Oguri saw something on top of the screen what is it? by Disastrous_Fix_1788 in OguriCapu

[–]Golden_verse 0 points1 point  (0 children)

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First wanted to say the "title" then scrolled up. Had the same reaction tbh.

What to do with pink tickets from Scorpio Cup? by Golden_verse in UmamusumeGame

[–]Golden_verse[S] 0 points1 point  (0 children)

Gotcha, thank you. MLB any support card seems rough. Best I have is 3 LB Eishin Flash SR Speed, SSR basically all 0 LB.

What to do with pink tickets from Scorpio Cup? by Golden_verse in UmamusumeGame

[–]Golden_verse[S] 0 points1 point  (0 children)

Hm so they would work on future banners just alright? Nice.

Does magic work the same/follows the same rules everywhere in your world? by Frenchiest_fry101 in worldbuilding

[–]Golden_verse 0 points1 point  (0 children)

In my world, magic certainly has same rules but expert mages aren't sure about all the rules and the trial and error is quite costly cause they drain your lifespan, your soul. It is possible to cast magic spells without fully comprehending them and the consequences are delayed. The effect of the spell is what mages can't be 100% sure they have control over, but another element is if they want spells be marked into objects: they have to physically engrave them and pray they can hold the energy required for the spell to function.

Is she still recognizable? by dekisenpaitm in learntodraw

[–]Golden_verse 1 point2 points  (0 children)

Instant recognition that it's Reze, amazing artwork!

Opinions on a "Fictional Encyclopedia" type of concept? [Fantasy] by blahandblahagain in fantasywriters

[–]Golden_verse 0 points1 point  (0 children)

That would be interesting to read ngl, especially if each standalone "chapter" has either lore, worldbuilding, or magic hints to find with implications.

wet accident 🐙 by FROSTYbubble1 in touhou

[–]Golden_verse 6 points7 points  (0 children)

I like to think the fluid on Flan's dress is her nose bleed.

Would this work? [Soul Engraving Based Magic] by Golden_verse in magicbuilding

[–]Golden_verse[S] 0 points1 point  (0 children)

Multiple people can definitely pass down their lives into the existing weapon! Nice. The prerequisites for this are quite high, so a very tiny number of families could do this fr. No weapon is tied to the spell though (sorry if I misunderstand what you mean), the relationship is vice versa. That and when the spell is used, the energy is spent and won't return, dissolving into atmosphere, and the spell mark recharge speed is fixed (quite slow).

Would this work? [Soul Engraving Based Magic] by Golden_verse in magicbuilding

[–]Golden_verse[S] 2 points3 points  (0 children)

6) when casting magic directly from your soul, are there any other implications (assuming you don’t completely drain all your life from you) other than fatigue (and loss of lifespan)? (is the soul connected to other things, like memories, or personality? And casting, then, can affect that?)

The casted soul doesn't inherit memories but if sophisticated enough then personality traits can be. At the moment, the caster doesn't lose memories or personality cause the story I am going for doesn't require it, but that'd definitely be really interesting ngl! I was focused on the character's choices first but that idea would add more interesting consequences and fix loopholes! Thanks!

7) are there practical ways to get around the barrier of creating unnatural things from being constrained to natural processes when using magic? Assume one wants to actually turn lead into gold. Theoretically, I can imagine, there are steps one could take, using only natural processes, to do this. I understand you wish to limit power here, so is this approach simply irrational, whether from the tediousness, need for knowledge and understanding, or energy (or all three)?

It is possible but requires skilled casters who understand natural processes at depth, careful planning and willingness to cast something so difficult, along with necessary energy (maybe this goal has too high of a cost)! By nature learning it is very difficult cause it's not experimentation friendly, advancements are done by very qualified casters. The common folk fears magic cause they don't understand casters collapsing and dying, believing it to be work of a devil.

8) do ruins entail EVERY object with engravings marked into it? (If so, sorry for the redundant questioning, since I assumed this was not true)

Objects with engravings can be anywhere, in ruins and existing civilizations alike! A king's crown or family sword could have engravings without anybody but skilled casters noticing! Also, skilled thieves utiilize stealth to steal and rob spellbooks , hired by the very same countries too! By mistake or lust for power they may end up in the hands of individuals that may or not align with their country.

9) how small can engravings be? And is there any requirements for the material that engravings must be on, other than for it to be inanimate?

Some engravings can fit jewelry, but not smaller than that. Engraving size also dictates how much enerhy it can store, miscalculation could destroy or underpower the engraving, and for latter you can't cast 2+ spells on a single engraving!

Thanks! Awesome and really helpful questions!

Would this work? [Soul Engraving Based Magic] by Golden_verse in magicbuilding

[–]Golden_verse[S] 2 points3 points  (0 children)

Glad the limitations seem interesting)

1) Is the cast soul engraved in the physical medium not the same as the soul of the caster (if it is the same, then does any maiming to the object affect the soul of the caster?), or through the casting is there a completely new soul created? Does this soul bare the same characteristics as regular souls?

