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Hello Everyone
First of all i Thanks all of you to visit This site and seeing this post.Today we publish a new page where you guys can write for us So who is interested can submit their request below
Sincerely
Admin
The House of the Dragon trailer reveals that it is fixing Game of Thrones’ Iron Throne mistake. The trailer shows a number of brief clips from the greatly-anticipated prequel series by HBO, one of which is a shot of the iconic metal seat — but looking quite different to the version audiences saw in the original show. The new throne is much wider, splaying out across the steps leading up to it, with sword points jutting out from the molten metal like the teeth of a dragon. Even the central chair is larger, more jagged, and far more imposing.The Iron Throne is the central seat of power in Game of Thrones’ Westeros. Created for Aegon Targaryen after conquering the six kingdoms, the metal throne is said to be forged with dragon fire from the thousand swords of his enemies. The books by George R. R. Martin describe the chair as being huge and unsightly with steep metal steps leading up to the seat that was so dangerous, rulers couldn’t lean back against the sharp blades. The throne in HBO’s Game of Thrones, however, is much smaller than described, a hunk of molten steel sitting atop a short stone pedestal, as many sword hilts as blades decorating the backrest.The Game of Thrones spinoff House of the Dragon is making an Iron Throne that is much truer to the books than the original show’s version. Not only is the new throne more accurate to the source material, but it does a better job of serving as the intimidating symbol that it’s supposed to represent. It’s still not quite the monstrous structure described in the books, but it comes a lot closer than the comparatively casual-looking chair in HBO’s Game of Thrones.The Iron Throne is not merely a seat of power, but a symbol of the conquest it took to establish the Targaryen dynasty. The melted swords surrendered or taken from Aegon’s foes serve as a reminder to all the members of the great houses of what happens to those who oppose the aptly named House of the Dragon. It also holds a message from Aegon to the Targaryen rulers to come, a deliberately sharp and dangerous chair to remind them that conquerors can never rest easy. The Game of Thrones version looks hard and severe but not very intimidating, and although its lack of comfort is mentioned on multiple occasions, numerous characters can be seen lounging nonchalantly in it. The House of the Dragon throne, however, looks genuinely dangerous, posing a serious threat to any who approach it — much less dare to sit upon it.Although the Iron Throne in House of the Dragon is a lot more similar to the version in the books, it still is not quite the grotesque structure described in the source material. The pedestal is supposed to be steep and tall, allowing the rule to tower over the rest of the court. The danger of the chair still seems less extreme than the Iron Throne of the Game of Thrones books as well. The source material almost personifies the throne, recalling the countless rulers and members of the council it has cut. It’s even rumored that a Targaryen king who was found dead on the seat had been murdered by the throne itself. While the version in the trailer is a vast improvement on the original show, the new Iron Throne still lacks the proper size and a certain sinister aspect.There are reasons that Game of Thrones provides a somewhat lackluster seat: it may have been a deliberate creative decision to showcase the decline of House Targaryen, or the initial production budget just didn’t room for a towering metal monolith. It also could have been a safety concern for the actors. Either way, the prequel series takes place during the prime years of the Targaryen dynasty, and it deserves the symbol of power and conquest that the books describe. Although it’s imperfect, the Iron Throne in the House of the Dragon trailer is certainly a massive improvement on that of Game of Thrones.
The House of the Dragon trailer reveals that it is fixing Game of Thrones’ Iron Throne mistake. The trailer shows a number of brief clips from the greatly-anticipated prequel series by HBO, one of which is a shot of the iconic metal seat — but looking quite different to the version audiences saw in the original show. The new throne is much wider, splaying out across the steps leading up to it, with sword points jutting out from the molten metal like the teeth of a dragon. Even the central chair is larger, more jagged, and far more imposing.
The Iron Throne is the central seat of power in Game of Thrones’ Westeros. Created for Aegon Targaryen after conquering the six kingdoms, the metal throne is said to be forged with dragon fire from the thousand swords of his enemies. The books by George R. R. Martin describe the chair as being huge and unsightly with steep metal steps leading up to the seat that was so dangerous, rulers couldn’t lean back against the sharp blades. The throne in HBO’s Game of Thrones, however, is much smaller than described, a hunk of molten steel sitting atop a short stone pedestal, as many sword hilts as blades decorating the backrest.
The Game of Thrones spinoff House of the Dragon is making an Iron Throne that is much truer to the books than the original show’s version. Not only is the new throne more accurate to the source material, but it does a better job of serving as the intimidating symbol that it’s supposed to represent. It’s still not quite the monstrous structure described in the books, but it comes a lot closer than the comparatively casual-looking chair in HBO’s Game of Thrones.
The Iron Throne is not merely a seat of power, but a symbol of the conquest it took to establish the Targaryen dynasty. The melted swords surrendered or taken from Aegon’s foes serve as a reminder to all the members of the great houses of what happens to those who oppose the aptly named House of the Dragon. It also holds a message from Aegon to the Targaryen rulers to come, a deliberately sharp and dangerous chair to remind them that conquerors can never rest easy. The Game of Thrones version looks hard and severe but not very intimidating, and although its lack of comfort is mentioned on multiple occasions, numerous characters can be seen lounging nonchalantly in it. The House of the Dragon throne, however, looks genuinely dangerous, posing a serious threat to any who approach it — much less dare to sit upon it.
Although the Iron Throne in House of the Dragon is a lot more similar to the version in the books, it still is not quite the grotesque structure described in the source material. The pedestal is supposed to be steep and tall, allowing the rule to tower over the rest of the court. The danger of the chair still seems less extreme than the Iron Throne of the Game of Thrones books as well. The source material almost personifies the throne, recalling the countless rulers and members of the council it has cut. It’s even rumored that a Targaryen king who was found dead on the seat had been murdered by the throne itself. While the version in the trailer is a vast improvement on the original show, the new Iron Throne still lacks the proper size and a certain sinister aspect.
There are reasons that Game of Thrones provides a somewhat lackluster seat: it may have been a deliberate creative decision to showcase the decline of House Targaryen, or the initial production budget just didn’t room for a towering metal monolith. It also could have been a safety concern for the actors. Either way, the prequel series takes place during the prime years of the Targaryen dynasty, and it deserves the symbol of power and conquest that the books describe. Although it’s imperfect, the Iron Throne in the House of the Dragon trailer is certainly a massive improvement on that of Game of Thrones.
