problem is, there's not much difference between em. The birth of each one plays about the same and while there's technically some different "personalities" it's more like each kid get a random lot of four or so unique lines of dialogue and that's it. There are also just the two sprites so if you have two or more of either gender they'll be identical, no matter the age difference. You can't gift them and they don't sleep, leave the house or even show up on the map. Honestly they're little more than cute house accessories.

Rune Factory Tides of Destiny/ Rune Factory Oceans

4/10

First off, please pardon the crappy quality. This game doesn't have traditional character portraits so it's hard to find decent quality pics. Tides of Destiny kiddos were the first in the series to inherit physical features from the player's spouse. (Pictured are Electra's daughter and Sonja's son) They appear to use the same child models as Frontier with some minor cosmetic changes but I liked Frontier's kids so no complaints there. I do wish they had real portraits and more dialogue but they're okay. At least they'll accept gifts and the events leading up to their births are quite wholesome.

Rune Factory 4/Rune Factory 4 Special

9/10

RF4's kids are darn near perfect. Luna and Noel have identical dialogue but they have more to say than any RF kids before or possibly since. There are TONS of unique exchanges and events with them, they participate in festivals, and most interesting of all, you can equip them with gear and take them adventuring! These babies are really something special. If I had to pick one complaint, I'd say I wish they looked liiiittle more like their concept art. They look like they both got aged up a little, which isn't bad but they do look barely younger than some of their possible parents...

Rune Factory 5

9.5/10

Rune Factory 5's children are right up there with Noel and Luna, but they get a slight advantage when it comes to customization. Like RF3 this game lets you have up to three kids, but unlike that game, these kiddos are treated like actual characters. Depending on your choice of spouse and your answers in a particular conversation, your kids can have a variety of looks and personalities, including the fan favorite feature of inheriting hair and eye colors from the spouse, and continuing along that customization train, these babies can once again go adventuring! My one, one small gripe...It'd be nice if your eldest could grow a little by the time their siblings are born. Heck, it'd be cool if the villagers kids could grow too. I'd love to see teenaged Julian and Hina~

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

So there's my thoughts on the Rune Factory children. I hope future installments continue the trend of more giving their kids more personality and better customization, maybe someday we'll even see kiddos inherit traits from non-human parents? How cool would that be if your kid could actually look half elf or mermaid or furry wereanimal? XD

If you agree with me (or strongly disagree) feel free to comment. Always up for discussing my favorite franchise~

[willowtron]

KCD1 steam review that went over the character limit

I was originally going to wait until I'd played KCD2 until I made a final decision, but after having replayed much of this on Hardcore and with absolute confirmation that there'll be no transfer of save profiles, I don't really see a point in waiting.

KCD1 was, largely, a proof of concept; and it shows. Even years after release there are some quests that are IMMENSELY buggy, to the point where portions of the game become unplayable if you make some (very easy to make) "mistakes" in the way you approach certain quests - if you don't want to cross-reference with the wiki to make sure you don't routinely lose hours of progress, then read no further.

Aside from the truly game-breaking bugs, KCD1 is also rife with just… jank. it is a game that is utterly lacking in cze- sorry, polish. Animations, both body and facial, can look goofy and amateurish; movement oftentimes feels clunky, especially on horseback and while crouching; many of the ways you interact with the world (brewing potions, picking up items, talking with other characters) have needlessly long single-animations, that Might make you feel more immersed, but usually just feel repetitive and out-of-place. Need to both boil water, and turn a sandglass? Unfortunately Henry is utterly incapable of using his peripheral vision and must look directly at everything he's doing at all times, so that's not possible.

Your body in-game rarely feels like an extension of your own limbs and capabilities; anything taller than an inch must be jumped over, and unless the obstacle is tall enough for the same "mantle" animation to play, you'll do a full-height squat jump every single time you need to traverse a small rock or plank. If you're crouching and walking, expect to get stuck on every single little thing, even the ones that are invisible. Some trees and shrubs can be walked through, others not, it's not always clear which is which - bad news if you're on horseback! Now you've fallen off and hit your head, idiot. These little examples of feeling like a human piloting a character, rather than feeling immersed as a human within the world, are the main things that really break KCD's spell; the game is Gorgeous, and when you just… stand there, and admire it, you really do start to feel pulled in. But then some random wayfarer, eyes glazed over, walks really slowly into your horse and yells at you about it, and the illusion is broken again.

It's not all bad (though we're not done with that yet); the game is beautiful visually, as mentioned, and also well-optimised - for a game that was pushing the limits of technical possibility on release, it still does a good job seven years later. The sound design and soundtrack are wonderful, and there are select songs I will go out of my way to listen to just in my day-to-day, which is always a good sign to me. The UI can feel a little awkward at times, the scroll bar just a little too small to make use of, but ultimately looks good and is easy to navigate; the only negative of it being that the animation to go from "menus" to "game", and vice versa, is really quite long - and the game doesn't pause During this animation, which can lead to some shenanigans while riding your horse and checking the map.

