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hapigairu · 7 months

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Fire Emblem Warriors: Three Hopes - Prologue: Camp Quotes (incomplete for now)

So, uh… since there’s no datamine for Three Hopes so far and having to check my billions of screenshots to find something is really annoying, I’ll try to post the Japanese lines whenever I have time. It’s going to be a very disorganised mess, but I’ll do my best to avoid making your eyes bleed. And because I’m a fucking idiot and a bad, bad mooner, you’ll get Golden Dumpsterfire’s lines first. But… it doesn’t matter in the first chapter anyway, so...:

Dimitri (when introducing the Blue Lions):

Felix: フェリックスはフラルダリウス公の嫡子だ。口が悪いが、根は善人だよ。俺は保証する。あいつは昔から腕の立つ者が好きだから、きっとお前のことも気に入るはずだ。

Sylvain: ゴーティエ辺境伯の嫡子であるシルヴァンはその……見てのとおり、女癖が悪くてな。あんな態度だが、頭の回転は誰より速い。幼馴染の俺が言うのだから、確かだぞ。

Ingrid: イングリットはガラテア伯の息女なんだが下手な騎士よりも遥かに腕が立つんだ。あの真面目さや勤勉さは子供の頃からで......シルヴァンなどはよく小言を言われていた。

Mercedes: 俺も、彼女とは入学して初めて知り合った。物腰の柔らかい、しっかりした女性だ。帝国、王国と各地を転々としてきたらしい。だからな、ああも落ち着いているのは。

Dedue: ダスカー地方のことは知っているか？ドゥドゥーは、そこの生まれだ。寡黙だが優しい、俺の自慢の......従者だ。まあ、実際に話してみればすぐにわかるさ。

Ashe: 王国南部に、ガスパールという城がある。彼はそこの城主であるロナート卿の養子だ。あの実直な性格は、信頼に値すると思う。俺も......友人として親睦を深めたいものだ。

Mercedes and Annette:

Annette:　あ、傭兵さん！初めまして、だね。あたしはアネット。で、こっちが親友の……

Mercedes:　メルセデスよ。よろしくね～。もう他のみんなとはお話しした？

「まだだと答える」

Shez:　いえ、出立まではまだ時間があるし、これから話してみるつもりよ。

Mercedes:　じゃあ、みんなのことをよく知らないのは私たちと一緒ってことね～。

Annette:　実はあたしたちもこの間入学したばかりです、みんなの顔と名前は怪しいんだよね…...。

Knight of Seiros:

話はアロイスさんから聞かせてもらった。級長たちに加勢してくれて、感謝するよ。

生徒たちに何かあれば、心を痛めるだけでは済まなかった。重ね重ね、ありがとう。

前節も、学校から故郷に帰還した生徒が方向不明に......いや、君には関係ない話だった。

Knight of Seiros:

これまで何度も野外活動を行ってきたが......今回のようなことは一度もなかったのだ。

今年は皇女、王子、盟主の孫が揃っているため、護衛の数も平年の倍以上だった。

にもかかわらず、このような体たらく......。敵が一枚上手だったなどとは言えんよ。

まったく、レア様に何と申し開きをすればよいか......。困ったものだな。

Knight of Seiros:

君が３人に協力してくれて助かりました。

実は……級長たちは囮になって盗賊団の大部分を引きつけ、逃げてくれたのです。

おかげで他の者たちはかすり傷程度で守り切ることができました。

しかし、その結果、級長たち犠牲になっては大問題ですからね。

無事で本当に良かったです。

貴方の協力に感謝しています。

Soldier:

いやあ、特に何も起こらんから、旅行気分で行けって先輩には言われたんですけどね。

蓋を開けてみればこれですよ。まったく死ぬかと思いました。

もう必死で槍を振り回してたんですが……土官学校の女生徒に助けられちゃって。

最近の若い子は強いですねえ。機敏な動きで、見事なものでした。 (This one might be incomplete, I'm not sure)

Student:

怖かったよ！急に人がいっぱい襲ってきて......。

級長もどっかに行っちゃうし......残った貴族の人が指揮してくれたけど。

あれ？そういえば、君って誰？ま、まさか賊の生き残りじゃないよね！？

That's all I have for now (for the prologue, that is), so I'll edit this post once I know where the hell I put my other screenshots.

And since it's already a big mess, don't hesitate to tell me if you want me to post something in particular before I actually get to it!

#fe3h #fe16 #few3h #golden wildfire #gw #fire emblem #three hopes #japanese lines

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moulinblanc0800 · 1 year

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my (current) thoughts on blackbird

...and how it relates to the rest of wataei's development later specifically from Wataru's POV.

Firstly thank you SO much to those who worked on the eng translation of blackbird. You can read it here for yourself @/funbirdnest . I'm kind of. emotionally devastated. right now but I'm still *sniffles* really grateful for how fast it came out and the quality of the translation too I actually eat and breathe blackbird now

Now allow me to throw this EP:link line into the wataei brainrot hotpot... ✩

(Source. EP:link - Deadend 7)

This line is seriously important to me because I'm intensely interested in what Wataru's intentions were approaching Eichi during the time of Blackbird + how Wataru felt about Eichi at that point

Warning this is really long because I got out of hand... It's screenshot-heavy too.

