So I’m fooling around with quantum jumping which is basically jumping from one reality to the other, but like we always do that… I’m talking consciously jumping to a different more desired reality.
And I was visualizing myself walking through a door into my new reality, in my new body (which is the same as mine now but I saw it as me being almost re-born). And then I pictured myself being asked out or being with this guy who I think is extremely attractive. And then I opened my eyes feeling excited and giddy and like I would if I was really with this guy.
And then about 5- 10 minutes later my best friends boyfriend messages me and tells me he a has a lot of hot friends he would be more than happy to set me up with..
So like.. it worked? Kind of? Pretty interesting shit here!
i don’t know if anyone noticed the color transition from blue to yellow by the end of 4x03, but oh my god how dramatically does the colorism change? lmao.
i mean, on a larger scale, the change especially highlights the interlude for the season’s tagline “from the ashes we will rise”, but it embeds a lot of interesting shifts in the simple act from getting characters from point A to point B too, while also introducing a different and new connotation to the theme of “hope” as well, and i think that’s pretty cool and pretty neatly done in the context of everything.
my favorite thing about this particular shift is that it takes place on one level (clarke walking), but connects two different settings with one another.
setting 1: when clarke watches the people work outside from inside the quarter’s (they’re preparing themselves for the radiation) while she works on a list that only includes 100 people, which means 400 of them are not in it.
setting 2: when she enters medical after her moment with bellamy in the quarter’s, and they (abby and co) figure out that luna’s nightblood is the one thing that is able to reject the radiation in her body and keep her alive
and here is where the transition takes place:
the thing you might notice with the color blue is that it is connected to her previous scene with bellamy, which means that visually speaking the color highlights what her relationship with bellamy represents and how that particular moment has affected her personally: (i won’t write down a list of what the color stands for, you can google it). so, the reactive framing in connection to the color blue even outside of the quarter’s shows a paradigm shift in the piece of hope bellamy has given clarke - she is able to make a step with that feeling within herself, even after having to write a list that only contains 100 people.
and here is where it gets pretty fascinating: that same bit of hope that bellamy has given her transitions into the next scene without us entering the new setting yet - we go from blue to yellow while clarke walks - which means that bellamy’s piece of hope transcends into all of humanity without clarke/the audience knowing that luna is already up on her feet with her body (the nightblood) rejecting the radiation, and the fact they might have found a new solution to the bigger problem they’re facing. this is so neat in regards to basic visual mechanics, because the color yellow in this case represents sickness, or even madness. so, it doesn’t really sound promising if you look at it that way. we do enter the scene seeing a lot of people dead first, after all. but it does come with a big promise, because of the hopeful tone we get through the transition (blue to yellow). so, colorism as a piece of foreshadowing? why the hell not.
overall, the way in how the visuals process that togetherness between clarke/bellamy is really compelling,
because while bellamy is not present, you still feel him.
even when clarke enters a new dimension of visuality, their connection does not get lost, but grows bigger in the picture. and it comes in full circle when she repeats “from the ashes we will rise”, which in hindsight creates a good callback to clarke’s line “science is our only hope” in 4x01, because luna, quite literally, represents hope too and she’s going to move the story in big ways.
We’ve been waiting until we got the full details of the mechanics down before showing this to you, but now that Courtney has finished the design, it is time for us to reveal how Sweet Elite’s affinity meter (aka, the Infinity Meter) will work!
Here’s a character’s Infinity Meter:
One of Sweet Elite’s key gameplay mechanic planned since the beginning of this project has been to allow your Scholar to choose whether they’d stay friends with a character, or move into the romance route.
For that, we needed some clear indicators of what would separate a friendship route and a full-blown romance route. Most other otome games only have a one-dimensional meter, as in, precise lines between where a character is friends with the player and starts to fall in love aren’t really there. The meter just…fills up.
In Sweet Elite, however, the limit is a lot more distinctive: The heart and handshake options!
When it’s time for a dialogue choice, the two buttons below will appear for you to choose from:
1) The handshake/friendship option
This is the icon that will appear in front of an option for a friendship affinity-raising dialogue. Choosing this option will lead you to three other dialogue choices in which you will have to choose the correct dialogue to raise your affinity and befriend students!
2) The heart/romance option
This is the icon that will appear in front of an option for a romance affinity-raising dialogue. Again, choosing this option will lead you to three other dialogue choices in which you will have to choose the correct dialogue to successfully flirt and seduce the character of your choice.
But how exactly do these options work with the overall Infinity Meter? Well, your relationship with a certain student will be divided into two specific stages, depending on your dialogue choices:
Stage 1: Blooming Friendship
This stage runs from 0 to 51 affinity points.
During this stage, your Scholar is working to befriend the character, regardless of whether their final intentions are to pursue a romance with them.
ALL dialogue choices, whether they are on the romance option or the friendship options will contribute to raising your Infinity Meter with that character.
And your meter will keep rising…until you hit 51. At that point you have to make a game changing choice…
Stage 2: Blooming Romance
So, your Scholar and that character are BFFs now! 51 whole affinity points! But…what if your Scholar starts developing feeling for them? How do they get to change their relationship?
Well, starting at 51 affinity points, you Scholar can decide whether or not they want to pursue a romance with that character or not. All they have to do is start choosing the romance options! The moment your Scholar chooses the romance option, the heart on their Infinity meter starts to fill, and it’s time for love to bloom~
If you are at and above 51 affinity points, then friendship choices no longer raise the meter. Thus if you are at 51 affinity and keep choosing friendship options, you will not be able to get to more affinity points!
So let’s recap shall we?