The thing that truly wowed me with this game, and that had me so invested in seeing the original vision fully-realised in the sequel, was the sheer number of mechanics this game has: there is a stealth system; there is a lockpicking minigame; there is proper archery with drag and drop-off on arrows; there is a developed combat system; towns and traders will be altered depending on crime rate, items sold, opinion of the player, etc; there is a developed alchemy system (my personal favourite); training your dog can give you more options (though I think Mutt is really poorly implemented); there are hunting spots that go hand-in-hand with the archery; the list goes on. The game is doing A LOT, even when you're not really interacting with NPCs. But these mechanics are often surface-level; which is to be expected of a proof-of-concept, but it's worth noting regardless. Yeah, the game does technically Have these systems, but many of them are… lacking. The more complicated it is, the less you'll be able to appreciate it; simple things like lockpicking and alchemy feel really good most of the time, but as soon as NPC interactions are added (villagers, guards, Mutt, game animals) the mechanics start to fall flat.

To give a couple of examples; hunting, and the "evolving towns". Red Dead Redemption 2 really gave us the prime example for how to bake Hunting into a videogame; when you go out for meat or skins or fun in RDR2, you choose an area with the desired animal, and have all sorts of options. Even when you're not using your tracking sense, you can still hear the specific calls of different animals, you can still set up bait, you can physically see the tracks in the world. Compared to RDR2, KCD's hunting mechanic feels like a 6 year old's best effort; animals spawn in a specific location (usually only while the camera isn't facing them), and then they just… wander away, usually in a group, in a straight line. "Hunting spots" in the game aren't where animals Gather, they're where animals Spawn, and if you miss them spawning? Well, wander away, and walk back again to prompt them to spawn again. It feels… like a game. Immersion breaking. These aren't animals in the world that you're choosing to hunt, they exist purely TO BE hunted, and the game treats them as such.

And then the evolving towns. This was actually advertised pretty heavily in the game's marketing, that if you steal from towns and villages then the number of guards will increase, you'll be searched more often, villagers will be more suspicious; and all of this is exacerbated still by a poor reputation. This is really cool in concept; imagine a wealthy shop-owner awakening to find his most valuable merchandise has been taken in the night! Of course there'd be an effort to find the thief. Or a guard stumbles upon a corpse in a back-alley, the torchlight revealing a pool of blood and a sack of meat where once a person existed - of course they would double the guard! But in practice the system is over-simplified; guards will never search NPCs or be suspicious of anyone that isn't the player, and nobody but the player will ever commit crimes except for a random "pickpocket" event that, again, is just there for the player. You'll never see increased security or suspicion if Cumans or Banditry is prevalent in an area, and there are several farmsteads or villages that are raided throughout the game, but you'd never know by the way people react. So what ends up happening is this: if you commit no crimes, no guard will ever stop you for a random search, nor comment on you being suspicious. If you do commit crimes, even if nobody sees you, you will be searched frequently. This isn't intended to punish players for choosing a more rogueish Henry, I think, but it does have the same end result.

Finally, the elephants in the room; writing/story, and combat.

The game's story is… not uncompelling, but it does lose wind about halfway through. In general it does a good job of recognising that the player will be well-equipped and skilled before the game's conclusion, so it shifts from "rags to riches" to more "investigation and exploration", and that shift is subtle enough that I don't imagine a player being put off by it. You still get to fight bandits and Cumans, you still get to be Henry, so it works. However, I did find I just… didn't really care so much about the actual contents of what I was doing. There's a certain point where. following a large-scale battle, you defeat a major antagonist and sort of complete the "rags to riches" arc. You are at this point a skilled swordsman, known and respected by the nobles of the region, and presumed to have the financial means to basically do as you please; but you won't move on to the next antagonist you actually care about within the scope of this game. These next two sort-of-major antagonists are also the only gay characters in the story, and they're essentially portrayed as just shit-eating backstabbers and weasels, so... make of that what you will.

Actually, while I'm here and not on Steam, can we talk about women, queerness, and people of colour within the context of the game? I'm not someone who believes every game needs to explore themes of marginalisation, but you're telling me every single person you encounter is the exact same pasty white? That gay people only exist as ratty villains? I'm pretty sure the game goes out of its way to fail the Bechdel test, where even the "casual chatter" that townsfolk will have is almost always centered around either the player's actions or their husbands/brothers. Women in particular are portrayed almost exclusively within context to the men in their lives, which while accurate to the sexism that existed in the period, does leave the game feeling sort of... Male power fantasy? There's not really a single instance of a woman who is confident, independent, and level-headed, who does not also rely upon being saved by a man at some point in the story. The game addresses this slightly with the "A Woman's Lot" DLC, but man even Theresa and Johanka essentially just... they have their moments of independence, but largely facilitated by you, as Henry, giving them that ability. Anyway.