(Source: Element - Ash Returns to the Sky 6)

It's clear that at the war/freshly post-war point of the story Wataru sees both of them as characters in a bigger story. In their convo before the final battle he says one shouldn't "bring in human relationships" to the stage, even though they 'exist in reality'

(I typed more here but it's a digression. I'm going to have to make another post entirely about that. if anyone else would like to take that line and run with it be my guest.)

I always have a hard time figuring out Wataru because of his mask (I swear I've posted and deleted misinterpretations of him a billion times by now, I'm so sorry) so this part was esp important to me:

Where his mask slips. Even though he planned to leave at the end, Wataru didn't get close to Eichi out of a desire for vengeance, because that would be disrespecting his friends. Wataru actually re-asserts this in Blackbird but it seems Eichi, even up till EP:link...

...did not get the hint. It's natural; he grew up in a world where he's used to, and expects, people lying to him to get what they want. And in Blackbird, Eichi was mentally at an extremely low and vulnerable point of his life, and it would've been believable to Eichi that Wataru was in fact just exploiting that by visiting at that time. ??

The point remains that Wataru fully intended to leave by the end of their script. But now I understand that the dynamic was never enemies to lovers, but... co-stars, to co-writers + stars, to lovers?

You see, for the longest time Wataru could only see everyone (incl himself) as characters. Even when he expresses care for another, it is to protect "the story"

(Source: Magnolia 8)

But by the time we hit Milky Way, Eichi has progressed from "a character" to "an interesting person".

And then Diner Live, Eichi is surprised when Wataru reveals he had an ulterior motive in participating in the live, and was not doing it just because it was interesting.

(Source: Diner Live Epilogue)

As for said "ulterior motive", we know

that he planned a story where he and Eichi would stand on the same stage.

And finally in EP:link,

I'm so sorry if none of this makes sense and I would love to explain more but sometimes when I read wataei's conversations I feel straight up illiterate. But I'm just. I'm just so proud of how far they've come. And to finally get the beginning of everything—man. Would Wataru ever have guessed that what he started in Blackbird with Eichi would come to mean so much to him?

Wataru chose to become the writer of his story. Not a story to entertain an audience, or to reform a school. But a story because he loves Eichi—and because he is Hibiki Wataru, a human, in the end :)

#wataei #hibiki wataru #wataru hibiki #analysis #??? more like me just wordvomiting #well here you go whatever this is #im going to despondently soak my pillow with tears now #as they say #im so normal #enstars #blackbird #element

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neonriser · 1 month

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For those who can't see the screenshot post, for whatever reason it may be:

@sillyrookie posted:

Ok, since @hairiclilred asked, I'll start my dumb rant.

Over here in the US, the videogame market fell off a cliff in 1983 due to a reckless oversaturated market flooded with low quality dreck that killed player interest. So many unsold Atari games ended up filling landfills.

Revenue dropped by 97%. It was catastrophic. Videogames died in America for a couple years due to short-sighted business decisions by major corporations.

The American market was revitalized when Nintendo came over and instituted limits to third parties to keep quality up, while also ensuring that quality was their brand. America only has a video game market today because of Nintendo.

I think the current environment of constant remakes, mergers, layoffs, diminishing returns on blockbuster products, and corps thinking they can use "AI" to regurgitate their once valuable IP will cause a similar crash.

What I find interesting is how many classic IP will end up dying in the wake of this.

At the moment so many distinguished studios with established IP are getting bought up by corps, only to lay off the workers and shutter the studios.

The workers don't just lose their jobs, they lose the IP they created. Even if the team can regroup, they can't use the stuff they made anymore. The IP dies with the studio.

So stuff like this makes me feel like we're right at the brink of a collapse that will kill ALOT of once profitable IP when audiences are made sick and tired of alot of stuff they used to love.

These IP owners don't understand the products they own, the workers that make it, and the audience that buy it; and many in the c-suite have actual contempt for all three things.

When an IP stops being profitable, corps shut it down, lock it away unless somebody has the capital to buy it from them.

The only thing they understand is that an old movie made by humans generated billions of profits for them because an audience enjoyed it, and instead of taking new risks it's "better" business short term to just rehash the stuff that made money before. And if they expect "generative AI" to make more content even faster, expect a sea of endless remakes, each shittier than the last one.

Things are bad now, and they're gonna get way worse real fast.

I expect a cultural massacre. What does that look like?

It's obviously a different world today than the 1980s, but Nintendo's core business ideology has stayed consistent, and they'll weather a AAA crash with no problem because they don't play the AAA space at all.