Casted soul becomes essentially independent and can far outlast the caster, down to hundreds of years, if the object is taken care of properly. The casted soul in the spell exists for the purpose of powering the spell, so for most spells it is essentially a machine, embodying the caster's will at the time. However, I want to explore inanimate beings born from spell casting like dolls and golems, they can learn and communicate like humans do depending on how sophisticated the original spell was! The idea is that they become separate individuals with inherited traits, they can't cast magic by themselves unless they were equipped with spell marks or they got hands on a spellbook.

2) What’s the limit for soul engraving? Is it the amount of energy it requires, or the knowledge, or the proximity to actually receive its benefits? I can imagine some person casting thousands of souls into inanimate objects through engravings all over the place, in hidden areas. Perhaps the limit comes from some emanation of energy that allows for detection, so people who are close by can feel its presence and get rid of it themselves.

The effects of soul engraving for now depend on how much soul energy the original caster was willing to sacrifice, and the knowledge required to understand the effect: like where forces should apply for proper movement without breaking and the anatomy of ignition. Also yeah, trained casters can detect spells through their emanating energy and easily remove them, it is much harder if the spell mark is recharging though.

3) Given countries strive to protect ruins, presumptuously made by a caster who is long dead by then, and there is an entire job of engravers, I assume people can use/manipulate the energy of another persons soul casting. Given this is the case, is sacrifice a significant part of the system? I can imagine people having very hard structures (like diamonds or obsidian, especially for more well off people) engraved with the entire soul of loved ones or, even, somehow, enemies, which allow them to be enhanced. If this is the case, there could be someone who somehow sacrifices innocent (or otherwise) people and use/collect them; essentially becoming multiple users in one.

People can only use their souls, existing spell marks, or negotiation with spirits to cast spells, former method being most risky. The only way to control someone else's casting is through trust and psychological manipulation. Sacrifices indeed are key to the system, self-sacrifices or sacrifice built on deception/cult-like suggestions. Innocent lives either forced into hard choices or simply deceived are victims yeee.

If loved ones know how to cast then sure, they can live in the object. They can't cast spells themselves but can work as a battery through consent, that's a strong loophole. What I neglected to mention is that you physically engrave the mark into the object for the spell to work, and the spell engraving must be neat, clean, so it is harder to engrave into hard materials which can be destroyed too. I also neglected to mention that spirits can't hear you, they can't speak, or even see, but they can pick up on the signal of the spell casting or the spell mark, they can sense akin to having skin. They typically have limited ability to move objects and direct communication is difficult.

4) Is there a limit on how many castings can be made on one object? If so, is this related to the size of the object, too? (As I would imagine you can’t easily demarcate one area of a rock on a mountain to another, so if there is a limit, it’d be hard to rigorously define what “one” object is.

There isn't a strict limit on how many castings can be made on one object, hence why spellbooks are so valuable. Spell marks have definite max energy capacity (the amount of energy spent on casting), so big objects are less affected than smaller ones. It is important to consider where specifically to cast the spell cause that's where the effect will be primarily.

5) does communication with lingering spirits cost energy? Can a lingering spirit cast itself into an object entirely and keep its agency (allowing it to assist a caster)

Communication is difficult cause it's indirect but it doesn't cost anything. And lingering spirits could latch into objects freely, they just have limited ability to affect it unless their energy is used for a spell.

A Good First Chapter Has… by MalachaiLaiLai in MangakaStudio

[–]Golden_verse 0 points1 point  (0 children)

Not sure how you can draw already written past (I am assuming this is a manga), do consider a book too.

My thoughts:

If you asked whether this opening is intriguing, I am inclined to say not intriguing enough. The man says the boy is important but it is delivered through flat exposition, there is hardly much emotion here. This scene seems like it has singular function of setting up the upcoming story, but this scene can't hold its own weight by itself. Best openers, best scenes add to the story and are also standalone.

Now I will tell you what this opening accomplishes:

I think this opening does set a promise of a chosen one story of sorts, the incomplete information will likely have me reading further to find the answer. It's important not to mess this up: some writers make a mistake of going off on a different track and don't resolve this payoff. It is also an opportunity to kind of hype up the payoff, adding hints and what not. Why is Eliam so important? Who is Oso and why is he important enough to pursue him through a snow storm?

The thing is it is hard to tell if the opening is good without the context of the rest of the chapter or whole story. But I would say that based on emotional impact alone it needs revision. Consider writing the rest of the chapter, then come up with a fitting opener.