The latter half of the game's story is, far more than anything so far, obviously a set-up for the sequel; you can tell at this point that either this game is like... five times larger than you thought it would be, or that you're not seeing the conclusion to the story any time soon. The former is not the case.

Which brings us to the really big issue; the combat system.

KCD has, throughout its existence, walked a fine-line in regard to the actual controls; the game was designed to be both controller and mouse+keyboard accessible, and was released for both PC and console accordingly. This makes some things feels better or worse on different systems; stealth and horsemanship feel better on controller, where you can more easily control finer movement and speed, but feel bad on mkb because you can't do that; archery and the lockpicking minigame feel better on PC, on the other hand, because the mouse offers even greater fine motor control against the drag and sway the mechanics have.

Melee combat on a controller is always going to be a difficult thing to get right in a game that is styled as immersive and complex; there are a few examples of games that have tried in the multiplayer genre, like For Honour and Mordhau, and the classic souls-like examples for single-player games - but these games usually have to make sacrifices along the way (Elden Ring isn't exactly "complex" during a sword fight), or have combat as their main focal point with by far the largest amount of dev time invested into that mechanic.

KCD attempts to simplify this; combat with a sword can be split into 4 basic actions, with a little extra depth given to each one. You can slash, you can thrust, you can block, and you can dodge.

When slashing, you move your mouse or joystick in one of five directions to control the direction you slash from (up, right, left, down-right, and down-left - like the axes of a five-pointed star). The thrust is basically just a sixth option on the star. As you improve your skills, you can learn combos (which are only unlocked via level-up perks), that will allow you to chain together strikes into a Powerful Move (a little animation plays and you basically get one extra free hit in). These combos can range from three specific consecutive strikes (up, right, down-left) to five; the more strikes, the stronger it is.

Blocking, meanwhile, can be broken up into three "tiers", and can be done with or without a shield; you can block all incoming attacks by just holding Q, but you will not interrupt any enemy attacks and you'll still take some damage. The higher your shield or weapon's defense stat the less damage you'll take, but it's basically never zero, and not interrupting your opponents attacks will allow them to perform combos on you with ease. If you want a better block, you need to perform a "perfect block"; this is essentially just blocking early on in the attack. There'll be a cool little slow-motion effect, and you'll have the ability to perform a riposte, which can only be blocked by another perfect block from your opponent. And finally there's the Master Strike, which trivialises all combat.

The Master Strike is essentially the Perfect Parry from other games; you press Q at just the right time, and an animation plays where you both block the enemy attack, and hit them with your own at the same time. It's very easy to perform, and there's no way to block or avoid it once the animation starts. This can also be performed on you, at any time, if you choose to attack with a slash, thrust, or riposte. This has two major consequences;

Performing long chains of attacks for a powerful combo becomes essentially impossible against an opponent who can perform either a Perfect Block or a Master Strike, and those combos are a waste against enemies who can't (they'll be weak little peasants who you can just bully anyway). Landing one good hit isn't enough to knock your opponent "off balance", nor drain their stamina enough to prevent them from blocking, so you have to just be really lucky basically; if a Master Strike is performed by your opponent at any time during your combo, it is likely you'll take more damage than they will have.

Attacking at all becomes kind of... pointless? You can just stand there and press Q at the right time, not touching the rest of your setup at all, and you're literally unbeatable. Compare that against the risk of having it done to you, and the combat becomes a game of pressing one singular button over and over.

There are other gripes, too; the stamina mechanic, which is used both to prevent the player from wildly swinging and also to mitigate damage from incoming attacks, oftentimes feels clunky when facing opponents. Master Strikes and Perfect Blocks are really cheap, stamina-wise, so defending is always better than attacking in regard to your stamina economy against an opponent with any skill at all; even if you've hit them with three or four solid attacks in a row, that they weren't able to block regularly, they can still turn it around and injure you by performing a Master Strike.

We also need to talk about the FOV, camera controls, and combat against multiple opponents; your Field of View, as the game is designed for both PC and Console, is very limited. You basically don't have peripheral vision. Enemies will abuse this by just sort of... awkwardly jogging through your player model when fighting multiple of them, and then attack from your sides or from behind; behind, fair enough, but in real life the attacks from the side would actually be visible to you and you would be able to react to them. Not here.