They make a sustainable lower-tech console that's sold at a profit (the traditional model before the Wii was to make a powerful console and sell it at a loss so that you made your money on software sales) and their brand still means quality even 40 years later. Not every game they do is amazing, but their batting average is high and they go out of their way to avoid dropping anything half-baked.

I think every other industry is gonna need their own Nintendos to rise from the ashes. The more I learned about the history of the industry, the more respect I have for them.

And they are NOT perfect. But it the broad strokes they're the example I think most should follow to have a sustainable industry that keeps everyone happy.

Heck, I'll define "everyone happy:"

Artists properly paid, having job security, and able to BE creative.

Players having quality games to enjoy.

Businesses being sustainable for the long term, properly using the revenue from successes to experiment with new ideas, and not screwing anyone over.

[Image: Sonic saying "I WANT SHORTER GAMES WITH WORSE GRAPHICS MADE BY PEOPLE WHO ARE PAID MORE TO WORK LESS AND I'M NOT KIDDING".]

If the collapse I'm imagining does actually happen, the only possible thing to grow out of it are new IP from all the artists that got laid off.

New stuff would be the only things coming out for a while and the only things people want if the big franchises burned them out.

Depending on how audience sentiment is by that point, public domain stuff might become suspect as well, which is also an interesting scenario to me.

I think about how the current remake ecosystem is targeted at millennials (which I am) while the pendulum is already set to swing in the other direction.

Sorry for not talking about this part first. 😂

74% of that survey wants new stuff. The major IP holders are about to commit suicide if they go through with the "AI will make us 30 remakes per second" scheme.

One thing I hope DOESN'T happen is a backlash against honesty in the creative process.

We were culturally at a point where the average joe could understand that new ideas don't come from nowhere and are all mutations of old ideas.

Game of Thrones exists because Lord of the Rings came first, which owes it's existence to Norse myth and Beowulf, ect ect.

We're at the point where youtubers make games out of seeing what a song sampled from, the references a movie made, on and on.

But right now a popular spiel from "AI" charlatans to justify IP theft is the assertion that there's no difference between stealing copyrighted media for an LLM to regurgitate and a human being inspired by the ideas and experience they felt from another creator's work and creating a new thing under the established rules of copyright. It's a lie, but it keeps getting repeated to justify theft.

As the scam cycle winds down, I think they might be poisoning the discourse in a lasting way. We could go back to people lying about how ideas work, and that has only negative effects on human expression as a whole.

I want a world where everyone understands the difference between inspiration and a ripoff and can appreciate human creation better than previous generations have. We were right there before the scammers showed up.

So yeah, another rant out of me. 😂

So when people want new IP, they also need to understand what it means that Dragonball was a goofy parody of Journey to the West.

Dragonball is alot of things, it's inspirations are loud and obvious (even the Terminator is in there), but it's also a unique work created through the mind of one talented individual that nobody else could have made, because nobody else was Akira Toriyama, and ALL the subsequent works inspired by Dragonball (One Piece, Naruto, Hero Academia, Sonic the Hedgehog, ect) are their own original works that stand on their own, but still owe their existence to Toriyama's work as much as he owes his work to the things that inspired him.

The best ecosystem is where everyone encourages new IP and also fully understands how they come into being.

(Using this example for obvious reasons.)

Discord Post Reaction: [☝️ 1]

To go back to the topic of videogames, Toys for Bob recently made themselves layoff proof by going full independent.

With the level and volume of world class talent being laid off in the industry, I think we'll see more and more indy teams pop up if they can organize the means to do so.

There is too much high pedigree talent out there right now to just disappear or eventually go back to the people that screwed them over. The current ecosystem allows smaller teams and projects to flourish.

I am 100% down for an industry with less games like Immortals of Aveum and WAY more games like Pizza Tower.

#rant post #not me #i just screencapped it #serious stuff #sillyrookie

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annakie · 4 years

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An Annotated Mass Effect Playthrough, Part Ten

Let’s... get as close to home as we’re gonna for a long time.

List of Posts: 0 1 2 3 4 5 6 7 8 9

And we’re off! Back to the elevator.

Time to help that sweet Nassana lady’s kidnapped sister.

Am I wrong in thinking even the “ugly” planets are generally still pretty?

After reliving that fight from update eight, it’s time to find Nassana’s sis...

WHAT? A slaver all along? I’m SHOCKED. SHOCKED!

So with heavy hearts, Kaidan, Wrex and I slogged back to the Normandy, eager to do good in the universe, to save others, serve the rules-following Alliance and do no harm to those whom I will come to care about deeply in the future.

Oh, hey Hackett! What? There’s a base under seige on the Earth’s Moon, and you need me to handle it? Definitely just a VI going haywire? Good to know the Alliance wouldn’t do any illegal AI development. I’ll take care of this pesky VI who is definitely not gaining sentience nor whom will I ever interact with again, no problem!

Time to head to the Sol System!

The only thing on G’loot Praktaw Mars is a few small prothean ruins archeology teams? Boring! Why would anyone ever go there?

Shoutout to Jupiter!! (This update contains jokes for like three very specific people. You know who you are.)