With all the anarchy in the Gallagher household, it can be difficult to keep track of how old the characters in Shameless are from the beginning to the end of the show. When the comedy-drama series debuted on Showtime in 2011, all of the Gallagher kids (except for Fiona) were still minors. By the time the series wrapped up with the season 11 finale in the spring of 2021, all except Liam are adults with jobs and – in some cases – kids of their own.Monica Gallagher had six children altogether before walking out on the family and leaving Fiona to take on the brunt of the parenting (even more so than she already had). In a rant in season 1, Frank helpfully spells out the age differences between the kids, saying that Monica left when Fiona was 14, Lip was 11, Ian was 10, Debbie was seven, Carl was five, and Liam was four months old. Of course, this being Frank, there’s probably some room for error in his calculation of the kids’ ages. Other clues in the show indicate that Fiona is actually around five years older than Lip, not three.The Shameless timeline is notoriously riddled with continuity issues, which often makes it difficult to keep track of how much time passes between seasons and how old the various characters are. In an interview with EW, creator John Wells joked that the show is written on “Shameless time,” with some characters’ storylines taking place over a few days while others take place over several weeks. However, thanks to mentions of their age in dialogue it’s possible to pin down their ages when the story begins, and how old they are when things wrap up in the Shameless season 11 finale.In Shameless season 1, Fiona is 21 years old, Lip is 16, Ian is 15, Debbie is 11, Carl is nine, and Liam is around 18 months old. Debbie’s daughter Franny, who was born when Debbie was 15, celebrates her fifth birthday in Shameless season 11, at which point Liam is about 11 years old. Putting these details together, it appears that around nine years pass between the start of Shameless season 1 and the end of season 11. By the time of the series finale, Fiona is 30, Lip is 25, Ian is 24, Debbie is 20, Carl is 18, and Liam is 11 years old. It should be noted that all of these ages are approximate, and could vary by a year or so. This is due to the show not only operating on its own time, but Shameless’ status as a TV series means that the number of seasons doesn’t always equate to the number of years that have passed since its debut. And because of the occasional continuity issues, it wasn’t always clear how old the characters were at certain points. However, there were enough clues and information given so that the ages were clearer by the end of Shameless’ run.By the end of Shameless season 11 the Gallagher family got even bigger. Mickey Milkovich is around the same age as Lip Gallagher, which would make him around 25 years old when the story ends. As mentioned above, Debbie’s daughter Franny is five years old, having been born on the Gallaghers’ kitchen table in season 6. Lip’s son, Freddie, was born in the first episode of season 10 and therefore must be at least a year old by the series finale, since Ian and Mickey are celebrating the one-year anniversary of their wedding from the end of season 10. Fred is probably about the same age in the finale as Liam was at the start of Shameless season 1. That essentially brings the Gallagher household full circle with regards to their ages, as another generation is born.Moving next door, Kevin and Veronica’s ages are never explicitly given at any point in the series, but they appear to be in their mid-to-late 20s in Shameless season 1. That puts them in their mid-to-late 30s by the time they pack up and get ready to move to Louisville in Shameless season 11. Their twin daughters, Amy and Jemma, were born in the season 4 finale, and Franny was conceived just a few episodes later, which means that Kevin and Veronica’s twins are about 6 years old by the end of the series.
With all the anarchy in the Gallagher household, it can be difficult to keep track of how old the characters in Shameless are from the beginning to the end of the show. When the comedy-drama series debuted on Showtime in 2011, all of the Gallagher kids (except for Fiona) were still minors. By the time the series wrapped up with the season 11 finale in the spring of 2021, all except Liam are adults with jobs and – in some cases – kids of their own.
Monica Gallagher had six children altogether before walking out on the family and leaving Fiona to take on the brunt of the parenting (even more so than she already had). In a rant in season 1, Frank helpfully spells out the age differences between the kids, saying that Monica left when Fiona was 14, Lip was 11, Ian was 10, Debbie was seven, Carl was five, and Liam was four months old. Of course, this being Frank, there’s probably some room for error in his calculation of the kids’ ages. Other clues in the show indicate that Fiona is actually around five years older than Lip, not three.
The Shameless timeline is notoriously riddled with continuity issues, which often makes it difficult to keep track of how much time passes between seasons and how old the various characters are. In an interview with EW, creator John Wells joked that the show is written on “Shameless time,” with some characters’ storylines taking place over a few days while others take place over several weeks. However, thanks to mentions of their age in dialogue it’s possible to pin down their ages when the story begins, and how old they are when things wrap up in the Shameless season 11 finale.
In Shameless season 1, Fiona is 21 years old, Lip is 16, Ian is 15, Debbie is 11, Carl is nine, and Liam is around 18 months old. Debbie’s daughter Franny, who was born when Debbie was 15, celebrates her fifth birthday in Shameless season 11, at which point Liam is about 11 years old. Putting these details together, it appears that around nine years pass between the start of Shameless season 1 and the end of season 11. By the time of the series finale, Fiona is 30, Lip is 25, Ian is 24, Debbie is 20, Carl is 18, and Liam is 11 years old. It should be noted that all of these ages are approximate, and could vary by a year or so. This is due to the show not only operating on its own time, but Shameless’ status as a TV series means that the number of seasons doesn’t always equate to the number of years that have passed since its debut. And because of the occasional continuity issues, it wasn’t always clear how old the characters were at certain points. However, there were enough clues and information given so that the ages were clearer by the end of Shameless’ run.
By the end of Shameless season 11 the Gallagher family got even bigger. Mickey Milkovich is around the same age as Lip Gallagher, which would make him around 25 years old when the story ends. As mentioned above, Debbie’s daughter Franny is five years old, having been born on the Gallaghers’ kitchen table in season 6. Lip’s son, Freddie, was born in the first episode of season 10 and therefore must be at least a year old by the series finale, since Ian and Mickey are celebrating the one-year anniversary of their wedding from the end of season 10. Fred is probably about the same age in the finale as Liam was at the start of Shameless season 1. That essentially brings the Gallagher household full circle with regards to their ages, as another generation is born.
Moving next door, Kevin and Veronica’s ages are never explicitly given at any point in the series, but they appear to be in their mid-to-late 20s in Shameless season 1. That puts them in their mid-to-late 30s by the time they pack up and get ready to move to Louisville in Shameless season 11. Their twin daughters, Amy and Jemma, were born in the season 4 finale, and Franny was conceived just a few episodes later, which means that Kevin and Veronica’s twins are about 6 years old by the end of the series.
Warning: Major spoilers ahead for No Time To DieThe No Time To Die signal the end of Daniel Craig’s time as James Bond for one final adventure. The movie is the 25th official James Bond film and the 5th movie for Craig’s interpretation of the character over a 15 year period. Like every Bond movie to date, the new film features an elaborate and highly stylized opening sequence that foreshadows much of what’s to follow. Just as with all its predecessors, No Time To Die’s credits have a lot to unpack.Dating back to Bond’s cinematic debut in 1962’s Dr. No (where there was a flurry of multi-colored dots flashing on the screen while the Bond theme played), the opening credits set the tone for the film. They are just as important fixtures for the James Bond franchise as the Gunbarrel or the title song that plays over them. Designer Maurice Binder was responsible for title sequences for 16 of the first 17 Bond films before Daniel Kleinman took over for Goldeneye onwards (with the exception of Quantum of Solace). Unsurprisingly, No Time To Die carries on the tradition.Kleinman returns for his 8th James Bond opening credits title sequence with No Time To Die, once again stylishly designing the sequence to convey the mindset of Bond, as well as the plot of the film. The key themes displayed are betrayal, and time, with numerous images of hourglasses and clocks throughout. The film itself takes inspiration from fan-favorite On Her Majesty’s Secret Service, including the song “We Have All the Time in the World”, referring to Bond and Madeleine spending the rest of their lives together. Bond utters the phase at the start of No Time To Die before a heart-wrenching call back to it in the finale. The hourglasses represent all the time in the world, but when they are broken so is Bond’s heart thinking (wrongly) that Madeleine has betrayed him. Images of Vesper Lynd from Casino Royale are included alongside Madeleine, in order to tie her in with Vesper in the audience’s mind as both deceiving James Bond. Madeleine’s secret however is vastly different than the one Vesper kept from him. Throughout the opening credits the lyrics in Billie Eilish’s title song “No Time To Die” echo the theme of betrayal. Furthermore, Bond’s Aston Martin sinking is representative of him leaving behind his former life. The famous gadget-laden car is instantly recognizable and iconic as anything in the pantheon of Bond. To have it sink into the depths is powerful imagery that Bond has given up his days of saving the world for Queen and country.Another feature of the opening credits is the DNA sequences using guns and bullet trails to mimic the double-helix structure. It’s impressive imagery and offers a hint at the importance of DNA in the film. The villain Safin uses a stolen nanobot bioweapon that spreads like a virus upon touch, and are coded to specific DNA strands so that they are only dangerous if programmed to an individual’s genetic code. On a deeper level, it could also represent Bond’s DNA, passed on through his and Madeleine’s daughter (the secret she kept from him).Along with No Time To Die’s opening pre-title sequence, the opening credits are often mini-works of art in their own right. Kleinman’s in particular are often filled with easter eggs that are impossible to all take in in a single viewing. No Time To Die’s opening credits are no different, with references to Dr. No (the dots return), On Her Majesty’s Secret Service (the hourglasses), and even Thunderball (a diver is seen at one point) sprinkled throughout the expertly crafted sequence.