You may have also noted a while ago, that if you need to move your mouse/joystick to control which direction you slash from, then how are you meant to move the camera? Well, you don't. During combat the game will lock your cursor onto an opponent, and that lock can only be broken by sprinting - the game does technically have an "unlock camera" button during combat, but it's not a toggle, so it just immediately locks back on again. Against multiple opponents you have to use the scroll wheel to individually cycle through each opponent until you're locked onto the right one; try blocking attacks from specific enemies when you have to go through that. To really drive home how frustrating this can be as well, the game doesn't really do verticality in attacks. You're always just swinging directly ahead of you, with no regard for elevation - even relative to your opponent.

The player camera also moves in uncontrolled ways when you get hit; the harder you get hit, the more your camera gets thrown about. Realistic perhaps, but with the limited field of view and lock-on camera, you spend most of the time in combat utterly powerless to control how you look around. In my opinion, this is the thing that makes the game the least accessible; you genuinely have to be pretty resistant to motion sickness for this to not feel awful every time. Combine this with a "fade-to-monochrome" effect when your stamina is low, as well as low-res blood effects when your head is bleeding, and the visual experience in combat is just abysmal (and exacerbated by the, yet again, limited field of view if your helmet has a visor).

On the other side of this, however, opponents will awkwardly teleport around in order to block your attacks; if you land a hit and see your opponent flail to one side, leaving their other side entirely exposed, this doesn't actually mean that side is undefended. They'll just... teleport back into place in order to block your next attack as well. Against opponents who are actually out of stamina but still blocking this weird little side-to-side teleportation can occur over, and over, and over again. This for me is actually the main dealbreaker for the combat not feeling immersive or realistic; the game strays away from the animations and visuals actually mattering in these moments, instead opting for a more casual experience - but it only applies to your opponents. And don't forget! The especially skilled ones will perform a Master Strike and now you're taking damage, actually. Idiot.

The final nail in the coffin, putting aside how attacks work out of combat and the awkward clinch mechanics, is how the game reacts when you try to run. One of the game's tips during the loading screens is to "run away, live to fight another day"; but! Would you have guessed it! Enemies have a sort of... gravitational pull. Even if you manage to break the camera lock, and have enough stamina to start sprinting away, enemies can perform weird little animations that just suck you back in; like being grabbed and pulled around, but while their hands are full. No amount of strength can prevent this from happening, and certain animations will also hurt you in the process - if you want to slash at me while I run that's fair enough, but it feels bad when my character, clad in full-plate, then just... turns around and looks at the enemy, camera lock kicking in again. Against multiple opponents they might drag you about for several seconds at a time, being pulled by one counting as you moving out of range for another, so the animation triggers again; and all of this contributes significantly to the feeling that you have no control over your camera or your movement, as the camera is thrown all over the place during these animations.

To top this off, you can't surrender to most opponents; Cumans and Bandits alike only want you dead, you can't just... offer your valuables for safe passage. The only people you can surrender to are guards, and they only attack if you commit crimes and are wanted, so 90% of the time your choices in combat are:

Fight, usually in a 1v3 or 1v4

Run (can't, they'll suck you back in)

So really, until you have good gear and levels, your only option to avoid boring or frustrating combat is to just... avoid it. If you have a horse you can try mounted combat (which is basically just doing a weak little sword swish), but your first horse spooks so easily that you'll get thrown off if you're anyway near an enemy (which is usually instant death). And did I mention the game does surprise ambushes at random points along the road? Good luck avoiding combat, bucko :)

Oh, and you need an expensive consumable item to save.

[n0rtist]

 I rewatched your entire Stema video playlist and noted all my suggestions here. I hope this will be helpful.

The mechanics of Geo types only being immune to Electro if they are grounded. You said you thought it might be too complicated. It would be best if you put it differently. Instead of saying, "Geo types are only immune to Electro if they are grounded," you could say, "Geo types are immune to Electro types, but there are some moves and items that can remove this immunity."

Nautigrade's Cryosleep Attribute: what if they are immune to most damage, except for supereffective damage, like Shedinja's Wonder Guard, except it only works when asleep?

The moves are Sublimation and Deposition. Having them only affect Cryo and Aero types would make them too situational to be useful. I would have both affect all types except Hydro, Pyro, Geo, and Electro. Why these specifically? Well, you probably guessed that Hydro and Electro are because of Liquid From Phazorm and Plazorm; as for Pyro and Geo, they would represent the factors of heat and pressure on the phase change diagram.

The weather mechanic. Since the weather affects the Hydro type's Speed and Cryo type's Physical Defense, to keep the symmetry, it would affect the Pyro type's Chemical Attack, leaving moves to be affected by terrain if you decide to implement it.