(Boop!)

You guys hear about Pluto? That’s messed up, right?

BTW... ALOT replaces our local planets with updated textures from real NASA pics that have come out since 2007. Love it.

11.4 billion people on Earth. Rent must be crazy.

Luna... nice to not just call it “The Moon”. Think we can go barefoot?

I probably should have giffed THIS landing sequence but oh well.

I’m pretty sure there’s a rule that says if you’re screenshotting your ME1 playthrough you have to take a picture of the Mako + Earth on the moon. Whew, checked THAT box off.

Since this mission is all sensitive Alliance stuff, Ashley and Kaidan come with.

Is this the future site of the Punishment Soccer field?

We're whalers on the Moon, we carry a harpoon. But there ain't no whales so we tell tall tales and sing a whaling tune!

So we ran in there, easily took out one set of rockets, then had to... somewhat tediously shoot eight power couplings.

Well that’s slightly annoying, weird way to protect the power couplings but whateves, Alliance techs.

One down, two to go.

Two down and... what? Oh because just what this mission needed was more tedious shooting.

I really wanna know how these things are supposed to work. At least the textures and lights look good.

Really? Before the doors, too!?

EVERY DOOR!?

Anyway. Remember how I said there were one or two fights when I did the game on Insanity made me want to ragequit and I had to do them many, many times?

This is one of them. The 3rd base on the moon. Bane of my existence.

Oh well hey this isn’t so bad, just get that barrier up and...

I ALMOST HAD HIM DAMNIT

The near-complete lack of cover as soon as you run into that room combined with them very easily getting to flank you and shoot rockets at you close up is nothing but a deathtrap.

Hey, Shepard, how about uh... taking some cover and using some tactics?

Ash, Kaidan, let's go back out to the big room we just came through instead. You... stand there.

See? Isn’t this much better? You throw everything you’ve got at them, I’ll mash buttons from behind cover.

Easy Peasy. Fish in a barrel.

Ahhh damnit, so close, Kaidan.

Pretty sure he took out the rocket trooper right as the rocket trooper took him out.

Welp, that’s what Unity is for.

FINALLY, last VI Conduit.

Let me just take out this conduit and...

Hey, too bad I can’t read binary. I’m sure that’s nothing important, anyway, and I won’t ever feel guilty about this decision. It’s just a VI, not a friend!

Specialization time!!

Eh, let’s go Nemesis this time. Stronger Biotics are pretty great.

And it’s time to leave the moon and never consider our actions nor the Alliances motives again!

New day, new Ice Planet.

Oh, a wide-open plain huh? I know this game! Thresher Maw Incom... no?

What happened here? Will we ever know?

Reminder this location on Chohe has three Matriarch writings. So it was probably Asari that lived here, but where did they go?

Oh, okok... here we go, a map objective, THRESHER MAW TI.... still no?

Guys, I think it’s safe. No Thresher Maw here!

...damnit.

Whew, I think we outran i...

FUCK.

LITTLE DID YOU KNOW I WANTED TO DO A 180 ANYWAY, THANKS MR. MAW.

Just a few more shots and... no don’t worry about how nearly the entire mako status window is flashing red. We’re FINE.

Whew. Time to slap some medigel on that, boys.

Now, for the reason we came here.

Technically, I shouldn’t have this quest yet, since it’s the high-paragon exclusive mission, but well, I’m here now, so why not.

Trying hard NOT to kill civilians is always a bit iffy.

I... only had to reload once, and I’m pretty sure that the one civvy that was killed wasn’t my fault the first time, though.

Also, this place has some pretty great loot once you’re done.

Sadly, this mission is bugged, and imports will always think that this mission ended in a bloodbath.

From the wiki: Due to a bug, when creating the correct flags for the Mass Effect save, the file is flagged as stating that the Sirta Foundation never recovered from the attack and will likely be shutting down regardless of decisions.This bug is not fixable by editing the save file.

As far as I can tell, ME1Re doesn’t fix this. Luckily, it doesn’t have much of a bearing on the future.

Okay, a shorter update, but now I need to play some more to have more to post. Next time... maybe we’ll get to Feros?

#mass effect #bioware #gaming #video games #annakie's mass effect stuff

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fan-tasticfour · 7 years

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Headcanon - Theater Layout

Okay, so, majority of the thing under a cut because there’s pictures galore XD

But here’s a summary:

The Kurukurutei is, in design, presumably heavily inspired by the existing Suehirotei in Shinjuku. The outside/front of the building definitely matches. Interior decor is up to imagination but I like to think the performance hall and stage at least are something similar to the real thing.

The building has three floors

The first floor, with three doors leading out to the sidewalk. There’s two ‘main entrance’ doors leading into the theater room, and one ‘staff entrance’ door leading both upstairs to living quarters, and to the backstage area including dressing room and yard.

The second floor is the “balcony” segment of the theater room. It’s a very tall theater room. Only staff has access to it. There’s also another room located above the dressing room that only those living at the theater have access to.