Warning: Major spoilers ahead for No Time To Die
The No Time To Die signal the end of Daniel Craig’s time as James Bond for one final adventure. The movie is the 25th official James Bond film and the 5th movie for Craig’s interpretation of the character over a 15 year period. Like every Bond movie to date, the new film features an elaborate and highly stylized opening sequence that foreshadows much of what’s to follow. Just as with all its predecessors, No Time To Die’s credits have a lot to unpack.
Dating back to Bond’s cinematic debut in 1962’s Dr. No (where there was a flurry of multi-colored dots flashing on the screen while the Bond theme played), the opening credits set the tone for the film. They are just as important fixtures for the James Bond franchise as the Gunbarrel or the title song that plays over them. Designer Maurice Binder was responsible for title sequences for 16 of the first 17 Bond films before Daniel Kleinman took over for Goldeneye onwards (with the exception of Quantum of Solace). Unsurprisingly, No Time To Die carries on the tradition.
Kleinman returns for his 8th James Bond opening credits title sequence with No Time To Die, once again stylishly designing the sequence to convey the mindset of Bond, as well as the plot of the film. The key themes displayed are betrayal, and time, with numerous images of hourglasses and clocks throughout. The film itself takes inspiration from fan-favorite On Her Majesty’s Secret Service, including the song “We Have All the Time in the World”, referring to Bond and Madeleine spending the rest of their lives together. Bond utters the phase at the start of No Time To Die before a heart-wrenching call back to it in the finale. The hourglasses represent all the time in the world, but when they are broken so is Bond’s heart thinking (wrongly) that Madeleine has betrayed him.
Images of Vesper Lynd from Casino Royale are included alongside Madeleine, in order to tie her in with Vesper in the audience’s mind as both deceiving James Bond. Madeleine’s secret however is vastly different than the one Vesper kept from him. Throughout the opening credits the lyrics in Billie Eilish’s title song “No Time To Die” echo the theme of betrayal. Furthermore, Bond’s Aston Martin sinking is representative of him leaving behind his former life. The famous gadget-laden car is instantly recognizable and iconic as anything in the pantheon of Bond. To have it sink into the depths is powerful imagery that Bond has given up his days of saving the world for Queen and country.
Another feature of the opening credits is the DNA sequences using guns and bullet trails to mimic the double-helix structure. It’s impressive imagery and offers a hint at the importance of DNA in the film. The villain Safin uses a stolen nanobot bioweapon that spreads like a virus upon touch, and are coded to specific DNA strands so that they are only dangerous if programmed to an individual’s genetic code. On a deeper level, it could also represent Bond’s DNA, passed on through his and Madeleine’s daughter (the secret she kept from him).
Along with No Time To Die’s opening pre-title sequence, the opening credits are often mini-works of art in their own right. Kleinman’s in particular are often filled with easter eggs that are impossible to all take in in a single viewing. No Time To Die’s opening credits are no different, with references to Dr. No (the dots return), On Her Majesty’s Secret Service (the hourglasses), and even Thunderball (a diver is seen at one point) sprinkled throughout the expertly crafted sequence.
Ever since The Simpsons first aired in 1989 it has stolen the hearts of families around the world, with years of adventures springing from its initial inception. Most new Simpsons storylines exist within the main canon of the television show, or offshoots from creator Matt Groening in some form or fashion such as movies or video games. However, The Simpsons has also inspired a number of fan-produced content, including a new manga-style fighting adventure in the form of a new webcomic that has taken Twitter by storm. SPRINGFIGHT! a Simpsons fan comic released by Joe Chouinard is a five-part webcomic posted on Twitter that brings the comedy fans have come to expect from The Simpsons and adds manga-style action. In the beginning, fans are told that Mr. Burns has died and his will states that his immense wealth will be left to the winner of a town-wide fighting tournament. All the regular Simpsons characters and side characters are participating, fighting each other much like characters in a Dragon Ball manga would, all for a chance at a grand fortune. As many familiar faces rise and fall on the panel, one man stands above the rest, and that man is none other than Homer Simpson. Homer uses the power of drunken hopelessness to win his way to the top of the tournament, and while that description may seem a bit heavy and sad for a Simpsons comic, that’s because it is and the story doesn’t shy away from that fact. The whole reason Homer is fighting in the tournament is because he and Marge got a divorce, and his family all but hates him. To prove to them he isn’t a loser, Homer has decided to win Burns’ tournament, using beer to numb the pain it takes to win. Homer only realizes his mistake after he faces his final challenger: his own son Bart. Halfway through their epic fight, Homer leaves the ring and forfeits the tournament and Bart takes home the gold, but in the end Homer’s the real winner. His family sees how hard he is trying to get back into their lives and once he vows to give up drinking he is given another chance to be the husband and father they all hoped he would be. SPRINGFIGHT! a Simpsons fan comic isn’t the only non-canonical Simpsons adventure that has sprung up in webcomic space. The fan made Those Springfield Kids by Mr. Spike R. Monster takes a similar approach to Simpsons character psychology as SPRINGFIGHT! but with a slight time jump and way less action. Those Springfield Kids explores the early high school life of Bart, Lisa, and the other younger characters present in the original Simpsons. While the series has its comedic moments, it certainly doesn’t hold any punches when tackling the traumatic drama present in the usually fantastical world in which The Simpsons takes place. While these Simpsons stories didn’t originate from the original creator Matt Groening and are therefore non-canon, they speak to how powerful The Simpsons is to fans even to this day. The Simpsons is one of the longest-running series on television, and even with the current competition in adult animation like Rick and Morty, Family Guy, and South Park, its characters and stories remain an inspiration to fans to create their own adventures with the characters they grew up with. Simpsons fan comic SPRINGFIGHT! is a manga-style fighting tournament with a deep dive into The Simpsons family dynamic that is a great tribute to the show that started it all.Source: Joe Chouinard
Ever since The Simpsons first aired in 1989 it has stolen the hearts of families around the world, with years of adventures springing from its initial inception. Most new Simpsons storylines exist within the main canon of the television show, or offshoots from creator Matt Groening in some form or fashion such as movies or video games. However, The Simpsons has also inspired a number of fan-produced content, including a new manga-style fighting adventure in the form of a new webcomic that has taken Twitter by storm.