The possible field mechanic. To maintain symmetry and contrast with the weather, I suggest separating the electromagnetic field into an electric and magnetic field so there would be three with a gravitational field. They would buff and debuff Electro, metalla, and geo moves; the electric field buffs electro moves and debuff geo moves, the magnetic field buffs metalla moves and debuffs electro moves, and the gravitational field buffs geo moves and debuffs metalla moves; I not sure if the science tracks but that's my idea.

Evolution methods. I noticed that the evolution methods on your roster are a little... too varied. The first gen of Pokemon only had three ways to evolve a Pokemon: level up, elemental stone, and trading. I would suggest you narrow down the possible ways your stemas can evolve. If I were you, I would keep the level-up evolutions and create a base evolution (like have your version of Firestone to evolve Malloaf and Gelero) and one more original evolution method, maybe the move type-based one that Stemolt has and expand it to other type changing branch evolutions like Levestress and Tunirad.

First, thank you for taking the time to watch and care for my works! It means a lot to hear so much about my project. As I have been developing my game whilst making these videos, I can confirm/talk about the points you made.

Despite the YouTube Community poll, so far Geo is coded to be immune to Electro. I can definitely see some Electro attacks piercing this immunity, but yeah I think it's easier to remember if they are normally immune. Also as an aside, I do not plan to have held items in this game.

Referencing Wonder Guard would be neat. I hope it doesn't make people think they are too similar. Still, it's something I would heavily consider when I get to coding Nautigrade's Signature Attribute.

Sublimation and Deposition were ways to make Phazorm immediately change between Gas and Solid forms. While it may be situational to apply on other Stemas, the concept was that it was to change the user's type right before attacking as every turn has 2 actions for each Stema.

Having Sunny weather specifically affect Pyro's Ch Atk is a fun way to balance the weathers which I also agree with. A part of me is thinking about possibly removing the Sunny weather and just make Liquid Precipitation and Solid Precipitation be the only weather setting skills... Though thematically Sunny fits really well so there's more of a chance that I keep it.

I actually have specific designs to wield Electromagnetic and Gravitational fields, but they are much later in the game. I'll come to think about the field effects eventually. For now, idk, I guess one would let Electro pierce the Geo immunity while the other makes grounds airborne Stema? I can consider having Electro and Geo damage boosts but it might be too much. We'll see there's a lto on my plater before those skills.

A lot of my advancement requirements have changed while I have been making videos. Some of the specific ones like Tunirad and Jelter were supposed to have some NPCs that can help tell you how to advance them. However, I can see Malloaf and Levestress being Skill-type requirements like Stemotl.

Again, thank you for being invested in my project! It's going to take a long while, but I really hope that I can deliver!

[lowpolynpixelated]

So, you don't wanna play Nintendo games

As I'm sure a lot of you lovely folks out there have seen, Nintendo recently did its most recent act of evil by suing the dev team behind both the Citra and Yuzu emulators. While I won't get into how I feel about it as a fan of media archival work and a massively passionate fan of video game history, this is despicable to say the least. What I WILL do, is get straight to the point the title says! So, you don't wanna play Nintendo games? Well do I have some games for you! I've seen a few posts like this floating around, and I absolutely adored the concept of talking about niche/lesser known titles that get overshadowed in their genre by bigger names, such as Nintendo. As an avid player of weird and wonderful games throughout my life I think I've got some good ones that I've slotted into some neat categories below. I hope you enjoy this post! And I hope you take a new favourite away as well!

(Note: All of the games listed below are available to play on very easily accessible emulators.)

So, you like 3D platformers do ya?

-My first and foremost suggestion is always the woefully underappreciated game Taz Wanted.

This wacky platformer sees you in the role of the one and only Taz, or the Tazmanian Devil for long, from the Looney Toons property. The game revolves around you entering large colourful levels filled with goofy enemies and a lovely cell shaded art style to mimic that classic cartoon look. Within those levels your job is to find and destroy a certain number of wanted posters which can take the form of just about anything. From standing signs to blimps your goal is to solve various platforming challenges, puzzles, and minigames to destroy these posters and secure an item that will assist you in getting to the next hub world. With 4 worlds to explore and each world with 3 levels and a boss fight game at the end, I'm sure any fan of 3D platforming will have a blast.

-Next up is a package deal, the first of which is a 3D platformer predating Mario64! These games are none other than the Jumping Flash! games.

The two games play identically, and are both a seriously good time. Taking place entirely in first person you take up the mantle of intergalactic space hero robot Robbit tasked with collecting a certain number of items in large playground-like levels made with tons of verticality in mind. Why you may ask? Because much like the name suggests Robbit can JUMP. The game employs a fantastically implemented camera system which forces you to look down at Robbit's feet when you use your double/tripple jump, ensuring you can see where you're landing. On top of this, the game's level design feels like a never ending barrage of jungle gyms and challenging boss fights all set to a cartoonish story with bright poppy visuals, and not to mention a soundtrack of absolute bangers

Okay, but what about the Zelda fans?