The third floor is the living space. It has a living room, kitchen, bathroom, and three bedrooms.

I guess there’s also a sort of attic but it doesn’t really count as a fourth floor because it’s kinda low and there’s probably just a ton of random stuff crammed into it.

I tried to rebuild the theater in Sims 3 the way I kinda-sorta imagine it but it had almost zero Japanese furniture and even the pay-for stuff on the official site is kinda useless and lol ain’t nobody got time to mod the game so just pretend there’s a ton more Japanese-looking stuff in the building than the game is willng to offer.

Anyway, picture time! (Click the text links for bigger images):

Left is the [ Kurukurutei ] exterior shown in the game, right is a picture of the [ Suehirotei ] in Shinjuku.

A bunch of interior pictures of the theater room. Top three are real photos, bottom three are anime renditions from the anime “Shouwa Genroku Rakugo Shinjuu”, which I actually recommend watching. I remember going in for the sole purpose of learning more about rakugo to better muse Uendo and thinking I’d be bored, only to get hooked after the first episode and binge the entire first season in one afternoon lmao

[ One ] [ Two ] [ Three ] [ Four ] [ Five ] [ Six ]

Like I said, Sims 3 doesn’t really allow for me to properly re-create existing things, but all things considered [ it’s not too bad ]. Unfortunately I couldn’t take screenshots directly off the computer, so uh. Sorry about photo quality.

I don’t know if the theater has the same fuckton amount of lights everywhere, but I kinda had to add a billion for the sake of being able to SEE.

[ This one ] is basically a view of the first floor. You can see the dressing room and the hallway around it on the left, as well as the yard. The stairs in the same hallway lead up to living quarters, and there’s a kinda of dresser-closet-thing in front of the stairs for guests to take their shoes off. (They don’t get a lot of guests, but they do have a few pairs of guest slippers in the racks.)

[ First one ] is a slightly closer look at the front. There’s an empty stripe of brown bricks in the center, but there’s supposed to be a ticket booth there that people can buy their tickets from. The door on the right of the booth is where the audience walks in. The one on the left is locked. And then the left-most door is the staff entrance.

[ Second one ] is just a bit closer up to the seats and the stage. Hard to do in the game but the stage is supposed to be higher up and can have curtains of a sort to close/hide the stage. The wings are tatami mats. You’re meant to take your shoes off before walking on them, and they also have pillows to sit on.

[ Third one ] is really just to show that there’s a bathroom for audience people to go to during performances.

[ The yard ] is meant to have a higher hedge, thank you Sims, but you can see the doghouse previously occupied by Jugemu and the window Simon was looking through during Turnabout Storyteller.

[ The dressing room ] is supposed to have a wooden sliding door instead of a glass one, thank you Sims, but there’s a table in the middle and a fridge in the corner and a TV and a dresser with a very big mirror. The dresser and mirror are actually important since everyone in the Toneido Troupe pays special attention to their appearance before going on-stage. One of the corners has a small shrine/altar that was initially for the first Uendo and his wife, but now also has Taifu’s ashes as part of it.

[ Second floor pic ] where you can see the first floor lamps just hanging in the void because there’s no ceiling and I don’t know if the game understands gravity and physics. I mean there’s literally no floor and they’re just. Hanging there because I wanted them to.

The performance hall balcony can technically be seen from the floor below, but guests are not supposed to be able to see what’s up there and the view is almost always obscured by curtains. I just put a bar there in the Sims but it’s actually from where the lighting and the stage curtains are operated.

Over the dressing room is just a spare room that is almost more of a stroage room. Uendo likes to play piano there. But it also has a few other music instruments in it, and some painting tools, and Uendo’s baseball gear, Geiru’s ice skates, some dog stuff for Jugemu, and a lot of toys and materials for acrobatics that the Troupe used for performances. Right across from that room is the stairs up to the rest of the living space.

[ Third floor ] with living space arrangement.

Upper left is the living room, which is supposed to look a lot more Japanese than the game can do. Next to it, upper right, is the kitchen. Taifu (left) and Geiru (right)’s rooms facing each other, both decently-sized. Lower left is Uendo’s room and lower right is the bathroom. Uendo’s room was never really intended to be a bedroom and Taifu just kind of turned it into that when he was adopted into the residence, which is why it’s much smaller than the other two bedrooms.

[ Living Room A ] [ Living Room B ] [ Kitchen ]

Gin-chan’s cage is pushed up in a corner against the stair rail and kind of hard to notice when coming up the stairs. The extra branch is for when the birds are given permission to fly around the room. The couch has a small table with a phone next to it, and is facing a big TV with stacks of movies and games on the sides. Taifu was a big reader and had a giant bookcase up against the wall.

The kitchen just generally has all the basics-- table, chairs, fridge, sink, oven, stove, dishwater, and a whole bunch of cabinets for storing pots and dishes and non-fridge food. One cabinet is entirely reserved for tea.