SPRINGFIGHT! a Simpsons fan comic released by Joe Chouinard is a five-part webcomic posted on Twitter that brings the comedy fans have come to expect from The Simpsons and adds manga-style action. In the beginning, fans are told that Mr. Burns has died and his will states that his immense wealth will be left to the winner of a town-wide fighting tournament. All the regular Simpsons characters and side characters are participating, fighting each other much like characters in a Dragon Ball manga would, all for a chance at a grand fortune. As many familiar faces rise and fall on the panel, one man stands above the rest, and that man is none other than Homer Simpson.
Homer uses the power of drunken hopelessness to win his way to the top of the tournament, and while that description may seem a bit heavy and sad for a Simpsons comic, that’s because it is and the story doesn’t shy away from that fact. The whole reason Homer is fighting in the tournament is because he and Marge got a divorce, and his family all but hates him. To prove to them he isn’t a loser, Homer has decided to win Burns’ tournament, using beer to numb the pain it takes to win. Homer only realizes his mistake after he faces his final challenger: his own son Bart. Halfway through their epic fight, Homer leaves the ring and forfeits the tournament and Bart takes home the gold, but in the end Homer’s the real winner. His family sees how hard he is trying to get back into their lives and once he vows to give up drinking he is given another chance to be the husband and father they all hoped he would be.
SPRINGFIGHT! a Simpsons fan comic isn’t the only non-canonical Simpsons adventure that has sprung up in webcomic space. The fan made Those Springfield Kids by Mr. Spike R. Monster takes a similar approach to Simpsons character psychology as SPRINGFIGHT! but with a slight time jump and way less action. Those Springfield Kids explores the early high school life of Bart, Lisa, and the other younger characters present in the original Simpsons. While the series has its comedic moments, it certainly doesn’t hold any punches when tackling the traumatic drama present in the usually fantastical world in which The Simpsons takes place.
While these Simpsons stories didn’t originate from the original creator Matt Groening and are therefore non-canon, they speak to how powerful The Simpsons is to fans even to this day. The Simpsons is one of the longest-running series on television, and even with the current competition in adult animation like Rick and Morty, Family Guy, and South Park, its characters and stories remain an inspiration to fans to create their own adventures with the characters they grew up with. Simpsons fan comic SPRINGFIGHT! is a manga-style fighting tournament with a deep dive into The Simpsons family dynamic that is a great tribute to the show that started it all.
Source: Joe Chouinard
Dataminers have seemingly uncovered plans by Epic Games to bring mechs back into Fortnite for the end of the currently running Season 8. Titanfall-style Mechs were first introduced to Fortnite more than two years ago, but their run in the online battle royale was short-lived due to many issues which eventually caused Epic to pull them from Fortnite altogether.The B.R.U.T.E. was part of 2019’s Fortnite Season 1,0 and it quickly developed a bad reputation among players due to how unbalanced it ended up being. Epic Games tried to keep the B.R.U.T.E. in Fortnite through a series of minor tweaks, however the developer’s efforts proved to be not enough, as players went so far as to start a #RemoveTheMech trend on Twitter. Some even changed tactics in-game, deciding to work together to destroy the machines as soon they spawned. Mechs were removed the same month they were introduced and they have not been seen in Fortnite since… until now, it seems.Dataminer Shiina recently discovered that Fortnite’s mechs could make a return in Season 8, according to some of the text files they discovered. This was corroborated by HYPEX, who more concretely stated that Epic Games is planning to add funding for mechs at the end of the current season. It is unclear from these Fortnite leaks if the mechs will be some form of revamped B.R.U.T.E., but according to HYPEX there will certainly be some changes going forward. The full extent of those changes to Fortnite’s mechs, however, is still currently unknown.2019’s end to Fortnite’s B.R.U.T.E. came quickly and was met by relief throughout community. Epic Games has an uphill battle ahead of itself to combat the negative reputations Fortnite’s mechs have cultivated. While it is extremely likely the new mechs mentioned in these Fortnite leaks will feel completely different after more than two-years of work, the question of proper balance remains unanswered, and will continue to be so until the return officially happens.With Fortnite Season 8 now in full swing, all players can hope for is that Epic Games has learned from its past mistakes and has the intention to make up for them. Mechs are tricky to balance in a game like Fortnite, as their whole point is to be overpowering to some degree. Hopefully Epic can find the right balance to make the new mechs mentioned in these Fortnite leaks feel powerful without leaving those who do not have one feeling completely outgunned.Fortnite is available now on Xbox One, Xbox Series X/S, PS4, PS5, Nintendo Switch, and PC.Source: Shiina, HYPEX
Dataminers have seemingly uncovered plans by Epic Games to bring mechs back into Fortnite for the end of the currently running Season 8. Titanfall-style Mechs were first introduced to Fortnite more than two years ago, but their run in the online battle royale was short-lived due to many issues which eventually caused Epic to pull them from Fortnite altogether.
The B.R.U.T.E. was part of 2019’s Fortnite Season 1,0 and it quickly developed a bad reputation among players due to how unbalanced it ended up being. Epic Games tried to keep the B.R.U.T.E. in Fortnite through a series of minor tweaks, however the developer’s efforts proved to be not enough, as players went so far as to start a #RemoveTheMech trend on Twitter. Some even changed tactics in-game, deciding to work together to destroy the machines as soon they spawned. Mechs were removed the same month they were introduced and they have not been seen in Fortnite since… until now, it seems.
Dataminer Shiina recently discovered that Fortnite’s mechs could make a return in Season 8, according to some of the text files they discovered. This was corroborated by HYPEX, who more concretely stated that Epic Games is planning to add funding for mechs at the end of the current season. It is unclear from these Fortnite leaks if the mechs will be some form of revamped B.R.U.T.E., but according to HYPEX there will certainly be some changes going forward. The full extent of those changes to Fortnite’s mechs, however, is still currently unknown.
2019’s end to Fortnite‘s B.R.U.T.E. came quickly and was met by relief throughout community. Epic Games has an uphill battle ahead of itself to combat the negative reputations Fortnite’s mechs have cultivated. While it is extremely likely the new mechs mentioned in these Fortnite leaks will feel completely different after more than two-years of work, the question of proper balance remains unanswered, and will continue to be so until the return officially happens.
With Fortnite Season 8 now in full swing, all players can hope for is that Epic Games has learned from its past mistakes and has the intention to make up for them. Mechs are tricky to balance in a game like Fortnite, as their whole point is to be overpowering to some degree. Hopefully Epic can find the right balance to make the new mechs mentioned in these Fortnite leaks feel powerful without leaving those who do not have one feeling completely outgunned.
Fortnite is available now on Xbox One, Xbox Series X/S, PS4, PS5, Nintendo Switch, and PC.