-I assure you I haven't forgotten, and my first pick here is an all time favourite of mine ever since I played it when I was like, 8 years old. Sphinx and the cursed mummy is a 3D adventure action game where you play as both the titular Sphinx and the cursed pharaoh to be, Tutankhamen .

The game is heavily inspired by Egyptian mythology and sees you battling and puzzling your way through a world of mysteries and great evils lurking just beneath the surface. Exciting battles, puzzle platforming, monster collecting, and so so much more are all front and center in this game, and I really cannot recommend it enough to anyone who wants a different adventuring experience in their life.

-The second and last one in this category I PROMISE a lot of you have heard of but I really want to drive home just HOW GOOD it is. Okami stands tall as one of the best examples of non-Zelda 3D action adventuring.

Taking place in a GORGEOUSLY rendered fantasy rendition of classical Japan, the adventures of the sun goddess Amaterasu are yours to control. I really cannot stress HOW GOOD this game still looks today, even without the HD remasters its been given. The entire game is rendered in a cell-shaded art style reminiscent of classical Japanese paintings, giving the whole world a vibrant painted aesthetic that never EVER gets old. On top of this the game provides a truly unique combat and interaction system, seeing you use a paintbrush to paint your attacks and spells into reality. There isn't much I can say about this game that hasn't been said already, and it's certainly the least niche game on this list. Go give it a shot! You won't regret it.

So we did 3D platformers, but what about 2D?

-Fear not! I've got some solid suggestions for those too! Our first one here is another bundle of 2, those being the Klonoa games.

Klonoa: Door to Phantomile and its sequel, Klonoa 2: Lunatea's Veil, are two of the best 2D platformers I've ever played. Releasing on the PlayStation and PlayStation 2 respectively, these games utilize a 2.5D perspective to let you run back and forth through revolving dioramas of platforming goodness. With a cheery, almost circus-like soundtrack and an adorably charming artstyle to match, I have such fond memories of discovering these games for the first time. The 3D nature of the game's assets allow for some truly impressive setpieces and boss battles, along with the aforementioned circular scrolling you partake in. Bubbling and tossing enemies at each other never seems to get old, or using the same bubbled enemies to get just a little more height to reach a secret. Definitely give these ones a shot if you're a fan of fun 2D playgrounds.

-Here's a real weird one to cap this category off (and another two pack to boot!) Loco Roco 1 and 2 are a set of puzzle platformers with a bit of an unorthodox control scheme.

Coming out on the PSP these are some WILD experiences. In the games you control a horde of blobs that sing with childrens voices to some rather catchy tunes, and tilt the entire world around them with the left and right triggers to get them over under and anything in between, and then to the exit. Did I say you play as the blobs? I meant you play as THE PLANET the blobs are on! See what I mean? These games are absolutely a delightful time though. And with such poppy mid 2000s soundtracks I can't help but love them. The tilting gameplay is tough as nails to master, and getting through a level with all your little Rocos AND the collectibles is no easy task. Give these ones a look! Or at least listen to the soundtrack.

And at last we arrive at the one's I couldn't think of more for, or couldn't think of where to place.

The next two games are just rapid fire ones that are personal non-nintendo favourites of mine, covering a variety of genres.

Ribbit King is my favourite wacky sports game ever. You play Frolf instead of Golf, Frolf being Golf but with frogs, get it? Send your frog around the bright colourful stages to gather points and be the first one to sink your frog to get the full 1000 available from the hole. Alternatively go for a FROG-IN-ONE to get 1500,

Wipeout is a series of tough as nails futuristic hover-racing games a la F-Zero. The soundtracks boast an inumerable amount of Drum and Bass/Electronic jams and the gameplay is lightning fast and smooth as all hell. Not to mention the games are just SO stylish. I'd recommend Wipeout Pure on the PSP, but all of the PlayStation consoles before the PS3 have at least one Wipeout game. Highly recommend checking them out.

SO obviously I couldn't put EVERY game I'd recommend in one post. But I really do hope this list gives you something new to play. Gaming history is so monumentally important to me, and what happened to Citra and Yuzu is nothing short of a tragedy. Always remember folks, play new games! Play old games! Hack your old hardware! Pirate new software! EMULATION IS FREE, LEGAL, AND FOR EVERYONE!

[dr-spectre]

I've been thinking concepts of putting the Squid Sisters in Mario Kart: Double Dash... I'm still making concepts to think what would happen if someone made a mod for Double Dash that includes Marie and Callie as playable characters. Do you have any concepts that you like to share, Spectre?

Yo??? Mario Kart: Double Dash modding? i had no idea that was even a thing! That's awesome!

