You know the part in hamilton where alex goes “I am not throwin’ away my shot” and the ensemble goes “just you wait” like i die a little every time i hear that because it’s the most brilliant subtle piece of foreshadowing that is also relatively obvious but you won’t understand until your 3rd or 4th listening
Now, I don’t know if you people have seen Mark Brown’s miniseries on YouTube known asBoss Keys, but it’s pretty great. It picks apart and analyzes some of my favorite dungeons from the Legend of Zelda games and finds out what makes a dungeon a Zelda dungeon. I have always loved these dungeons because they have a lot of density and force you to explore the space slowly and think your way through its puzzles. Definitely check out Boss Keys. From what I learned from those videos plus my own experiences as a DM, I’m going to try and detail how to create a Zelda-like puzzle dungeon. There are a few hallmarks that you should hit on:
Each area in the dungeon should be complex. It should have several things to interact with in each room other than the monsters or guardians. Everything doesn’t have to be immediately useful or usable, but it should provide context for the dungeon. For ideas, think what the dungeon was used for and research what sorts of things might be in an ancient tomb, lost temple, or forgotten keep. Have certain puzzle elements stand out. A good example from the Legend of Zelda is the eyeball above a closed door. I would stray away from that type of “puzzle” as it’s very well-known, I assume, that you have to hit the eye to open the door. On the other hand, a well-known puzzle like that could signal to the players that this is going to be one of “those” dungeons.
Making a dungeon complex and dense will mean that you have less rooms to populate, and will make it feel robust and well-used. It will also give a feeling of slight confusion for the players as they try to organize all of the information you’re giving them, but as the dungeon progresses, they can pick and choose which parts of the dense dungeon are integral to solving the dungeon!
With all of that dungeon density I’ve been talking about, it’s good to have some sort of hub area. It could be a large room, a safe sanctuary, or have some overbearing landmark for players to imprint on. This will be the main part of the dungeon that they remember and can rely on. They will pay the most attention to this hub. So if this hub is a main part of solving your dungeon puzzle, they will notice changes made to the room very easily. For instance, a hub room could be a gaping chasm with bridges that seem to be mechanical. When certain levers in other parts of the dungeon are pulled, some pathways in the hub open up and some close off as the bridges ascend, descend, or turn. Back in my post about dungeon tempo, this creates a nice rhythm for players to always come back to a room that they’ve cleared and notice progress.
Branching paths are a key part of puzzle dungeons. Don’t have a dungeon that is all one path that railroads players to the end of the dungeon with a puzzle for each room. Players need to be able to explore and discover the available paths in the dungeon and find the path for themselves. In the Boss Keys miniseries I mentioned, Mark constantly differs Legend of Zelda dungeons by whether they make you find a path versus making you follow a path. I personally enjoy finding the path and I think most players do too. It is key in creating what are known as…
An a-ha moment is not that feeling you get when listening to Take On Me, but it’s pretty close. It’s that feeling a player gets when they figure out a puzzle by suddenly putting two and two together. There are a few aspects to create this in dungeon and level design:
Foreshadowing: implying that one part of the dungeon must be revisited later or implying something further in the dungeon exists. Laying this groundwork puts thoughts in players’ heads to help them markedly acknowledge that it’s okay to leave this area, because something lies ahead.
State Changes: the environment of the dungeon or its parts changes based on the actions of the players. This is the “puzzle” part of the a-ha moment. Pressing a button to change gravity, move a pylon, or change water levels can would count as a state change. Even acquiring a key item that can affect the dungeon or the players’ movement would count (see Link’s Pegasus Boots, Hover Boots, Silver Gauntlets, etc.)
Backtracking: After the state change, the dungeon has shifted. Some areas that were once inaccessible can now be accessed, and areas that were once open have closed off. This forces the players to backtrack. Where do they backtrack to? The place that foreshadowed the backtracking.
How does this look in practice? Let’s make an example:
The players enter a dungeon and quickly make it to a hub area with four doors. three of the doors have a bridge extending from it to a central platform. The platform and bridges are 100 ft. above a pit of spikes, which are very satisfying to kick the kobolds in this room onto. Once players tire themselves of punting kobolds, they notice that the central platform has a large plinth with a stationary mirror set into it. The mirror is facing one of the directions of the bridges. The mirror can’t be easily moved without tools, and it has no apparent use yet. The players move on to one of the doors connected by the bridge.