[ Taifu’s room ] is very minimalist. (Maybe not quite as much as in the game, but I didn’t really know what to put in there.) I put a bed but it’s actually meant to be a futon. The grey wall is intended to be all sliding doors and just one giant closet with mostly spare futons and blankets and sheets, and only a small section being Taifu’s clothes.

[ Geiru’s room ] is also a bit more full than in the game, but. Her closet space is almost entirely occupied by costumes and colorful outfits. Some of the clothes in there are Uendo’s hoodies that she snagged for herself because they were soft and that he still hasn’t gone back to reclaim. She has a big dresser wth a mirror that contains makeup and lotions and other beauty tools scattered in the drawers. There’s a mermaid statue in the game that Geiru may or may not actually have, but was honestly just put there to show where she keeps an old framed picture of her and her father.

[ Uendo’s ][ room ] is essentially a BIT smaller than in the above images. And a lot messier. Honestly game mechanics CANNOT do the disaster in his room justice. There’s his bed up against the wall/window (it’s a big window), there’s some box thing in the corner which is realistically actually a big pile of unfolded laundry, his desk has a computer on one half and the other half is supposed to be buried under pens and pencils and books and anime/video game figurines, plus more figurines and stuff on the wall shelves, Katsura’s cage in the corner, next to the bed is a big drawer with make-up and juggling tools and blank notebooks and USED notebooks and stacks of unused paper and used paper and color paper and some other random things and a mirror hanging over the drawer and the bookshelf in the corner isn’t supposed to be a bookshelf even though he’d love one and is instead supposed to be a tall-ass closet with ALL the clothes in it, his and Patches’ and Kisegawa’s and the stuffed bunny he got from Geiru as a kid is also hiding in there somewhere. The feather painting hanging over Uendo’s bed is actually supposed to be a small but growing cluster of “posters” from friends.

[ The side roof ] doesn’t have any “real” access. It’s a roof and wasn’t made for going on there. But Uendo likes to climb through the windows and lay on it for stargazing. Since Taifu’s death he also moved the laundry lines because going all the way down to the yard for it got annoying and exhausting.

Anyway, there you go. That’s more or less how I imagine the entire Kurukurutei to be.

#:| Wind Headcanons |:

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dailycryptonews-blog · 6 years

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Crypto News - WAX is powering the Ready Player One-esque Future

WAX is powering the Ready Player One-esque Future A 14-year-old wakes up on a Monday morning, gets dressed, grabs a packed lunch, and heads out the door. But instead of catching the bus to a traditional school, she visits a computer lab outfitted with pods containing VR goggles, speakers, and... You May Likes reading: Also Read: Latest Crypto News

WAX is powering the Ready Player One-esque Future

A 14-year-old wakes up on a Monday morning, gets dressed, grabs a packed lunch, and heads out the door. But instead of catching the bus to a traditional school, she visits a computer lab outfitted with pods containing VR goggles, speakers, and haptic gloves. She will in nearly every sense travel for today’s history lesson to the dawn of time and witness humans discovering fire in a cave. She will smell the fire, touch the ashes, and hear the wind — except she won’t actually leave the lab.

Disclosure: This is a Sponsored Article

While she’s in school, her mother “attends” church while sitting on the couch in the living room, and makes a donation by sending digital currency from her online wallet to the church’s.

Her father picks up a new suit before his “visit” to the Beijing headquarters of a manufacturing company, without leaving his town in the suburbs of Chicago. The suit is made of pixels. It doesn’t stain, rip, or need to be dry-cleaned, because it only exists inside of an online virtual world.

The virtual world this all describes could soon become very real.

If this sounds familiar, that’s likely because this describes the OASIS virtual game and world that’s depicted in the record-breaking Steven Spielberg movie and best-selling Ernest Cline novel Ready Player One.

Worldwide Asset eXchange™ (WAX) is the global platform and currency that will power this virtual reality-dominated future, and let’s just say that we have some predictions about it. Ready Player One’s OASIS may appear sensational, but the reality is that it shows us a future that is not far from what we have and do today.

Is it possible to imagine that this world will become next generation’s reality? We think so.

First, Some Definitions:

Before we dive in, let’s define a few things:

Ready Player One: Sci-Fi novelist Ernest Cline wrote Ready Player One in 2011. In 2018, the Steven Spielberg-directed movie hit theaters and in four weeks grossed a worldwide total of more than $523 million. The sequel, Ready Player Two, is in progress.

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OASIS (Ontologically Anthropocentric Sensory Immersive Simulation): is the fictional Massively Multiplayer Online Simulation Game that serves as the location for most of the plot in Ready Player One. The game has massive communities inside of it as well as other embedded games. Real humans on Earth interact with the OASIS via virtual reality headsets and other simulation-creating devices such as haptic gloves and chairs.

Avatars: The graphical representation of the user or the user’s alter ego or character. An icon or figure representing a particular person in a video game, Internet forum, the OASIS etc. Avatars can be outfitted with virtual items and customizations, sometimes referred to as “skins” (depending on the game).