Now i don't know how modding on Double Dash works and if you can even implement custom models and animations but, i will share some ideas for if Callie and Marie were in Mario Kart in general.

I think that Callie and Marie would be middleweight characters, not light or heavy. You would also need to make sure they have their voice lines and personality in tact. I'm sure there's tons of videos online and files out there for their voice lines to use for the different actions in the game (getting hit, landing an item, winning, losing, etc.) When you select them they gotta do the "Stay Fresh!" line and their pose. Unless you can't do that in Double Dash then that's okay. Modding is very hard I've heard.

If they were in something like Mario Kart 8, 7 or Wii, i think their tricks would have them do different poses in the air that reference poses they've done before and I got some ideas.

Or maybe they can transform into their squid forms and do some tricks i don't know. You can probably take a model of the squid form for Inklings from Splatoon 1 and edit it to look like Callie and Marie's squid forms.

Also... Callie's hair has to react to the wind, it better go up in the air as she goes fast.

Another thing too, if they were in Mario Kart 8 for example, i think someone could mod them to replace the Inkling girl/boy and have alternate outfits for the Squid Sisters. AND! GUESS WHAT! SOMEONE DID THAT! THERE'S A MOD FOR THEM IN MARIO KART 8 DELUXE THAT I JUST FOUND OUT ABOUT!!!! IT CAME OUT LIKE A WEEK AGO!

The mod is on Gamebanana and it's made by Mannta! They could give you some inspiration for a Double Dash mod of the Squid Sisters.

[haunted-pool-noodle]

Boxer is almost real!!

I've been working on a project for a while now to convert a cardboard box into everyone's favorite mimic :) Sadly life has been rough lately and I haven't had as much time/motivation to work on it, so I'm hoping that by posting an update i can get inspired!

[Image Descriptions: 4 photos of a small box, covered in paper printed to look like Boxer from Potionomics. A sewn cloth "tail" runs over the top and trails behind. End ID.]

Ta-da! Look at the stunning quality of those photos! (I swear the color doesn't look quite as drained irl...) He's almost entirely complete on the outside, save for the little "laces" on the back that would hold the tail down, shown here:

[Image Description: A close up on the back of the box, showing where laces should cover the cloth tail but don't. End Id.]

90% of this not being done yet is just because I am very scared to actually poke a hole in the box so I can run the laces through, but tbh i think anything else will look odd. As for the inside:

[Image Description: A photo of the open box, which is entirely plain. Inside there is a paper tongue, incomplete paper teeth, a ruler, and foam covering the bottom. End ID.]

...Ah. Don't mind the items, Boxer doubles as a convenient way to store whatever I haven't implemented yet. And yes, this was a shoe-box. So I guess this is baby boxer? Current plan is to paper the sides with a reddish mouth-looking color, then paste the tongue in. This tongue might have to be redone, it ended up a little small, but we'll burn that bridge when we get to it! The foam will also be colored red to match.

Since this box's dimensions don't match in-game Boxer super well (the idea was that he needs to be carry-able so i can bring him to cons), the way he opens is slightly different, with just the top lifting instead of it opening in the middle. As a result, the teeth were going to be a bin inconvenient, but I think I've worked it out:

[Image Description: 3 photos showing the box opening. When the box is fully open, paper teeth fold outwards. End ID.]

(Teeth shown are merely proof of concept.) When the box opens, a string will pull the teeth forward. That way, they don't get in the way of the box opening and closing, and they can still stick out when its open for maximum menace. I am no pop-up expert though so we will see how this goes!!

[Image Description: A photo of the inside lid of the box, with magnets taped on. End ID.]

Only other problem is these fellas, aka how the box stays shut. There's a matching pair underneath the paper on the front, which these latch onto. The tape holding them is fighting for its life, though 😭. I'll probably end up glueing them down, possibly on top of the paper so that i can easily access them if anything needs fixing. Besides, they're pretty innocuous, and since they're inside they won't be too visible.

That's all I've got for now!! Honestly this has been a blast so far, and i can't wait to update once he's actually finished :)

[fable-on-the-table]

A ridiculously long review of the Wayfarer system

I posted this review to the Wayfarer system's itch.io page but I figured I may as well post it here too for posterity.

Truly I am not beating the 'tism allegations.

I've run three sessions of Wayfarer so far and my group has been really enjoying it, so get ready for a needlessly in-depth review of this entire system! I've given some feedback on some aspects that I'd like to see tweaked or expanded upon, so if you ever feel like releasing a 2nd edition I will 100% check it out. Please note that while I go into a lot of depth criticising some parts of the game, it's only because I want to really break it down and analyse it - not because it's really wrong! Despite my feelings about a few aspects of the game, you've still done a great job on Wayfarer and deserve a 5/5. I'm sure my players and I will enjoy this system for many sessions to come!