The players go through several chambers, fighting monsters and avoiding traps, when they find a room with a lever in it. When pulled, they hear a low rumbling and grinding of stone elsewhere in the dungeon. When they return to the hub room, the central platform and bridges have rotated, allowing passage to the door that didn’t have a bridge leading to it before.
Down this new route, the players find a stone button with an angel relief on it. After pushing a huge rock onto it, they hear another rumbling. On returning to the hub room, an angel relief is now visible on the wall as a stone slab has moved away to reveal it.
The yet unexplored room is still accessible by the bridge, and after exploring down that path, the players find a crank near a gilded relief of a sun. The crank opens up a sunroof in the hub area. The sun (if daytime) shines light onto the central mirror in that room, which then reflects it out in one direction. The only problem is, the beam of light from the mirror isn’t facing the way the PCs want (towards the revealed angel relief in the hub area).
Realizing that they need to point the mirror so the light shines on the angel relief, they must backtrack to the room with the lever that rotates the bridges and mirror until the mirror is oriented the way they want.
This example has density. It’s essentially four rooms with all the things they need to solve a puzzle in the hub area (the central room with the bridges). It could use more density though with more puzzle intertwined throughout some filler rooms or with more things to do in each room; I was light on description for the purpose of the example. It has three branching paths (four if you include where they entered from). The mirror foreshadows a light puzzle, and the sun icon foreshadows the opening of the sunroof. The bridges, angel relief, and sunroof all exist in the hub area and change states based on the players’ actions in the rest of the dungeon. Players have to backtrack to the room that changes the bridge orientation so they can rotate the mirror to face the right direction. This is a fairly simple puzzle, but in the context of a session of D&D where the story less shown and more told, it can prove more difficult. Keep all of these factors in mind when making a puzzle dungeon, and don’t forget to watch Boss Keys!
So, Morty is getting better with using Rick’s portal gun–to the point where he’d steal it without hesitation and use it without any troubles. I uh… I don’t know what to make of this character development
There are three scenes in the trailer where you can see a big black raven.
First on Chloes window ledge, …
… then on the line looking at Chloes house …
and then one final (but long) time on a binoculars at the lookout looking over the town.
Believe me, this is some heavy foreshadowing. The raven is always sitting on something high and is looking at something. Maybe he is foreshadowing something very bad or even mysterious because ravens are often associated with witches and dark magic. Plus he is black and black is never a positive color. Also we can see him in three different scenes in the trailer. This has to mean something!
Thought I’d lay out some of the foreshadowing I’ve been doing about this plot point...
First there’s Chara’s Asriel “halucinations”.
I bet they make a lot more sense now.
In the case of the second one, the two parts of Asriel’s soul are so close in proximity that Flowey started acting unusually Asriel-like. You’ll also notice that he started to show a goatlike nose in this scene which is gone immediately after Chara leaves.
Another small visual cue I’ve been doing is that whenever Chara thinks about Asriel, they have this habit of clutching their chest… as if their heart hurts.
Here’s one where Maverick said that he’d missed Chara.
And here’s one where an asker insinuated that Chara didn’t care about their family and they angrily objected.
And here’s one where an asker basically said the same sort of thing that Asriel has been saying to them “There’s good in this world and there’s good in you too.”
They are unconsciously doing this because whenever Asriel is brought up, they are slightly made aware of the effort it’s taking to hang on to Asriel’s soul. It literally hurts them, but it’s constant so they don’t usually notice it.
There’s also the fact that you can literally see Asriel’s soul with the speck missing from it right there inside Chara’s soul whenever I’ve shown it.
Just take a real close look. It’s always been there.
So now you guys understand why that soul speck never grew. It’s because it was never a “seed”. It was a shard. A tiny puzzle piece missing from the whole. Flowey gained it when Chara was booted out of Sans’ mind. Sans had weakened them considerably, so a tiny bit of Asriel was able to break away from the whole and lodge itself inside the only body that it made sense to hang out in. It may even have been an intentional seizing of an opportunity on Asriel’s part.
Maverick, of course, already knows all of this.
He even tried to hint at it with that jumpdrive of his.
But he can’t risk telling Chara about it directly. He doesn’t even want to tell the askers because you could easily tell Chara about it. He’s worried that if Chara knows that Asriel’s soul is inside theirs, they might never let go. He wants the Asriel of this world to have the second chance that he was given.
He’s not the only one who knew all this from the start..
#these lyrics #killian is going to make a great dad #… #don’t give me that face #that act may work on grandpa charming #but not on captain hook #pout all you want, love #you know bloody well that dessert comes after dinner