The Hellraiser series introduced a new type of monster to the horror movie genre, but they were far from stereotypical. These creatures embodied the most twisted elements of pleasure and pain. Behind-the-scenes Hellraiser facts reveal a nightmarish collage of sadomasochism, artistic expression, and even a code of honor that reflected on their reputation.RELATED: The Real Life Inspirations Behind 11 Horror Movie IconsThe Cenobites are among the most interesting movie monsters ever created, with detailed mythology and complex motivations, as opposed to being mindless slasher villains. Not all Cenobites are alike, however. Some are brilliantly designed, while others attempted to capitalize on the franchise’s growing popularity in the worst ways.10 Worst: Dreamer (Hellraiser III)Terri was an extremely confused, sad, and lonely girl who was manipulated by many people during her life, including the arrogant J.P. Monroe, owner of a nightclub called the Boiler Room. She was incapable of dreaming – a fact which made her mentally unstable, and ultimately susceptible to Pinhead’s influence.After killing J.P. and releasing Pinhead, Terri was turned into the Cenobite known as Dreamer. It was one of the worst Cenobite designs, particularly because Dreamer had no real powers in comparison to her brethren. She was also far more human in appearance than the rest, which didn’t add much to her own malevolence.9 Best: Phillip Channard (Hellbound: Hellraiser II)Philip Channard was a human surgeon obsessed with unlocking damaged minds, but this ultimately proved to be denial on his own part. Channard was secretly obsessed with the occult, particularly the puzzle boxes that opened the doorway to Hell. From a very early age, he showed signs of psychopathy which would manifest into him becoming a cruel and unrepentant villain.Upon entering Hell, Channard was turned into a powerful Cenobite with grand ambitions for the unfortunate souls that would cross his path. He is one of Hellraiser’s most effective and convincing Cenobites, with a fearsome presence and character design that is positively macabre in nature.8 Worst: The Siamese Twins (Hellraiser: Bloodline)This Cenobite is actually an amalgamation of two identical twin brothers named Mark and Michael Bradley, who were considered inseparable by friends and family. They were employed as guards at a museum that housed a Lament Configuration created by John Merchant, which interested both Pinhead and Angelique, the princess of Hell.RELATED: All 10 Hellraiser Movies, Ranked Worst To BestPinhead picked up on their secret fear of being separated, and decided to bond them together, quite literally. Unfortunately, a mix of bad CGI and a rather underwhelming final design made the Siamese Twins look far sillier than was probably intended. It just didn’t work, especially when compared to the most popular Cenobite designs in the series.7 Best: Angelique (Hellraiser: Bloodline)Angelique started out as a separate entity from Pinhead and his Gash of Cenobites. She was a princess of Leviathan’s realm who entered the mortal world to put an end to the LeMarchand bloodline. In the end, her actions would be their undoing when LeMarchand’s descendent managed to destroy them all.Angelique eventually joined Pinhead as a Cenobite, and is the only known demon who was turned by Pinhead. Fearsome in her human form alone, she was equally as terrifying after being turned into a Cenobite, making her one of the most understated in the criminally underrated Hellraiser franchise.6 Worst: CD (Hellraiser III)Hellraiser III introduced another Cenobite that was cobbled together by the twisted mind of the pure-evil Pinhead. Jim Hammerstein was a local club DJ who suffered the unfortunate fate of having played a gig that was crashed by Pinhead. The Cenobite set forth massacring everyone in the club, including the DJ, in one of the Hellraiser franchise’s most unintentionally funny scenes.His death was not the end, however. He became CD, so named because of the fact that he had CDs lodged in his skull to act as a sort of twisted-looking halo. He could also throw CDs as lethal projectiles to slay his victims, which was an extremely silly and campy premise that didn’t quite pay off.5 Best: The Auditor (Hellraiser: Judgment)Hellraiser: Judgement is often criticized for being a low-budget sequel with too much focus on non-Cenobite-related storylines. It did, however, add interesting new dimensions to the Hellraiser lore, such as the Stygian Inquisition, a separate branch of Cenobites who pass judgment on doomed souls.Chief among them is The Auditor, an authority figure in Hell, similar to Pinhead. This Cenobite behaves far more like a human than a demon, speaking like a common person, and even cracking jokes at regular intervals. It’s this passive and unassuming personality type that hides a much more sinister agenda, making the Auditor one of the most interesting additions to the series in some time.4 Worst: Camerahead (Hellraiser III)Later Hellraiser sequels decided to get increasingly more creative with Cenobite designs, and the results were mixed, to say the least. Hellraiser III introduced Camerahead, a friend of lead protagonist Joey Summerskill who was transformed into a Cenobite by the raw power of the evil Pinhead persona.Camerahead’s right eye was fused with a camera lens which could blow up objects, or stab his prey up close. This particular Cenobite triggered a new direction for the series – one more interested in capitalizing on the notoriety of Hellraiser, as opposed to making something more artistic in design.3 Best: Chatterer (Hellraiser)Possibly the second most iconic Cenobite of all time after Pinhead, Chatterer had a particularly tragic backstory. He was, in fact, a young 16 year old boy plagued by a life of constant abuse, and a desire to be loved for who he was. Unfortunately, this would take him down a horrible life path that led straight to him solving the Lament Configuration.He emerged from the experience as the Chatterer, a voiceless Cenobite so named because of the incessant chattering sound produced by his teeth. Nothing was known of him in the first film aside from his creepy design, but the second Hellraiser film finally gave some emotional weight to the character.2 Worst: Clown (Hellraiser – The Devil’s Brigade Comics)Clown was a Cenobite tasked with entertaining the children who are brought into Hell, but are too innocent to be judged. To that effect, he put on a show where he demonstrated a series of gruesome acts in order to frighten them. He was punished severely by Leviathan when he deviated from this formula, and pulled a rabbit out of a hat to entertain the kids.After being transformed fully into a Cenobite, there was little to differentiate Clown from his brethren. The character design was part Joker, and part Pinhead, fused into a body resembling the latter. He was neither the most interesting Cenobite of the bunch, nor the most effective.1 Best: Pinhead (Hellraiser)Pinhead is the leader of the Cenobites, and the chief agent of Leviathan, known to many as the Hell Priest. Contrary to popular belief, Pinhead is not, in fact, a villain. In fact, it could be argued that he’s not malevolent at all, but rather a sadist in charge of enforcing the rules of Hell, and the puzzle box that leads so many humans astray.Pinhead can be reasoned with, and has a strong sense of right and wrong. He has outwardly refused to take innocent lives, doing so only when his darkest id was separated from his consciousness to form a purely evil being.NEXT: 5 Horror Franchises We Hope Get A New Sequel (& 5 We Don’t)from ScreenRant – Feed https://ift.tt/2vGmeBf https://ift.tt/3Bgh6A8
The Hellraiser series introduced a new type of monster to the horror movie genre, but they were far from stereotypical. These creatures embodied the most twisted elements of pleasure and pain. Behind-the-scenes Hellraiser facts reveal a nightmarish collage of sadomasochism, artistic expression, and even a code of honor that reflected on their reputation.
RELATED: The Real Life Inspirations Behind 11 Horror Movie Icons
The Cenobites are among the most interesting movie monsters ever created, with detailed mythology and complex motivations, as opposed to being mindless slasher villains. Not all Cenobites are alike, however. Some are brilliantly designed, while others attempted to capitalize on the franchise’s growing popularity in the worst ways.
Terri was an extremely confused, sad, and lonely girl who was manipulated by many people during her life, including the arrogant J.P. Monroe, owner of a nightclub called the Boiler Room. She was incapable of dreaming – a fact which made her mentally unstable, and ultimately susceptible to Pinhead’s influence.
After killing J.P. and releasing Pinhead, Terri was turned into the Cenobite known as Dreamer. It was one of the worst Cenobite designs, particularly because Dreamer had no real powers in comparison to her brethren. She was also far more human in appearance than the rest, which didn’t add much to her own malevolence.
Philip Channard was a human surgeon obsessed with unlocking damaged minds, but this ultimately proved to be denial on his own part. Channard was secretly obsessed with the occult, particularly the puzzle boxes that opened the doorway to Hell. From a very early age, he showed signs of psychopathy which would manifest into him becoming a cruel and unrepentant villain.