Stuff I liked!

The harm system. This is a really nice adaptation of Blades in the Dark's harm system, and I even think it's more naturally intuitive than how BitD does it. It makes players actually deal with the wounds they've suffered rather than limping around on only a few hitpoints with no consequences to their abilities.

Spirit. Spirit feels like a nice catch-all for the classic TTRPG trope of the per-day resource. I love that you can spend Spirit for flashbacks - super evocative!

Advantage and Disadvantage. A nice way of implementing it into a 2d6 based game! Feels very familiar and easy coming straight from D&D.

Recovery. I found the resting system clear and straightforward, and I love that it distinguishes between resting in the wilderness Vs resting in a civilised area. I also really like that you can spend more coin or supplies to recover more.

Skills. I like that skills do something other than just providing a numerical buff, but are still a way for you to manipulate your chances of failure/ success.

Abilities. All the abilities are very evocative and add a lot to the narrative. I think some of them could have used a little more explanation, but the GM can usually fill in any ambiguities.

The Sorcery Table. Great for coming up with a vast array of magical effects on the fly.

The explanation of soft & hard moves for the GM. Though I know you're not the first to come up with the concept of soft and hard moves, you explained it really well!

The guide to building threats. Your framework for building threats/ monsters is so concise and effective! I followed the guide for the first boss monster that my players faced, and that fight was some of the most fun I've had playing TTRPGS in a long time. Encouraging GMs to invent monsters that have specific weaknesses instead of a health bar is a great move, and encourages super creative and cinematic play!

Visual design. The layout of the rulebook and character sheet is great. I'm a designer myself, so I can always appreciate when the visuals and layouts are really on point!

Stuff I was less keen on

The names for the attributes. I might just be brainrotted from D&D but the names used for the five core attributes weren't my favourite. I kept getting resolve and prowess mixed up. But hey, I recognise that this one is super dependent on personal preference so it's more of a neutral comment than a critique.

The inventory and supply system. I see the vision for this - by having players' inventories not set in stone you give them a lot more options and remove the need for intensive pre-planning for an adventure. However, in my opinion this inventory system just takes something that almost all players understand intuitively ("which items do I have in my backpack") and makes it unintuitive and hard to understand. It feels like your inventory is in this weird quantum state where you don't know what's in your pack until you pull an item out. We tried to play it by the book for the first session, but we all ended up getting really confused and switching back to a more traditional system. Sorry, I think this system may just not be my cup of tea, but I do see why you made it this way. If I may suggest a compromise - you could always have a standard inventory system for crucial items like weapons, armour and quest items, and then "supply points" which you can spend to produce mundane items like spare clothes, food, camping equipment, etc. The Root RPG handles items in a similar way (and it's also PbtA!) so maybe it would be good inspiration for you. Each character has a "depletion" meter which tracks how much mundane supplies they have left, but more important items are handled as their own things. This way you can hand-wave the boring stuff and focus on the actually interesting items!

The coin system. Again, I feel that this was an already-simple mechanic that has suffered from being further oversimplified. I find it odd that any item (including coins?) cost 0 coin, and also the values of what each amount of coin can buy seem to progress exponentially rather than linearly. 1 coin buys you a martial weapon, but 6 coin buys you a meagre home. Does that mean you can trade six martial weapons for a meagre home? I'd assume not, but when it's so nonlinear it's very hard to tell. Another side effect of this system is that it makes it impossible for you to reward your players with wealth in drips and drabs. They can't stumble upon a few coins in a cabinet, for example, because that would count as 0 coin and make no numerical difference to their wealth. In my opinion, currency does not need an overhaul, because everyone understands how it works already. I've just been running it in the usual way, so every 1 coin has a fixed spending power. I also wrote up my own cost table to make it more linear. If the original version works for you, fine, but it's just not for me.

Stuff that I would like to see expanded on

Ritual magic. Love the concept, but at the moment the GM has to put in a lot of legwork to come up with ideas for rituals. Which is fine, but it's just a bit tricky when there's no framework at all provided. I'd love to see something along the lines of what we get for the sorcery domains table, but perhaps it's various key phrases that you can combine together to describe the function of a spell. For example you could have the key phrases "conjure", "destroy", "locate", and then "plants", "rocks", "fire", and those could be put together into "conjure rocks", "destroy rocks", "locate plants", "locate fire" etc etc. This would combo especially well with the list of drawbacks added to rituals which is already in the game!

Alchemy. Similar to my thoughts on ritual magic. Good starting point, but even a basic framework for what kind of potions a person can brew would be wonderful.

Types of weapons. The example gear sections lists "basic weaponry", "martial weaponry", "great weapons" and "beautiful weapons" as different things, but provides no distinction. Even a short line to give the weapon types some distinction would be awesome.