MDMA - ein zweischneidiges Schwert; ein Teufel im Engelsgewand. Es spielt dir das absolute Ultima vor. Es zeigt dir das Paradies auf Erden. Es lässt dich die uneingeschränkte Freiheit erfahren. In dir selbst findest du (scheinbar) den direkten Zugang zu allem - deiner Vergangenheit, deinen Mitmenschen, deiner gegenwärtigen Welt; du hast zum ersten Mal das Gefühl, alle Gefühle vereint zu erfahren - und bist begeistert. Und nach außen wirkst du selbstbewusst, manchmal locker, oftmals völlig enthemmt. Es gibt in dem Moment keine äußere Hülle mehr, keine Schichten in dir, kein Filter. Alle Einflüsse gehen direkt durch dich hindurch und wollen unmittelbar aus dir heraus. Ja, MDMA ist der Himmel. Denn es gibt kein schöneres Extrem, als dieses. Aber meines Erachtens wirkt sich keine Droge langfristig dermaßen negativ auf die Psyche aus. Nicht, weil du anfängst zu verdummen, auch nicht, weil du dich dadurch zurückziehst oder gar apathisch wirst; sondern weil du Gold geschmeckt hast. In dem Moment, wo zum ersten Mal MDMA richtig einschlägt, bist du infiziert. Du weißt, wie eine perfekte Welt aussiehst, du kennst den unmittelbaren Zugang zu anderen Menschen, du weißt um die Macht, in deinen Worten und deinem Ausdruck und vor allem weißt du um die einzigartige Faszination des Tanzes. Und das prägt!
Corvo: Look there’s no easy way to say this so I’m just gonna say it straight [ducking grenades] I’ve spent the last six months in prison [running away from music boxes] and my landlord currently doesn’t provide breakfast [leaping onto tables to avoid hounds] so I’ve been eating anything and everything I can get my hands on [furiously duelling three Overseers at once] and I probably don’t taste very nice right now! I think feeding me to your dogs would be a very poor way of looking after your canine friends!
refers to the technique of gripping the central part of the sword blade with the left hand in order to execute more forceful thrusts against armoured and unarmoured opponents. The term is a translation of the original GermanHalbschwert. Equivalently, the techniques were referred to as mit dem kurzen Schwert “with the shortened sword.”
Half-sword is used for leverage advantage when wrestling with the sword, as well as for delivering a more accurate and powerful thrust. Both of these are critical when fighting in plate armour because a slice or a cleaving blow from a sword is virtually useless against iron or steel plate. Most medieval treatises show armoured combat as consisting primarily of fighting at the half-sword; the best options against an armoured man being a strong thrust into less-protected areas such as the armpits or throat or, even better, the same against a man who has already been cast to the ground.
There is even a video example of how half-swording could be done. This really explains the utility of Diana’s leather hand wrap. The video also shows that holding a sword by the blade is viable.
(although i guess less benign because it seems half-swording is also called murder stroke… so the person can better bash their enemy down.)
Du kannst nichts und niemanden lieben, solange du nicht zuerst dein eigenes Leben liebst. Liebe entsteht einzig aus der Achtung vor dem eigenen Leben. Nur wenn man sich selber liebt, seine Existenz, kann man einen anderen lieben, der fähig ist, das eigene Leben wertvoller zu machen, es mit einem zu teilen und angenehmer zu gestalten.
At KDF, working out a version of a disarm to work against my weakness… left handed French longsword fencers!
Victor is a clubmate of Thomas in the mask, and another southpaw from Paris. He beat me at FnG 2017, and it’s been useful to have Thomas visiting because I felt quite lost in dealing with an offensive-focused southpaw.
Was sind Worte, denke ich, doch für unberechenbare Wesen. Kein Gewehr, kein Schwert, keine Armee, kein König wird jemals mächtiger sein als ein Satz. Schwerter können verletzen und töten, aber Wörter stechen zu und bohren sich in unsere Knochen, wo sie bis in alle Ewigkeit stecken bleiben.
(3/3) wasn't anything color-wise that stood out about them...even in the abandoned apts. where the shrine was supposed to be like the centerpiece, I feel like there isn't a lot of focus visually/atmospherically put on them. I realise they've sort of replaced the lanterns from D1 with the big piles of candles that surround shrines in D2 but that distinct purple light was so key before. It baffles me that one can walk right past a shrine when 2 ft in front of it because it doesn't stand out.
[parts one and two of the Ask were lost to the Void. The Ask is reproduced here, paraphrased: ]
“Am the only one who thinks the new warm color palette of the void and “void-touched” things (shrines and abandoned apartments and places with dead outsider worshippers etc) is not…as effective/good as in D1? I mean D1 had a cooler color scheme in general with everything, not just void stuff. The weather in almost every level was overcast and gloomy and all in bluish greys, even the browns were cooler in tint, but yet somehow even among this color scheme, that iconic purple of the lanterns and lights/glow surrounding shrines and everything void related was very distinct and visible even across long distances.