Upon entering Hell, Channard was turned into a powerful Cenobite with grand ambitions for the unfortunate souls that would cross his path. He is one of Hellraiser’s most effective and convincing Cenobites, with a fearsome presence and character design that is positively macabre in nature.
This Cenobite is actually an amalgamation of two identical twin brothers named Mark and Michael Bradley, who were considered inseparable by friends and family. They were employed as guards at a museum that housed a Lament Configuration created by John Merchant, which interested both Pinhead and Angelique, the princess of Hell.
RELATED: All 10 Hellraiser Movies, Ranked Worst To Best
Pinhead picked up on their secret fear of being separated, and decided to bond them together, quite literally. Unfortunately, a mix of bad CGI and a rather underwhelming final design made the Siamese Twins look far sillier than was probably intended. It just didn’t work, especially when compared to the most popular Cenobite designs in the series.
Angelique started out as a separate entity from Pinhead and his Gash of Cenobites. She was a princess of Leviathan’s realm who entered the mortal world to put an end to the LeMarchand bloodline. In the end, her actions would be their undoing when LeMarchand’s descendent managed to destroy them all.
Angelique eventually joined Pinhead as a Cenobite, and is the only known demon who was turned by Pinhead. Fearsome in her human form alone, she was equally as terrifying after being turned into a Cenobite, making her one of the most understated in the criminally underrated Hellraiser franchise.
Hellraiser III introduced another Cenobite that was cobbled together by the twisted mind of the pure-evil Pinhead. Jim Hammerstein was a local club DJ who suffered the unfortunate fate of having played a gig that was crashed by Pinhead. The Cenobite set forth massacring everyone in the club, including the DJ, in one of the Hellraiser franchise’s most unintentionally funny scenes.
His death was not the end, however. He became CD, so named because of the fact that he had CDs lodged in his skull to act as a sort of twisted-looking halo. He could also throw CDs as lethal projectiles to slay his victims, which was an extremely silly and campy premise that didn’t quite pay off.
Hellraiser: Judgement is often criticized for being a low-budget sequel with too much focus on non-Cenobite-related storylines. It did, however, add interesting new dimensions to the Hellraiser lore, such as the Stygian Inquisition, a separate branch of Cenobites who pass judgment on doomed souls.
Chief among them is The Auditor, an authority figure in Hell, similar to Pinhead. This Cenobite behaves far more like a human than a demon, speaking like a common person, and even cracking jokes at regular intervals. It’s this passive and unassuming personality type that hides a much more sinister agenda, making the Auditor one of the most interesting additions to the series in some time.
Later Hellraiser sequels decided to get increasingly more creative with Cenobite designs, and the results were mixed, to say the least. Hellraiser III introduced Camerahead, a friend of lead protagonist Joey Summerskill who was transformed into a Cenobite by the raw power of the evil Pinhead persona.
Camerahead’s right eye was fused with a camera lens which could blow up objects, or stab his prey up close. This particular Cenobite triggered a new direction for the series – one more interested in capitalizing on the notoriety of Hellraiser, as opposed to making something more artistic in design.
Possibly the second most iconic Cenobite of all time after Pinhead, Chatterer had a particularly tragic backstory. He was, in fact, a young 16 year old boy plagued by a life of constant abuse, and a desire to be loved for who he was. Unfortunately, this would take him down a horrible life path that led straight to him solving the Lament Configuration.
He emerged from the experience as the Chatterer, a voiceless Cenobite so named because of the incessant chattering sound produced by his teeth. Nothing was known of him in the first film aside from his creepy design, but the second Hellraiser film finally gave some emotional weight to the character.
Clown was a Cenobite tasked with entertaining the children who are brought into Hell, but are too innocent to be judged. To that effect, he put on a show where he demonstrated a series of gruesome acts in order to frighten them. He was punished severely by Leviathan when he deviated from this formula, and pulled a rabbit out of a hat to entertain the kids.
After being transformed fully into a Cenobite, there was little to differentiate Clown from his brethren. The character design was part Joker, and part Pinhead, fused into a body resembling the latter. He was neither the most interesting Cenobite of the bunch, nor the most effective.
Pinhead is the leader of the Cenobites, and the chief agent of Leviathan, known to many as the Hell Priest. Contrary to popular belief, Pinhead is not, in fact, a villain. In fact, it could be argued that he’s not malevolent at all, but rather a sadist in charge of enforcing the rules of Hell, and the puzzle box that leads so many humans astray.
Pinhead can be reasoned with, and has a strong sense of right and wrong. He has outwardly refused to take innocent lives, doing so only when his darkest id was separated from his consciousness to form a purely evil being.
NEXT: 5 Horror Franchises We Hope Get A New Sequel (& 5 We Don’t)
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Fighting battles are a major part of The Lord of the Rings: Rise to War, but, oddly enough, so are mock battles. Why would anyone want to fight mock battles when there are so many real battles to be fought? Mock battles don’t allow players to conquer more territory in The Lord of the Rings: Rise to War, which is crucial in this geostrategic seasonal wargame.Mock battles serve a very specific function within The Lord of the Rings: Rise to War. Just like in real life, armies can engage in mock battles as practice for the real thing. It makes them more effective. Specifically, it makes the commanders in The Lord of the Rings: Rise to War gain XP. Knowing when to start a mock battle will help players be more effective when real battles come.Related: How to Use the Translate Feature in The Lord of the Rings: Rise to WarCommanders majorly define armies in The Lord of the Rings: Rise to War. As commanders gain levels, they can command larger armies, and they gain special abilities. Some will be more effective in battle, but some commanders can buff certain types of units. Mock battles serve as a great way to level up a commander without losing any troops.It costs grain to fight mock battles in The Lord of the Rings: Rise to War, and players will need a lot of it. It also costs Ability Points. These regenerate over time but cannot exceed their maximum value. Lastly, it takes up the commander’s stamina, which regenerates over time as well.Engaging in mock battles is useful for a player who has already leveled up several commanders and now has obtained a new one. The new commander starts at Level 1, so they can’t command many troops to conquer more territory. Instead, they can fight mock battles to get up to a higher level. Mock battles are also useful for high-level commanders to get that little more XP to be able to field an army large enough to conquer higher tier tiles.The location of mock battles in The Lord of the Rings: Rise to War also matters. Commanders gain more XP based on where they fight. Players should choose a tile they own that generates a high amount of Ring Power per hour. They can set how long they want the mock battle to last, and longer times give the commander more XP.Oddly enough, the thing that doesn’t matter is army size. Commanders will still need to have some sort of army, but neither the size of the army nor the quality of the troops affects their XP gain. This means that low-level commanders can gain XP quickly in The Lord of the Rings: Rise to War, so they will be on par with a player’s other commanders.Next: Why Gandalf Doesn’t Fully Remember Who He Is When He ReturnsThe Lord of the Rings: Rise to War is available on Android and iOS.from ScreenRant – Feed https://ift.tt/3Bdb0QT https://ift.tt/3ms6GXM
Fighting battles are a major part of The Lord of the Rings: Rise to War, but, oddly enough, so are mock battles. Why would anyone want to fight mock battles when there are so many real battles to be fought? Mock battles don’t allow players to conquer more territory in The Lord of the Rings: Rise to War, which is crucial in this geostrategic seasonal wargame.