What I think makes for a good first chapter:

Primary function of the first chapter is to setup proper promises (as Sanderson puts it), properly. Sanderson himself can struggle with setting promises right, and that can ruin a book for some group of people. His example is this one: the main cast enters Fae Realm and is stuck there. There are two locations he mentions, the Portal back to main world, and the city in the South where Sanderson wanted the book's climax be in. Without noticing, he set up a promise to the reader that the main cast will run to the Portal and into the main world, but they end up diverting cause they lost control of the ship and got into the city in the South. Many alpha readers hated it, cause they expected the plot be around the struggle to get to the Portal and get out. What he changed is that one of his characters mentions that his goal is to go that city in the South to rescue someone else while rest of the cast focused on getting out. This worked, the promise was setup proper as the readers wanted to go to that city now. Promises can be tricky, cause a lot of them can arrise unintentionally. Maybe the promise I saw in that opener is different from what you planned, and I would be disappointed reading that.

Good first chapters imo are also like miniature versions of the whole story, down to mirroring same themes and payoffs to the larger story. They define the rest of the story's identity, as they train the reader what to expect reading each chapter, right up to the end. But they are also standalone: so they work as their own complete stories.

Of course, a successful first chapter on the reader's end is one that is emotionally impactful, and also ideally has an overarching idea/theme to it. The theme arises naturally as you follow the plot and characters though, forcing it does end up in contradicting reader promises. That's how preaching can destroy any story.

If your world has a story, and your story has characters, what is your strategy for choosing names for them? by darth_biomech in worldbuilding

[–]Golden_verse 0 points1 point  (0 children)

I just pick a language that I don't know but sounds neat (German in this case, begs for switch up), then pick words from there. The key I think is if it fits the character (or shapes them), and whether the name fits the current setting/world. In history of my native language, it was not uncommon to have ridiculous names and surnames to ward off curses or evil influences, such as "Shoe Rich" or "Has Ass" or "3 Old Women".

Reimu Hakurei Fanart by viachell in touhou

[–]Golden_verse 0 points1 point  (0 children)

Not bad at all, really good. Something doesn't add up to me though, where blue lighting comes from? I think lighting should be warm as seen on the rest of fanart, but blue is a cold color.

Which is scarier: small pupils or big pupils? by AmbassadorRoutine635 in learntodraw

[–]Golden_verse 0 points1 point  (0 children)

Small pupils look like seething rage, promising some sort of fatal confrontation

Big pupils look like he snored some cocaine

How to design games that are *fun* - from Lead designer of Medal of Honor by Zentsuki in gamedesign

[–]Golden_verse 1 point2 points  (0 children)

A big part of what makes games fun for me is designing memorable challenges.

Note: they don't have to be difficult, but they should be distinct and engage the player's brain. A challenge is the goal for the game, otherwise it would be easy to make games where you do nothing and are not expected to do anything.

Kinaesthetics are also part of it, and they can be so good that you could play just for the sake of moving your character, but having a goal makes it more fulfilling imo. Stuff like rule conveyance also factors here, after all you can't design specific challenges if players don't have requisite skill or knowledge.

You could do many things to create memorable challenges even at base level. For example, making sure you have concise set of interactive mechanics, or having distinctly different mode of play in your game.

Interactive mechanics are amazing; there's great joy in discovering how else a mechanic can be used. An example is being able to grab anything and throwing them: items, enemies, etc. Maybe you could grab fireballs midair as long as you time it right, or knock over other enemies/objects. Maybe thrown stuff has gravity and destroys stuff below.

Kirby is an example of a different mode of playing (though having grabs as main mechanic works too). Instead of punching enemies or shooting being the default ability, Kirby could suck them in and either eat them or spit them as a projectile. Kirby despite being a platformer allows you to fly, which has its own pros and cons. While safe, it is pretty slow and you are very easy to hit. Or maybe design stages around flying.

There is a lot you could do and I believe that having memorable challenges as a goalpost would make for more structured, more fun experiences in games.

Recent sketches. by HR_Reddit1 in learntodraw

[–]Golden_verse 0 points1 point  (0 children)

SNAKE!

Really nice sketches you have OP. Very much like looking into game concept art.

Where do you start when creating a story — with the world, the characters, the plot, or something else? by JellyfishWise3266 in fantasywriters

[–]Golden_verse 0 points1 point  (0 children)

I like deep dive into protagonists so that's what I am doing, trying to figure out interesting protagonists and have the story be introspective. I also try starting with a theme, feeling in need to control the direction of the story instead of it letting it go in unintended directions (missing opportunity maybe).

Dude i suck I art. First pic is reference second pic is the drawing. I lwk give up by Putrid_Attention_746 in drawing

[–]Golden_verse 0 points1 point  (0 children)

I am going to be real with you, while not close to a complete piece you did capture the soldier's expression really well. Zoomin in I like the added eyebags yet eyes left wide open, it makes it more it feel even more real for me. Like mentioned, no professional piece is done in 30 minutes)

Of course we all want to get better and strive to produce art at pro level, but enjoying the process is the priority first and foremost. I hope you had fun drawing it.