Skins: Skins are digital files in video games that modify the appearance of an avatar or other item. Skins are are often strictly cosmetic, but other digital in-game items can sometimes have function depending on the game and item. OASIS contains both non-functional skins and functional in-game digital items.

Cryptocurrency: a digital currency in which encryption techniques are used to regulate the generation of units of currency and verify the transfer of funds, operating independently of a central bank. Essentially, digital money that’s pegged to standard money’s value and which can be traded from one online wallet to another.

WAX: Worldwide Asset eXchange is a decentralized platform that enables anyone to operate a fully functioning virtual marketplace with zero investment in security, infrastructure, or payment processing. Developed by the founders of OPSkins, the world’s leading marketplace for online video game assets, WAX is designed to serve the 400+ million online players who already collect, buy and sell in-game items.

Harnessing the power of blockchain technology, WAX Tokens are utility tokens that allow virtual goods — and not just for use in video games — to easily be tokenized and exchanged for cryptocurrency. The smart contract underlying the transaction acts as the mechanism that permits trustless trading between buyers and sellers. The WAX Platform will allow millions of traders to create their own virtual stores on one decentralized platform, providing instant payments, security, and trust services that will bring millions of new participants into a growing ecosystem.

The Future of “Real Value” is in Virtual Items

Hundreds of billions of dollars worth of digital items exist in the world today. Their value can be measured both financially and in terms of their benefit to the item’s owner.

Digital items, such as songs on your iTunes account, transcend physical form. Unlike CDs, records or tape cassettes, an iTunes library is accessible across various platforms, even if a phone or computer containing those files breaks down. Cross-platform accessibility, which promotes greater ease of use, is the key to virtual items’ heightened value.

Makes sense, right?

But what about items that never existed in a physical form prior to their digital counterpart? Do those have value?

Of course they do. For example, in-game digital items for games such as Fortnite, League of Legends, Counter-Strike: Global Offensive, World of Warcraft and others, is a $50 billion global industry with more than 400 million participants.

Ask a CS:GO player if his $500+ Factory New Karambit Marble Fade has value, and you are sure to get an earful. He can show off the item to his friends. He can list it for sale and when someone purchases it, make a profit if the item’s value has risen. He can play with it in the game. He can take screenshots of his avatar holding the knife and share them on social media. He can gift it to a friend on his birthday.

https://themerkle.com/wp-content/uploads/37562b5949630f4afb1c9d49da5dcd8e.mp4

Source: OPSkins.com

Cryptocurrency takes the idea of virtual items with real value a step further. It only exists on the internet, and although this is an industry in its infancy, the total market cap of all cryptos to date is more than $400 billion (with bitcoin accounting for about 38%).

With several hundred billion dollars worth of digital items in existence — perhaps even in the trillions — it’s understandable how OASIS’s depiction of virtual items having equal or higher value than physical items is becoming reality.

Given the future ubiquity of virtual items, technology must exist in support buying, selling, renting, trading, and creating them. There are some key requirements to equip digital item marketplaces, such as trust intermediaries, speed, payment immutability (can’t be reversed), item authentication, and fraud prevention. Platforms like WAX are powering this future by offering plug-and-play decentralized solutions that enable marketplaces to support digital items trading via smart contracts, while offering a single currency that will be used to support all item transactions on the platform.

So for example a user of the WAX Platform could sell an in-game weapon for his favorite video game and instantly use the proceeds from that sale to purchase a digital movie download, without needing to convert currency. Because the transactions are based on smart contracts, there’s no risk that the seller may not get paid for their item. Since all items are listed for sale in real time, the item can be viewed and purchased by an user of the WAX platform. And since the marketplace where the seller listed the item for sale is powered by WAX, the marketplace gets a percentage of the transaction fee and don’t need to rely on cumbersome marketplace infrastructure.

Digital Identities are Already Here, and their Reach and Influence is Mainstream

Altering your identity online is hardly limited to the video game industry. Its mass-market ubiquity extends to other spaces such as social media. Ever used a Snapchat filter? If you haven’t, you’re not only missing out on the fun of seeing how you would look with dog ears and a snout, but you are also unlike the 187 million daily active users of the social media platform worldwide. Instagram, which has similar filter features, boasts 800 million monthly active users.

Source: https://mashable.com/2016/12/31/snapchat-lenses-2016/#dPPmcQjfnqqt

As the reach of digital identities permeates more and more online experiences, publishers and platforms are finding ways to monetize the trend among their partners and audiences.

For example, Warner Bros. promoted the launch of its Harry Potter Hogwarts Mystery game through a sponsored Snapchat filter. Snapchat users could not only snap themselves wearing Hogwarts robes, but also take the Harry Potter experience a step further in the app by playing an in-filter game. In the top left corner was a badge with an integrated “Install Now” button on the lens. Warner Bros. is hoping that Snapchat users who want to alter their identity online using their interactive filter will download the game.