Sweet Elite’s Affinity Meter is called the Infinity Meter.
You can choose between romance and friendship dialogue options. You’ll know since one has a friendship icon before and one has a heart icon before the dialogue.
You can have two stages in your relationship with a character, and thus, in your Infinity Meter:
0 to 51 Affinity: Friendship Stage. Both romance and friendship options raise your meter until 51.
52 to 100: Romance stage. You can only get to that stage if you chose the romance option at 51 affinity. If you keep choosing friendship options, your meter will not go up!
If you have questions about this, please don’t hesitate to ask!
Thank you for following the development of Sweet Elite.
Regarding Legends of Paperquestria Ponies: Which walking posture do you prefer? <-LINK (Literally just one question with two answers.)
-POLL NOW CLOSED. THANKS EVERYONE FOR PARTICIPATING!!-
Hey, guys!! Thanks
to these helpful months of experimentation with the LoP prototype, I’ve
found ways to make both options work. I’m personally happy with both,
as each allows for very distinct gameplay & aesthetic opportunities.
Before going on with the character design for the gameworld, sprites
and stuff, I’d like to hear your official opinion on this matter one last time (instead of the occasional resentful comment “boo, I liked more when they were X.”) I will only take votes into account, NOT COMMENTS ON THIS POST (which will in fact be deleted.) I really value your opinion guys, and thus, the results of this poll will determine which will be the FINAL walking posture for LoP ponies.
The poll will be open until Wednesday June 21st.
You can find how each option would look like: here(upright) and here(all-fours). (Note that I’m only talking about VISUALS, not MECHANICS or anything else.)
Please take a minute to participate if you’re interested in the game!! Thanks!1!
I REALLY hope Jack plays more Scanner Sombre. That is the most phenomenal concept I’ve seen in ages! The visual/mechanic structure is 100% unique (based in my experience), and the actual story itself has SO much potential to be cool. My work day wasn’t ideal today, and watching that video tonight made me feel so energized. I love it!!! Please play more, Jack!!!
the cognitive functions as stringed musical instruments
Thanks to @mbtipartyblog for letting me write a “cognitive functions for stringed instruments”!
Fe: cello– it is said that the cello sounds most like the human voice of the strings and has a rich voice, appealing to a large audience. It is often the melody along with the violin and takes care of the ensemble with its low voice, even willing to play eight fucking notes over and over again in Pachelbel’s Canon.
Ne: guitar– the guitar is all over the fucking place. From baroque to country, guitars are versatile and can play all sorts of different genres, fulfilling whichever interest that the player has at the current moment.
Se: ukulele– the smaller cousin of the guitar, ukuleles remind people of the Hawaiian islands, filled with white, sandy beaches and sweet hibiscus leis. Fun and enjoying life, ukuleles exemplify the music of the care-free and adventurous. Also aesthetic as fuck.
Te: violin– getting the majority of solos, especially if they play the first part, violins absolutely need to have their shit together. Ambitious and dependable, they must be able to lead the section and, quite frankly, the entire ensemble.
Fi: viola– ya know, the melancholy “big violin”. You have to be really content with the instrument and edgy as fuck to stay with the one instrument that is the butt of jokes and that everyone overlooks. Despite all of this, the viola is unique as it’s one of the few instruments to play the alto clef and just as important to the ensemble as any other instrument.
Ni: harp– harboring one of the most magical tones of all instruments, the harp requires a sense of mysticism and skill that most people do not naturally have. Harps have a hypnotic voice and have definitely transcended standard orchestra fare.
Si: double bass– also severely overlooked by most people, the bass plays one of the most important roles in the orchestra because it usually maintains the tempo and reminds players of the current chord they’re on: the important, tried-and-true things to keep constant to be a successful ensemble.
Ti: piano– because it has 88 keys and pretty much spans the entire musical range, the piano can be very independent. Its range and keys also allows a chance for the player to understand music theory in a visual manner and the mechanics of music.
Since there’s nothing new from YandereDev, I got really interested in my Steampunk AU. I already have basic plot, characters designs, some character’s backstory, and currently, I’m working on scenario and visual (backgrounds, mechanical stuff that can be used in daily basis, etc.). However, some problem has occurred.
If you’re interested and want to help me out, continue reading. For others, I’ll leave a sketchy Megami-chan :> (don’t repost it tho)
But there are no wars in Earthsea. No soldiers, no armies, no battles. None of the militarism that came from the Arthurian saga and other sources and that by now, under the influence of fantasy war games, has become almost obligatory.
I didn’t and don’t think this way; my mind doesn’t work in terms of war. My imagination refuses to limit all the elements that make an adventure story and make it exciting—danger, risk, challenge, courage—to battlefields. A hero whose heroism consists of killing people is uninteresting to me, and I detest the hormonal war orgies of our visual media, the mechanical slaughter of endless battalions of black-clad, yellow-toothed, red-eyed demons.
War as a moral metaphor is limited, limiting, and dangerous. By reducing the choices of action to “a war against” whatever-it-is, you divide the world into Me or Us (good) and Them or It (bad) and reduce the ethical complexity and moral richness of our life to Yes/No, On/Off. This is puerile, misleading, and degrading. In stories, it evades any solution but violence and offers the reader mere infantile reassurance. All too often the heroes of such fantasies behave exactly as the villains do, acting with mindless violence, but the hero is on the “right” side and therefore will win. Right makes might.
Or does might make right?
I have written an extremely painful essay-length rant describing my sufferings in postgraduate-level humanities. If this doesn’t interest you, feel free to scroll past. If it does… please talk to me. I beg you.