Like I could be all the way across a very long street and spot a little sliver of that purple glow in the distance in some balcony door and know there was a shrine up there or a rune or something where those lanterns surrounded an item/scene of interest. D2 has a much warmer/bright approach wherein most levels are sunny and bright and the shrines have an orange type glow to them now. I realize this is mostly probably because D2 switched over to the big clusters of candles instead of lanterns like D1, and candles have a more golden tone to them, but in the context of the rest of the visual theme in the levels, the shrines don’t even stand out. I have literally walked straight past them on more than one occasion because there was nothing drawing me to them from across the room, which people could argue like “well it’s not the game’s fault you’re blind and oblivious!“
But like…is it really wrong to state that they’re not as visually/atmospherically isolated from their environments anymore?
In addition, I also feel the same way about the changing of the sound that runes and especially the sound that bone charms make…again, could be argued that I guess I’m just dumb and stupid for not picking up on them and that’s on me, but I just…don’t hear them like I did before. Almost every single time in my first several playthroughs I was standing RIGHT next to/in front of a rune or bonecharm or shrine and didn’t even know until I turned and looked them in the face. I got used to it now after sort of adjusting to the new subtleness of all these things, but in the first game, everything like this stood out to me even before I was familiar with the sounds and visual of it.
I know what you mean about normal vs “void-touched” objects in DH2 compared to DH1. There’s a lot more visual definition and details in DH2 - I remember a lot of apartments in DH1 were all done in muddy greys and browns - but for some reason the simple purple light worked better for the first game in letting us know where shrines and bone charms were.
Personally, before I organised my DH1 screenshots, I had them all in one folder and I could navigate them (somewhat) by their colour. Strong orange meant the exterior of the Rothwild Slaughterhouse; green with a splash of blue, red and white meant the trees in Delilah’s island in the Void at the end of Brigmore Witches; and anything with that particular shade of green meant the Flooded District.
I guess that if we were to look deeper into this, then we might say the palette of Karnaca in DH2 is supposed to be visually distinct from Dunwall as it has a different history, has a warmer climate and is not in the grips of a rat plague. Then, maybe it would be too visually jarring to have deep purple hues amongst the warm red and amber shades that are abundant in Karnaca, so maybe the devs toned down all the shrines and similar magical settings.
But perhaps we could also say that the way runes and bone charms are shown in DH2 shows a level of development or maturity because it’s not so much “aha! this is a rune that is a very strange thing and let’s highlight it visually so the player can’t miss it, because they can be used to upgrade powers” but rather “these are objects that normal people are used to encountering, and some of them even know how to use them”. But then again, the first game had that second sentiment as well - there are many cases where civilians will talk of a bone charm bringing bad luck or a rune causing bad dreams.
Concerning finding bone charms and runes - I’ve had exactly the same thing as you. Now, many months after the second game has come out, I’m sort of familiar with what I have to look for in order to find bonecharms, or at least, I have half memorised their locations in each level. But I used to miss so many; I’d go into a building knowing I was looking for one but only realise it was there when I whipped out the Heart and it started glowing right in front of me.
I think it’s because we’re used to sound of bone charms and runes from the first game. Their sounds are very reliable and distinctive. The sort of oscillating “ringing” noise you get from bone charms make them very easy to find. It also sort of seems to make sense because they’re always the same size and have three arms. (Talking about acoustics, or high-school physics, or musical instruments - there is a direct correlation between the size of a thing that you hit/strum/vibrate in order to make a sound, and the pitch of that sound. The shape of a violin’s curves are precisely designed so that the notes produced by the strings resonate easily inside the instrument. The sound that bone charms make are in a similar fashion logical to their size.)
Likewise the timbre or quality or “flavour” of the sound that runes make is quite unlike anything in the real world but it does sound like it could be produced by something made of bone (sometimes dense, sometimes built lightweight but strong). If I had to visualize it I would actually think of a spinning top with a spiral pattern, that’s slowly revolving, drawing out that eerie sound.
The fact that a rune will get so loud (on default audio settings) when you’re right next to it is excellent ambient storytelling through a gameplay mechanic. Out of universe (on a gaming level) it makes you pick up runes just to shut them up, which has the effect of making you pick up resources for uprades. In-universe, runes can be said to “call” to Marked inviduals, irritating them until they are picked up and taken home.
It seems to me that the fact bone charms ins DH2 are much quieter and emit a sort of high-pitched whine like a small electrical transformer. It actually makes sense on a world-building level because most of the bone charms you encounter don’t look like the ones in DH1 but rather are blue and single-”armed”. However, I totally agree, it makes them much harder to find by ear.
“Im Museum der Nürnberger Burg gibt es allerhand tolle Sachen zu sehen, darunter auch ein Schwert mit eingraviertem Kalender. Von Januar bis Dezember ist alles da, sogar der entsprechende Wochentag steht dabei! Wozu man sowas braucht? Das hab ich mich auch gefragt …”
the comic I made at the Zerbröckelt & Geklaubt comic workshop in Nuremberg two weeks ago! it was lots of fun and I met a bunch of really sweet and talented people there! :D