And unlike Snapchat filters, which are free for users, some audiences are more than willing to pay to alter their digital identities themselves. Game publishers such as Epic Games, which developed and published the wildly popular game Fortnite, are creating free-to-play games with secondary markets that are the backbone of its business model. Game publishers are encouraged to create secondary markets because it can lower the barrier of entry for new players of the game by reducing the price or even making it free, while taking profits on the in-game item and skin purchases. Players are encouraged to purchase skins to alter their digital identities in the game, and their ability to do so has made Fortnite one of the most popular titles of 2017–2018.

Source: https://www.youtube.com/watch?v=W_LT4-Moa5g

Why are people spending real-life money on digital variations of their online identities (and why are companies spending their marketing budgets to sponsor it)?

For the same reasons that humans choose to spend money to alter their real-life identities: to express their individuality and separate themselves from the masses.

For the same reasons that people get tattoos and piercings to distinguish themselves, or purchase luxury shoes or pocketbooks when less expensive ones have the same function.

It’s not the functionality of the bag that matters, it’s the originality, prestige, and story behind the bag that makes it far more important and interesting than its basic function.

Caption: Digital items, like physical items, vary significantly in price and value

The same concept applies to online identities and items. Video games act as a form of self-expression. A standard-issue CS:GO gun might help a gamer win the match as much as a gun with a $30 skin on it, but the skin enables the player to separate their gaming experience from the rest of the players in the match.

The result is a $50 billion and growing in-game items trading industry, with more than 400+ million players around the world trading these items to affect the appearance of their digital identities in the games. OPSkins™ is the world’s largest marketplace for trading these items and has created a cryptocurrency and platform called the Worldwide Asset eXchange (WAX) which is designed to maximize the industry’s potential — currently limited by barriers to entry for both marketplaces and consumers.

Skins and Digital Items are Valuable — For Good Reasons

Why are skins and digital items valuable? For the same reasons that traditional “valuable” items are.

The ancient concept of value is based on usefulness or importance from worth. Centuries ago we measured the value of many things based on how much time or energy it took to acquire or make them. Salt was more costly than gold in Venice, Italy in the 1500s because of the cost of manufacturing, shipping, tax and profit for merchants. The unit of measure fundamentally rested in the amount of labor, i.e. the time and effort it takes for a human to produce or acquire something.

Rare items and intangibles (such as experiences) don’t always align with this ancient idea of value. Instead, the value is in the “eye of the beholder” in many ways. An item is worth what a buyer or collector is willing to pay. Where does that perception of value originate for an intangible?

Positive experiences stimulate neurotransmitters such as dopamine, serotonin, oxytocin or endorphins. We value happiness, so these positive experiences (and the items that can create them) have worth. If an item gives you a sense of happiness plus it’s rare or difficult to acquire (maybe even one of kind), it can be worth many times more than another item that looks the same. Why is a Leonardo da Vinci’s “Salvator Mundi,” worth $450 million? It is the most expensive painting ever sold, but you could put a print or digital representation of it on a wall or screen for almost no cost comparatively. The most expensive diamond, a 24.78-carat Graff Pink, sold for $46.2 million. How about the most expensive CS:GO skin? In January, a Dragon Lore skin sold for a record $61,052. Owning any of these items equates to status, prestige, and acceptance. Our brain gets the benefit from neuro chemicals — and rationalizes the value.

A recent study shows Americans are getting close to spending the majority of their waking hours consuming interactive entertainment:

As virtual experiences become ever more important, our internal view of “value” is shifting. How much will an online virtual experience be worth when we spend ⅓ of our waking hours using interactive devices? The answer is likely a lot more than we see today.

Millennials, a generation that may not have had phones until their teens, check their phones more than 150 times per day. Our younger generation’s increasing dependence on the latest technology suggests a future that’s bending towards virtual worlds, virtual items, skins and the commerce that surrounds them. It will only continue to grow as the next generations, who have never known life without interactive screens/devices, shape the world.

Meanwhile, not only has VR gone mainstream with the movie Ready Player One, but also with many other projects in development and a long list of future uses for VR outside of gaming. Let’s not forget Pokémon Go, the 2016 hit mobile game that brought augmented reality — virtual reality superimposed with the real-world environment — to the mainstream. With 750 million downloads just a year after its release, this game brought the idea of augmented reality to the palms of mobile users around the world.

Today, we see numerous great projects akin to the OASIS such as Decentraland and Second Life creator’s new project, High Fidelity. These ecosystems contain games within games and vibrant communities of players who trade items. Decentraland sold 70,000 pieces of real estate in its game before it was complete! The excitement for this new area of VR is just beginning and we can’t wait to see what comes next.

The WAX mission is to empower the people who create, share, and love these emerging virtual worlds, enabling them to make a living by operating marketplaces to buy, sell, trade, and rent virtual items without having to invest in expensive tools.

We envision the “OASIS of our future” powered by WAX.

Source #bitcoin #news #cryptonews #cryptocurrency #dailybitcoinnew #todaynews

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its-linkstar · 7 years

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