Mock battles serve a very specific function within The Lord of the Rings: Rise to War. Just like in real life, armies can engage in mock battles as practice for the real thing. It makes them more effective. Specifically, it makes the commanders in The Lord of the Rings: Rise to War gain XP. Knowing when to start a mock battle will help players be more effective when real battles come.
Related: How to Use the Translate Feature in The Lord of the Rings: Rise to War
Commanders majorly define armies in The Lord of the Rings: Rise to War. As commanders gain levels, they can command larger armies, and they gain special abilities. Some will be more effective in battle, but some commanders can buff certain types of units. Mock battles serve as a great way to level up a commander without losing any troops.
It costs grain to fight mock battles in The Lord of the Rings: Rise to War, and players will need a lot of it. It also costs Ability Points. These regenerate over time but cannot exceed their maximum value. Lastly, it takes up the commander’s stamina, which regenerates over time as well.
Engaging in mock battles is useful for a player who has already leveled up several commanders and now has obtained a new one. The new commander starts at Level 1, so they can’t command many troops to conquer more territory. Instead, they can fight mock battles to get up to a higher level. Mock battles are also useful for high-level commanders to get that little more XP to be able to field an army large enough to conquer higher tier tiles.
The location of mock battles in The Lord of the Rings: Rise to War also matters. Commanders gain more XP based on where they fight. Players should choose a tile they own that generates a high amount of Ring Power per hour. They can set how long they want the mock battle to last, and longer times give the commander more XP.
Oddly enough, the thing that doesn’t matter is army size. Commanders will still need to have some sort of army, but neither the size of the army nor the quality of the troops affects their XP gain. This means that low-level commanders can gain XP quickly in The Lord of the Rings: Rise to War, so they will be on par with a player’s other commanders.
Next: Why Gandalf Doesn’t Fully Remember Who He Is When He Returns
The Lord of the Rings: Rise to War is available on Android and iOS.
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Online roleplaying has surged in popularity over the past year and a half, with some tabletop gamers using virtual tabletop sites like Roll20 to play classic RPGs like Dungeons & Dragons. However, others have started participating in narrative “Play By Post” RPGs on forums and chat clients like Discord. The RPG systems below are particularly good choices for players who want to participate in a roleplaying game session through written text messages and narrative vignettes.The big advantage of text-based adventure games and RPG campaigns is that players don’t have to worry about scheduling game sessions and instead post irregular updates inside the game’s chat room or on its forum page. On the downside, “Play By Post” RPG campaigns are frequently slow-paced, and can even grind to a halt if one or more players forgets to post or fails to see an update. To keep the plot dynamic and interesting, both players and GMs need to make sure the “entries” they type are concise, grammatically legible, and give other players chances to respond and embellish.Related: Must-Play Roleplaying Games That Are “Powered By The Apocalypse”Generally speaking, narrative RPG systems with “Theater Of The Mind” style rule-sets work better for roleplaying sessions in a textual medium, with “Powered By The Apocalypse” and “Forged In The Dark” games being popular picks recently. The RPGs below, besides fitting this narrative mold, also have rules and digital aids designed to complement the act of text-based correspondence; some even go the epistolatory route and have story scenarios where both players and their game characters are talking to each other through smartphones and computers.Alice Is Missing is an immersive RPG made by Hunters Entertainment, designed to be played and completed in 90 minutes. This game, similar to tone to video games such as Life is Strange or Oxenfree, takes place in the small town of Silent Falls, where a high-school student named Alice Briarwood has recently vanished. In both remote and in-person sessions, players take on the role of Alice’s friends, relatives, and classmates, communicating silently through typed messages on group chat clients or phone text chains as they try to find out where Alice is.Our Time On Earth, available on itch.io, is a two-person tabletop RPG about a pair of aliens visiting and trying to understand a small blue planet called Earth. In default of a narrative premise for this freeform roleplaying system, each alien player character, separated by distance or duty, reports their findings and thoughts about the strange, harsh beauty of Earth through out-of-character text messages and a more advanced mode of alien communication in-character.The tabletop RPG Beyond The Rift, designed for 1 to 3 players, takes place in a fantasy world literally split apart by a magical war. The survivors of this war seek solace by ritualistically telling stories about friends, family, loved ones, and comrades trapped on the other side of the Rift. In a session of Beyond The Rift, each player takes on a specific role of storytelling – one describing the world beyond the rift, another describing the perils and dangers there, and a third describing the actions the story’s heroes take. Narrative prompts are generated and resolved by rolling dice and drawing cards from a poker deck, while HTML applications on the itch.io page help gamers play online via Discord or other group chat services.Fireball, currently in beta form, is a specialized group chat client and phone app designed to streamline the process of playing text-based fantasy campaigns using the Dungeons & Dragons 5e ruleset. The detailed rules of D&D 5e are made more accessible using a computer RPG-style interface, while a prototype matchmaking service lets Game Masters promote their games and recruit players to fill their open slots. Game Masters using Fireball also have access to various tools for rendering the places and perils of a classic fantasy world, while players can narrate character actions through text posts and a digital dice-rolling feature.Next: Tabletop Games About Writing Beautiful Letters from ScreenRant – Feed https://ift.tt/3izBCoa https://ift.tt/3mqv6kI
Online roleplaying has surged in popularity over the past year and a half, with some tabletop gamers using virtual tabletop sites like Roll20 to play classic RPGs like Dungeons & Dragons. However, others have started participating in narrative “Play By Post” RPGs on forums and chat clients like Discord. The RPG systems below are particularly good choices for players who want to participate in a roleplaying game session through written text messages and narrative vignettes.
The big advantage of text-based adventure games and RPG campaigns is that players don’t have to worry about scheduling game sessions and instead post irregular updates inside the game’s chat room or on its forum page. On the downside, “Play By Post” RPG campaigns are frequently slow-paced, and can even grind to a halt if one or more players forgets to post or fails to see an update. To keep the plot dynamic and interesting, both players and GMs need to make sure the “entries” they type are concise, grammatically legible, and give other players chances to respond and embellish.
Related: Must-Play Roleplaying Games That Are “Powered By The Apocalypse”
Generally speaking, narrative RPG systems with “Theater Of The Mind” style rule-sets work better for roleplaying sessions in a textual medium, with “Powered By The Apocalypse” and “Forged In The Dark” games being popular picks recently. The RPGs below, besides fitting this narrative mold, also have rules and digital aids designed to complement the act of text-based correspondence; some even go the epistolatory route and have story scenarios where both players and their game characters are talking to each other through smartphones and computers.
Alice Is Missing is an immersive RPG made by Hunters Entertainment, designed to be played and completed in 90 minutes. This game, similar to tone to video games such as Life is Strange or Oxenfree, takes place in the small town of Silent Falls, where a high-school student named Alice Briarwood has recently vanished. In both remote and in-person sessions, players take on the role of Alice’s friends, relatives, and classmates, communicating silently through typed messages on group chat clients or phone text chains as they try to find out where Alice is.
Our Time On Earth, available on itch.io, is a two-person tabletop RPG about a pair of aliens visiting and trying to understand a small blue planet called Earth. In default of a narrative premise for this freeform roleplaying system, each alien player character, separated by distance or duty, reports their findings and thoughts about the strange, harsh beauty of Earth through out-of-character text messages and a more advanced mode of alien communication in-character.
The tabletop RPG Beyond The Rift, designed for 1 to 3 players, takes place in a fantasy world literally split apart by a magical war. The survivors of this war seek solace by ritualistically telling stories about friends, family, loved ones, and comrades trapped on the other side of the Rift. In a session of Beyond The Rift, each player takes on a specific role of storytelling – one describing the world beyond the rift, another describing the perils and dangers there, and a third describing the actions the story’s heroes take. Narrative prompts are generated and resolved by rolling dice and drawing cards from a poker deck, while HTML applications on the itch.io page help gamers play online via Discord or other group chat services.
Fireball, currently in beta form, is a specialized group chat client and phone app designed to streamline the process of playing text-based fantasy campaigns using the Dungeons & Dragons 5e ruleset. The detailed rules of D&D 5e are made more accessible using a computer RPG-style interface, while a prototype matchmaking service lets Game Masters promote their games and recruit players to fill their open slots. Game Masters using Fireball also have access to various tools for rendering the places and perils of a classic fantasy world, while players can narrate character actions through text posts and a digital dice-rolling feature.
Next: Tabletop Games About Writing Beautiful Letters
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WARNING: Spoilers ahead for Amazing Spider-Man #74As one of the greatest sources of evil in the Marvel Comics universe, the demon Mephisto has access to all sorts of secrets the likes of which would bring other characters to their knees – including the truth about the Marvel Universe’s real Sacred Timeline and what it means for his fascination with Spider-Man. Alternate futures are ever-present in comics, but the Marvel Universe’s one true future has always remained nebulous. Now, readers may have finally gotten some confirmation on which fan-favorite timeline is canon.This revelation comes from the pages of The Amazing Spider-Man #74 by Nick Spencer, Mark Bagley, and more as Spencer wraps up his three-year saga with the world-famous Webslinger. But just because Spencer is done with the Spider-Man doesn’t mean Mephisto is. And the devil’s interest is never a good thing.Related: Spider-Man: One More Day is His ‘Worst Story’ Because Fans Read It WrongThe Amazing Spider-Man #74 brings “the Kindred Saga” to a close with a healthy dose of reveals and surprises, with none quite a shocking as the motivation for Mephisto’s involvement in Peter Parker’s life dating all the way back to “One More Day.” While the threat of the Kindred is ended, Doctor Strange still isn’t finished with the demon. And when Strange questions Mephisto about his fascination with Peter Parker, the villain reveals a vision he’s had since before Peter was even born – a vision of Peter Parker and Mary Jane’s adult daughter bringing about an end to his reign – that he’s spent years trying to prevent.While Mephisto’s vision explains why he’s meddled in Peter’s life for years, it also gives fans a glimpse into the Marvel Universe’s prime future timeline. Spider-Man’s daughter is far from the only hero fans see, as the wreckage of Mephisto’s future is littered with the broken bodies of Brian Michael Bendis’ future X-Men from the timeline introduced in “The Battle of the Atom.” Eagle-eyed fans can also catch a glimpse of the future son of Captain America, James Rogers, which also implies the existence of the fan-favorite Next Avengers.Especially in comics, the future is always in flux, but the fact that Mephisto has spent years trying and failing to prevent this specific timeline could very well signify how inevitable it really is. Mephisto’s manipulative efforts should make avoiding a future an easy task. But if this timeline is the set path for the Marvel Universe, or at the very least the path protected by the Time Variance Authority recently made popular by Loki on Disney+, then that would mean even an entity like Mephisto is powerless to stop it.Related: Thor’s Greatest Victory Was In A Drinking Contest Against The DevilIt’s highly unlikely that the comics will ever catch up to this point in the timeline, but it does add an interesting layer to the present-day Marvel Universe as well as to the limits of Mephisto’s abilities. For all his vaunted power as King of Hell, even he can’t stand against the inevitable flow of time. And for a being like Mephisto, there’s no feeling worse than powerlessness.Although Spider-Man fans probably won’t see this future come to pass anytime soon, it’s very existence changes what they thought they knew about the Marvel Comics timeline. The future is always changing, but it’s rare to see one so seemingly inevitable. After all, if even Mephisto is unable to stop it, things may be a bit more set in stone than anyone ever realized.Next: Spider-Man’s Huge Green Goblin Twist Makes Movie Moment Even Darkerfrom ScreenRant – Feed https://ift.tt/3l9kkj8 https://ift.tt/3BeGer8
WARNING: Spoilers ahead for Amazing Spider-Man #74
As one of the greatest sources of evil in the Marvel Comics universe, the demon Mephisto has access to all sorts of secrets the likes of which would bring other characters to their knees – including the truth about the Marvel Universe’s real Sacred Timeline and what it means for his fascination with Spider-Man. Alternate futures are ever-present in comics, but the Marvel Universe’s one true future has always remained nebulous. Now, readers may have finally gotten some confirmation on which fan-favorite timeline is canon.
This revelation comes from the pages of The Amazing Spider-Man #74 by Nick Spencer, Mark Bagley, and more as Spencer wraps up his three-year saga with the world-famous Webslinger. But just because Spencer is done with the Spider-Man doesn’t mean Mephisto is. And the devil’s interest is never a good thing.
Related: Spider-Man: One More Day is His ‘Worst Story’ Because Fans Read It Wrong
The Amazing Spider-Man #74 brings “the Kindred Saga” to a close with a healthy dose of reveals and surprises, with none quite a shocking as the motivation for Mephisto’s involvement in Peter Parker’s life dating all the way back to “One More Day.” While the threat of the Kindred is ended, Doctor Strange still isn’t finished with the demon. And when Strange questions Mephisto about his fascination with Peter Parker, the villain reveals a vision he’s had since before Peter was even born – a vision of Peter Parker and Mary Jane’s adult daughter bringing about an end to his reign – that he’s spent years trying to prevent.
While Mephisto’s vision explains why he’s meddled in Peter’s life for years, it also gives fans a glimpse into the Marvel Universe’s prime future timeline. Spider-Man’s daughter is far from the only hero fans see, as the wreckage of Mephisto’s future is littered with the broken bodies of Brian Michael Bendis’ future X-Men from the timeline introduced in “The Battle of the Atom.” Eagle-eyed fans can also catch a glimpse of the future son of Captain America, James Rogers, which also implies the existence of the fan-favorite Next Avengers.
Especially in comics, the future is always in flux, but the fact that Mephisto has spent years trying and failing to prevent this specific timeline could very well signify how inevitable it really is. Mephisto’s manipulative efforts should make avoiding a future an easy task. But if this timeline is the set path for the Marvel Universe, or at the very least the path protected by the Time Variance Authority recently made popular by Loki on Disney+, then that would mean even an entity like Mephisto is powerless to stop it.
Related: Thor’s Greatest Victory Was In A Drinking Contest Against The Devil
It’s highly unlikely that the comics will ever catch up to this point in the timeline, but it does add an interesting layer to the present-day Marvel Universe as well as to the limits of Mephisto’s abilities. For all his vaunted power as King of Hell, even he can’t stand against the inevitable flow of time. And for a being like Mephisto, there’s no feeling worse than powerlessness.
Although Spider-Man fans probably won’t see this future come to pass anytime soon, it’s very existence changes what they thought they knew about the Marvel Comics timeline. The future is always changing, but it’s rare to see one so seemingly inevitable. After all, if even Mephisto is unable to stop it, things may be a bit more set in stone than anyone ever realized.
Next: Spider-Man’s Huge Green Goblin Twist Makes Movie Moment Even Darker
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